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Stefan Luchian
Anemones
new19/Stefan Luchian-787544.jpg
mk235
Oil on canvas
44.5x35cm
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Stefan Luchian
Anemones
new19/Stefan Luchian-339332.jpg
mk235
1908
Oil on canvas
42.5x43cm
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Stefan Luchian
The Last race
new19/Stefan Luchian-839949.jpg
mk235
1892
Oil on canvas
58x67cm
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Stefan Luchian
Gura leului
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Gura leului
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Stefan Luchian
Roses
new24/Stefan Luchian-676683.jpg
Roses - oil on canvas
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Stefan Luchian
Gura leului
new24/Stefan Luchian-559449.jpg
Gura leului
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Stefan Luchian
Anemones
new24/Stefan Luchian-549779.jpg
Anemones - oil on canvas
42,5 x 43 cm
cjr
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Stefan Luchian
Daisies
new24/Stefan Luchian-437755.jpg
Daisies - oil on cardboard
23 x 31 cm
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Stefan Luchian
Straw flowers
new24/Stefan Luchian-687629.jpg
Straw flowers - oil on cardboard, not dated, Brukenthal Museum, Sibiu, Romania
cjr
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Stefan Luchian
Trandafiri
new25/Stefan Luchian-957973.jpg
70 x 96 cm
en: Roses - oil on canvas
cyf
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Stefan Luchian
Anemones
new25/Stefan Luchian-576546.jpg
oil on canvas
cyf
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Stefan Luchian
Lica cu portocala
new25/Stefan Luchian-587677.jpg
Oil on canvas
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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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