Las óleos de todo Stefan Luchian
ID Image  Painting (From A to Z)       Details 
54394  
Stefan Luchian, Anemones
  		 Anemones   mk235 Oil on canvas 44.5x35cm
54396  
Stefan Luchian, Anemones
  		 Anemones   mk235 1908 Oil on canvas 42.5x43cm
82250  
Stefan Luchian, Anemones
  		 Anemones   Anemones - oil on canvas 42,5 x 43 cm cjr
86105  
Stefan Luchian, Anemones
  		 Anemones   oil on canvas cyf
82252  
Stefan Luchian, Daisies
  		 Daisies   Daisies - oil on cardboard 23 x 31 cm cjr
79124  
Stefan Luchian, Gura leului
  		 Gura leului   Gura leului cjr
82231  
Stefan Luchian, Gura leului
  		 Gura leului   Gura leului cyf
86393  
Stefan Luchian, Lica cu portocala
  		 Lica cu portocala   Oil on canvas cyf
81431  
Stefan Luchian, Roses
  		 Roses   Roses - oil on canvas cjr
82613  
Stefan Luchian, Straw flowers
  		 Straw flowers   Straw flowers - oil on cardboard, not dated, Brukenthal Museum, Sibiu, Romania cjr
54397  
Stefan Luchian, The Last race
  		 The Last race   mk235 1892 Oil on canvas 58x67cm
85448  
Stefan Luchian, Trandafiri
  		 Trandafiri   70 x 96 cm en: Roses - oil on canvas cyf
Stefan Luchian
Romanian Painter, 1868-1916 Romanian painter. He studied at the School of Fine Arts in Bucharest, graduating in 1889 and continuing his studies at the Akademie der Bildenden Kenste in Munich and in Paris at the Academie Julian, where he was a student of William-Adolphe Bouguereau. He rejected the rigidity of academic painting early in his career, however. The Last Autumn Race (1892; Bucharest, Mus. A.), one of the few paintings known from this period, clearly illustrates the influence of Manet and Impressionism on his early work. On his return to Romania in 1892 Luchian, unwilling to restrict his work to merely copying the French artists, struggled to create an original style. In 1900 he was left partially paralysed by a spinal disease, but he continued to work, and it is during the next years that he created his most accomplished works. His self-portraits (e.g. 1907; Bucharest, Mus. A.) are clear evidence of his determination to overcome this personal tragedy; far from inspiring pity, these paintings emphasize the depth and the strength of his inner life. It is in landscapes such as Willows at Chiajna (c. 1907; Cluj-Napoca, Mus. A.), however, that his commitment becomes even more apparent, with joyful rhythms created by means of broad brushstrokes and contrasts of bright colours next to delicate tones. Towards the end of his life Luchian became completely immobilized. During this time flowers were his favourite subject (e.g. Safta, the Flower Girl; Bucharest, N. Mus. A.; see also ROMANIA, fig. 9), and they became a metaphorical bridge between the artist and the outside world. The colours are still bright in these last paintings, and the loss of pastel tones makes the contrast more dramatic.



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