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Here are all the paintings of Stefan Luchian 01
| ID |
Painting |
Oil Pantings, Sorted from A to Z |
Painting Description |
| 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 |
|
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| 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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