112. Pieta

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112. Pieta

Alexandru Ciucurencu

1903, Ciucurova, Tulcea - 1977, Bucureşti

Estimate:

EUR 10.000 - 15.000

Not sold

References

IONESCU, Radu, "Ciucurencu", Ed. Semne, București, 1994

oil on cardboard, 99 x 69 cm, 69x99, signed and dated lower left, in black, "Al. Ciucurencu, (1)930"

Material / Carats

ulei pe carton

Ciucurencu studied at the Bucharest School of Fine Arts with G.D. Mirea and Camil Ressu, who led him to attend the Julian Academy in France. In the Parisian artistic atmosphere, under the influence of André Lhote, he came into contact with the art of Cézanne, the Fauvists and the Cubists. Ciucurencu was fascinated by Lhote’s artistic personality, as well as by his theoretical discourse, which postulated the rigour for drawing instilled by Camil Ressu. The ascetic filter and essentialisation later led to exceptional painting cycles, with colour being responsible for shaping the compositional regime. For a brief period of his career, Alexandru Ciucurencu was seen as one of Camil Ressu’s excellent students due to the fact that, upon his debut on the Bucharest picture rails, around 1930, his art oozed a profound plastic design taken from his master during his study years. His debut, market by the work "At the Railway Station," almost instantly propelled Ciucurencu to the forefront of the new generation – the work made him a winner at the Official Salon in 1930, especially due to the pictorial potency exhibited by his creation, but also due to certain external factors – the painter had already been through the mill – he had felt the war, and was more mature than his colleagues, making his debut at 27 years. Until the great modernist revelation, established after his contact with French art – by the figure of Andre Lhote, Ciucurencu experimented in the pictorial regime under the influence of a universalist interpretation of art and of the great classical currents. This fact is easily understandable, especially due to these initial works created in the early 30s, like the creation at hand. Alongside the first famous self-portrait, "Pieta" deeply immerses us in the painter’s first stage of creation, a stage that has since established the passion for compositional askesis, chromatic filtering and formal essentialisation.

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