Alla Stefan Luchians Oljemålningar

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54394

Anemones

mk235 Oil on canvas 44.5x35cm

54396

Anemones

mk235 1908 Oil on canvas 42.5x43cm

82250

Anemones

Anemones - oil on canvas 42,5 x 43 cm cjr

86105

Anemones

oil on canvas cyf

82252

Daisies

Daisies - oil on cardboard 23 x 31 cm cjr

79124

Gura leului

Gura leului cjr

82231

Gura leului

Gura leului cyf

86393

Lica cu portocala

Oil on canvas cyf

81431

Roses

Roses - oil on canvas cjr

82613

Straw flowers

Straw flowers - oil on cardboard, not dated, Brukenthal Museum, Sibiu, Romania cjr

54397

The Last race

mk235 1892 Oil on canvas 58x67cm

85448

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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