162. Michael the Brave (Study for Michael the Brave in front of Bathory's head) [cca. 1882]

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162. Michael the Brave (Study for Michael the Brave in front of Bathory's head) [cca. 1882]

George Demetrescu Mirea

1852, Câmpulung Muscel - 1934, Bucureşti

Not sold

Selling price

EUR 2.412

References

Dragomirescu, George; Frunzetti, Ion, "G. Demetrescu Mirea", Official Monitor and State Printing Houses, National Printing Office Bucharest, 1940.

oil on canvas, 65 x 50 cm, signed upper left, in black, "G.D. Mirea"

Research information

The artwork was most likely created as a portrait study for the face of Michael the Brave during the period when, following Alexandru Odobescu's indications, Mirea was painting the large composition "Michael the Brave in front of Bathory's head" that would end up in the Military Museum's collection.

The author of compositions of unquestionable value, with studies carried out under the professorship of artists such as Theodor Aman or C. Stăncescu, George Demetrescu Mirea remains one of the significant figures of our art. Although he initially started to study medicine at the school presided over by Dr. Davila, he enrolled in 1870 at the School of Fine Arts in the capital. With one of his professors here, C. Stăncescu, he also studied at the "Sfântul Sava" high school, after moving from Câmpulung to Bucharest. One of the defining experiences of his creation will be participating in the campaign during the War of Independence alongside Nicolae Grigorescu, Sava Henția and Carol Popp de Szathmary. He will therefore take on brave themes, with particular relevance to history. This work was probably created as a study for the large-sized work (approximately 20 m): "Mihai Viteazul looking at the head of Andrei Bathory". Nicolae Bălcescu's writings inspired the needed inspiration for the painter to depict a piece of history. "In this exceptional sized work, 20 square meters, Mirea proposed to interpret a famous historical fact from the life of Mihai Viteazul. In a room of the princely palace, he depicts the Great Voivode sitting in a throne, with Lady Stanca standing next to him and their child Pătrașcu. The painting was inspired by a passage from Nicolae Bălcescu, which is also reproduced in the catalog of the French Salon. The artist seeks to impose on the face disorderliness dominated by the horror of the crime committed, the rebellion against the killer, the compassion for his enemy, now suppressed, perhaps even a premonition that his fate will soon be the same as the man whose horrible head is presented to him on a table." In 1883, the large-sized work was presented to the public in the pavilion next to the Stravopoleos church (where Andreescu had also exhibited); and in a catalog of an exhibition in France. This work, which preserves an important fragment of the finished creation – the face of the ruler, reveals a historical composition full of meaning.

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