Nicolae Tonitza(Romanian pronunciation: [nikoˈla.e toˈnit͡sa]; April 13, 1886 - February 27, 1940) was a Romanian painter, engraver, lithographer, journalist and art critic. Drawing inspiration from Post-impressionism and Expressionism, he had a major role in introducing modernist guidelines to local art. Born in Bârlad, he left his home town in 1902 in order to attend the Iaşi National School of Fine Arts, where he had among his teachers Gheorghe Popovici and Emanoil Bardasare.The following year he visited Italy together with University of Bucharest students of archeology under the direction of Grigore Tocilescu.During that period, together with some of his fellow students, Tonitza painted the walls of Grozeşti church. In 1908 he left for Munich, where he attended the Royal Academy of Fine Arts; he began publishing political cartoons in Furnica, and contributing art criticism articles to Arta Română. Tonitza spent the following three years in Paris, where he visited artists' studios, and studied famous paintings.Although the young artist's creation would initially conform to the prevalent style, his gift for colour and his personal touch would eventually lead him towards experiment.Throughout his life, he remained committed to the Munich School, hailing its innovative style over the supposedly "obscure imitators of Matisse". | |||
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Cap de fetita Gemälde ID:: 76229 Siehe Galerie in Schweden |
Cap de fetita ulei pe carton, 39,5 x 33,5 cm, deţinător Muzeul Naţional Brukenthal din Sibiu, România. cyf ulei_pe_carton,_39,5_x_33,5_cm,_deţinător_Muzeul_Naţional_Brukenthal_din_Sibiu,_România. cyf |
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Fetita padurarului Gemälde ID:: 76230 Siehe Galerie in Schweden |
Fetita padurarului ulei pe carton, nedatat, 61x50 cm, deţinător Muzeul Naţional de Artă al României din Bucureşti, România. cyf ulei_pe_carton,_nedatat,_61x50_cm,_deţinător_Muzeul_Naţional_de_Artă_al_României_din_Bucureşti,_România. cyf |
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Tataroaica in cerdac Gemälde ID:: 76516 Siehe Galerie in Schweden |
Tataroaica in cerdac Nicolae Tonitza (1886 - 1940) - Tătăroaică în cerdac , ulei pe carton, 40x30 cm, semnat dreapta jos, cu brun, Tonitza . cjr Nicolae_Tonitza_(1886_-_1940)_-_Tătăroaică_în_cerdac ,_ulei_pe_carton,_40x30_cm,_semnat_dreapta_jos,_cu_brun,_Tonitza . cjr |
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lndurerata, ulei pe carton. Gemälde ID:: 76518 Siehe Galerie in Schweden |
lndurerata, ulei pe carton. Nicolae Tonitza (1886 - 1940) - lndurerata, ulei pe carton. cjr Nicolae_Tonitza_(1886_-_1940)_-_lndurerata,_ulei_pe_carton. cjr |
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Omul din mina Gemälde ID:: 76521 Siehe Galerie in Schweden |
Omul din mina Nicolae Tonitza (1886 - 1940) - Omul din mină, ulei pe carton, 45x35 cm, semnat dreapta jos, cu ocru, N. Tonitza. cjr Nicolae_Tonitza_(1886_-_1940)_-_Omul_din_mină,_ulei_pe_carton,_45x35_cm,_semnat_dreapta_jos,_cu_ocru,_N._Tonitza. cjr |
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| Nicolae Tonitza | ||||||||||
| (Romanian pronunciation: [nikoˈla.e toˈnit͡sa]; April 13, 1886 - February 27, 1940) was a Romanian painter, engraver, lithographer, journalist and art critic. Drawing inspiration from Post-impressionism and Expressionism, he had a major role in introducing modernist guidelines to local art. Born in Bârlad, he left his home town in 1902 in order to attend the Iaşi National School of Fine Arts, where he had among his teachers Gheorghe Popovici and Emanoil Bardasare.The following year he visited Italy together with University of Bucharest students of archeology under the direction of Grigore Tocilescu.During that period, together with some of his fellow students, Tonitza painted the walls of Grozeşti church. In 1908 he left for Munich, where he attended the Royal Academy of Fine Arts; he began publishing political cartoons in Furnica, and contributing art criticism articles to Arta Română. Tonitza spent the following three years in Paris, where he visited artists' studios, and studied famous paintings.Although the young artist's creation would initially conform to the prevalent style, his gift for colour and his personal touch would eventually lead him towards experiment.Throughout his life, he remained committed to the Munich School, hailing its innovative style over the supposedly "obscure imitators of Matisse". | ||||||||||
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