97. Chioggia [1934]

The specificity of Gheorghe Petrașcu's painting introduces us into the psychology of an artist shaped by the structure of the great impressionists, even if he himself quickly detached from the supposed "weaknesses" of the plein-air painters at the beginning of his career. As the biography and the dating of the landscapes testify, Petrașcu painted in Venice between 1902 and 1939, during which time he seems to have made about 10 trips. Among the most important itineraries are those materialized in 1924, 1928 and 1934, years in which the painter persevered and created a series of representative works. The architecture, although simpler than the Venetian palaces, retains elegant lines, the colors of the walls add, besides the old air, also a note of luxury, Petrașcu transforming the aged plaster into a precious patina. The water, represented in multiple shades, becomes consistent, a mineral mirror, just as the sky seems to be made of an enameled material. The painting is dominated by an atmosphere of tranquility and meditation, evoking the calm, stable aspects of reality and the silence of the mineral matter that makes up Petrașcu's world.

References

COSTESCU, Eleonora, "Gheorghe Petraşcu", Ed. Meridian, Bucharest, 1975 FLOREA, Vasile, "Petrașcu", Ed. Meridian, Bucharest, 1989 OPRESCU, George, "Gheorghe Petrașcu", Ed. Meridian, Bucharest, 1963 SCHOBEL, Doina, CONSTANTINESCU, Paula, "Gheorghe Petrașcu Painting Exhibition", Museum of Art of the R.S.R., Bucharest, 1972 ZAMBACCIAN, K. H., "G. Petraşcu", Ed. Cartea Românească, Bucharest.

Dimensions

width 17 cm, height 26 cm

Description

ulei pe lemn, signed upper right, in black, "G. Petrașcu"

Dating

1934

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