141. Nude in Blue Armchair [anii '40]

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141. Nude in Blue Armchair [anii '40]

Nutzi Acontz

1894, Focşani - 1957, Bucureşti

Estimate:

EUR 600 - 900

Sold

EUR 1.800

References

ALDEA, Hortensiu, ”Nutzi Acontz”, Pim Publishing, Iasi, 2011.

ulei pe carton, 41.5 x 35 cm, signed bottom right, in black, "Nutzi Acontz"

Research information

The artwork participated in the retrospective exhibition "Nutzi Acontz. 100 years since the birth of the artist", National Museum Complex "Moldova", Iasi, Museum of Art, October 1994 - January 1995 and is reproduced in the exhibition catalog under the name "Nude in blue armchair".

One of the most representative ladies of Romanian art and at the same time of the Fine Arts of Iasi, illustrative for currents such as Fauvism and Post-Impressionism, Nutzi Acontz will enjoy from the beginning the appreciations of some consecrated critics of the time, such as Nicolae Tonitza, Ionel Jianu, Henri Blazian or Radu Bogdan. The artist was born in the family of a reputable military ophthalmologist - Gheorghe Acontz-Popovici, also known for his artistic interests - especially on the musical line (he was a passionate pianist). Thus, he will inspire his daughter with native talent and will support her in her approach to plastic art. Nutzi Acontz will be trained under the guidance of the painter C.D. Stahi since secondary school. At his urging, she will compete for a place at the School of Fine Arts in Iasi, where she will form a close friendship with Aurelia Vasiliu (Ghiata). One of the first artistic events under the auspices of which the two will evolve will be a joint exhibition, organized at the Streit patisserie in town. Once in Bucharest, Nutzi Acontz will continue to stand out for her works, even Tonitza appreciated in a chronicle from ”Curentul”, in 1931: "Miss Acontz, although I think it is her first exhibition in the capital, is not at all a novice and even less a dilettante. " Along with her first vacations in Balchik will be the cycle dedicated to the Silver Coast, in which the watercolors intertwine with the oils and drawings. Studio studies, but also numerous plein air exercises will result in a work of unquestionable value, which will undoubtedly contribute to the incontestable evolution of her art. We also note a thematic cycle in which the concern for the female character predominates. The artist, however, focuses on psychological complexity and inner turmoil, which she renders in concordance with the mimicry of the face and the nonverbal language of the body. Her protagonists are divided between Turkish women, ballerinas or odalisques. The present work, singular in its approach, stands out for its affinities with the work of Theodor Pallady, who used to render the nude in a similar manner. We note means specific to his creation, especially in regard to the much more descriptive approach of the character.

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