110. Lisianthus Bouquet [1936]

Following his study trip to Paris, Samuel Mützner abandoned the gloomy tones of the Munich period and adopted the sunny palette of the Impressionist painters of Giverny. The apprenticeship in Claude Monet's studio will be decisive in the artistic career of the Romanian painter by his determined approach to a new perspective on light and colour. From 1908, Mützner adopted a rich chromatic palette of bright colours that incorporated the fullness of light, thus adopting the characteristics of Impressionism. He will excel in rendering areas of light and shade and will successfully execute transitions from one shade to another. The 1920s will bring more still lifes to his work, so from now on we will be able to admire floral elegies dedicated to anemones, peonies, tulips and lisianthus bouquets. The great journeys he made between 1912 and 1919 would profoundly mark his entire oeuvre and would appear sporadically under various influences in his later creations. America, Japan, but also Europe - particularly Spain, France or Balchik will return in his creation through specific touches or accents of colour. Samuel Mützner shapes his colour palette according to the evolution of nature and exploits the power of light with unwavering passion. He transcribes the light either in muted or explosive accents, depending on the mood he is trying to portray. He keeps the short, juxtaposed tints and tones of blue or green with accents of pink, purple or yellow in the works that followed the Giverny moment. The bouquet of lisianthus becomes a remarkable exponent of the chromatic strength acquired by the artist during several decades of hard work.

References

ANDREESCU, Viorica, 'Samuel Mützner', Meridiane Publishing House, Bucharest, 1974. MARIAN, Rodica, 'Samuel Mützner', Antet Publishing House, Bucharest, 2005.

Dimensions

width 64 cm, height 79 cm

Description

oil on canvas, signed and dated bottom left, in black, 'S. Mutzner, (1)936'

Dating

1936

ADDITIONAL INFORMATION

For clarifications regarding the bidding procedure, hammer price costs, guarantee, payment, and collection terms for the winning lot, we recommend carefully reading/re-reading the Bidding Regulations.

For additional information regarding the lot and the auction, please contact the Art Consultants Department.