86. Memories [cca. 1934]

From the aristocratic portrait to the worldly portrait, art history abounds in various representations of the human face. The sociological component of portraiture inevitably intervenes, which painters have tried to decipher over time in relation to their own contexts in which they developed their creativity. Constantin Isachie Popescu did not ignore this pictorial genre, but even excelled in portraiture. He will give up law, which he probably practiced without much struggle, and will concentrate all his attention on art. His specialized studies will be carefully supervised by G.D. Mirea, and the connection with his master will go beyond the boundaries of the School of Fine Arts; Constantin Isachie Popescu marrying his niece, Letitia Mirea. The young man will also attend the courses of the Italian academies, where he will perfect the art of portraiture, but will also penetrate into the cultural universe of France, where he exhibits, in 1923, a portrait in the Salon des Artistes Francais. His exhibition participations in the 1920s are representative through the theme addressed: the portrait. We most often identify female characters in his creation: Sophie Cihoschi, Henriette Cihoschi Veron, Eleonora Botez Hagianoff, Irina Valasoglu Radulescu, Tutu Georgescu, Sonia Cluceru. The portrait is approached almost life-size, the ladies of high society in Bucharest, and not only, enjoying paintings that exceeded 100, 150 or even 200 cm.

References

The exhibition catalogue "Constantin Isachie. Painter of Bucharest's Mondanity", Maiko Publishing, Bucharest, 2014.

Dimensions

width 75.5 cm, height 104.5 cm

Description

ulei pe pânză lipită pe carton, signed bottom left, in blue, "C. Isachie"

Dating

cca. 1934

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