86. Ponte Vecchio (Florence)

George Oprescu speaks in the monograph dedicated to Eustațiu Stoenescu about James Whistler's influence on the Romanian artist's plastic vision. In portraits or in interiors, but also in landscapes, the Englishman’s influence is felt particularly in the techniques of the Romanian painter's seascapes, a technique that also claims John Singer Sargent’s inspiration. Committed especially to creating an impressive gallery of portraits that brought his renown in Europe but also in America, Stoenescu dedicated himself to landscapes, with his extensive travels to London, Paris, Italy or in the country, to Drăghiceni, where he used to paint especially in spring. When he came into contact with the Italian light (Venice and Florence), captured in various works and at different times of the day, the painter already had the "resolute and sensible touch" of the post-Impressionist manner. The fluidity of the Venetian light or the thick London fogs had taught Stoenescu to look at and to render in a personal manner the subtle effects of the landscape. He had also acquired his decisiveness through the vast perspectives of Venetian pictures in which buildings and people melted in furious touches, examples of rendered spontaneity.

Dimensions

width 70 cm, height 51 cm, custom 70x51

Description

oil on cardboard, signed lower left, in grey, "Stoenescu"

PROVENANCE

collection of George Georgescu.

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