123. Still Life with Dahlias and Pipe [mid-30s]

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123. Still Life with Dahlias and Pipe [mid-30s]

Nicolae Dărăscu

1883, Giurgiu - 1959, Bucureşti

Estimate:

EUR 9.000 - 16.000

Sold

EUR 11.000

References

"Nicolae Dărăscu, Magician al culorii", Muzeul Național Cotroceni, Bucureşti, 2009
DRĂGUȚ, Vasile, "Nicolae Dărăscu", Ed. Meridiane, București, 1966

oil on canvas, 60 x 74 cm, 74x60, signed lower right, in brown, "Dărăscu"

The creation of Nicolae Dărăscu covered almost all the major themes of modern painting, during his career of over 40 years. Although he is known to us as a landscape artist, and one of the most important ones, Dărăscu also painted other compositions in his maturity period. The landscape can be explained mainly due to the attraction of Impressionism, the main source of which was indeed the landscape. As early as the beginning of his career, Dărăscu approached the typology of plein air landscape, but particularly pictorial technique, which helped him approach a free sort of painting later in his career, in which brushstrokes and colours easily broke the constraints of drawing. Even though he practiced still life painting from the early years of his career, the first truly coherent and stable cycle dedicated to workshop compositions (still lifes, interiors, flowers) was designed in the mid-20s. These are typical still lifes, reminiscent of Cézanne’s composition, in which Dărăscu composed in an exuberant colour scheme a familiar set of props - the metal kettle, the kobza, the clock, the sugar jar or the necklace. In his later works, during the fourth decade, the painter approached the subject from a much more chromatic perspective, making his still lifes coordinated by the rich bouquets of flowers - as a source of colour. His bouquets are always grand, they seem to erupt from the vase they are in, overflowing towards the viewer. The choice of autumn flowers, especially wild ones, supports the sense of excess, as these are structurally rich flowers. For Dărăscu, flowers acquire the same material consistency that he sought to depict in all his works, that concern for materiality in landscapes.

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