33. Still Life with Sunflower, Inkwell and Glasses [anii '30]

The photos of the lot are informative and indicative, and cannot provide a highly detailed view of the object from all angles. We recommend a careful physical inspection of the lot before bidding.

33. Still Life with Sunflower, Inkwell and Glasses [anii '30]

Theodor Pallady

1871, Iaşi - 1956, Bucureşti

Estimate:

EUR 18.000 - 25.000

Sold

EUR 37.000

References

ȘORBAN, Raoul, "Theodor Pallady", Ed. Meridiane, Bucharest, 1975. "Drawings by Theodor Pallady from the Collection of the Crișurilor Land Museum", in "Biharea", 1980, pp. 291-322. Florin Rogneanu, "Theodor Pallady and the Temptation of the Absolute", in "Oltenia. Studies and Communications", no. V-VI, 1986, pp. 205-209. CEBUC, Alexandru, "Pallady", Ed. Monitorul Oficial R. A., Bucharest, 2008.

oil on cardboard, 61 x 49.5 cm, signed on the right side, in pencil, "TP"

A master of composition, Pallady excels in the arrangement of subjects that make up his still lifes. Usually, the books that crown the tables in his compositions refer to volumes that form the literary core of the painter: Baudelaire, Proust or Nietzsche. We can therefore translate the literary, poetic or philosophical rhythms of his work into the interpretation of the meanings of universal masterpieces. This time, however, we no longer receive precise indications regarding the titles of the volume next to the sunflower vase. We discover, therefore, a typical still life, with the flower vase placed centrally, surrounded by papers, notebooks, glasses or inkwell. Based on the details included on the cover, we could guess the presence of a sketchbook in the lower left part of the work, while the artist's prop (this time formed only from a pair of glasses) is positioned centrally down. In addition to literature, Pallady also found inspiration in music, so his works were profoundly influenced by the solemnity that the artist took from Beethoven's scores. We can therefore assert that Pallady ingeniously rendered the beauty of forms that appear, in general, devoid of meanings and excelled in coding symbols in most of his canvases.

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