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Theodor Pallady EXPOSITION Exhibition Peintres roumains en Bretagne (1880-1930) ROMANIAN PAINTERS IN BRITTANY Il est particulièrement éclairant, pour la compréhension de l’histoire culturelle de la Bretagne, d’associer en un même lieu les créations de sa population et la manière dont elles ont été perçues par des personnalités extérieures à celle-ci. Eclairant et enthousiasmant, tout spécialement quand cela nous conduit, comme aujourd’hui, à révéler ce qu’à peu près tous nous ignorions encore : la renommée de la Bretagne dans les milieux artistiques roumains des deux derniers siècles, après que Grigorescu eût fait connaître à ses compatriotes la beauté de la région. Jusqu’à la coupure brutale de la Seconde Guerre mondiale, ils vinrent alors nombreux, les Nicolae Grant, Theodor Pallady, Gheorghe To understand the cultural history of Brittany it Petraşcu, Ştefan Popescu, Elena Popea, is particularly enlightening to bring together in Jean Al. Steriadi, Iosif Iser, Constantin one place not only creations by Breton people, Petrescu-Dragoe, Rodica Maniu, Max W. but also works showing how artists from outside Arnold, etc. Tant de noms totalement the region perceived Brittany. Enlightening and also heartening, especially when it gives us the inconnus du public français, malgré opportunity, as is the case today, to reveal something leur attachement pour notre pays. which hardly anyone has been aware of up to now: C’est là aussi l’objet des expositions the renown of Brittany within Romanian artistic européennes du Musée breton : renouer circles during the last two centuries. When the des liens culturels et artistiques que painter Grigorescu told his compatriots about the la Guerre puis l’oppression totalitaire beauty of the region, Romanian painters flocked ont brisés. Nous les retissons, ces to Brittany up until the onset of the Second World liens, grâce à l’amitié et au savoir War. They included Nicolae Grant, Theodor de nos collègues roumains du Musée Pallady, Gheorghe Petraşcu, Ştefan Popescu, Elena national de Bucarest, principale Popea, Jean Al. Steriadi, Iosif Iser, Constantin institution muséographique roumaine Petrescu-Dragoe, Rodica Maniu and Max W. avec laquelle c’est un honneur, pour Arnold, most of whom are totally unknown to French people, despite their strong attachment to le Musée breton, de collaborer. Nous our region. Another objective of the exhibitions A short guide to the Summer Exhibition 2009 A short guide to the Summer Exhibition exprimons notre gratitude et notre of European artists held at the Musée Breton is to amitié à nos chères collègues Roxana renew the cultural and artistic links which were Theodorescu, directeur général du broken by the war and subsequent totalitarian Musée, Dana Crişan, Monica Enache, oppression. We have rebuilt these links, thanks to conservatrices, pour nous avoir the friendship and knowledge of our colleagues at accompagnés et soutenus dans cette the National Museum of Romania in Bucharest, whom it is an honour to work with. We should PETIT JOURNAL entreprise. like to express our gratitude and friendship to our dear colleagues Roxana Theodorescu, Director- Philippe Le Stum General of the Museum, Dana Crişan and Monica Conservateur en chef Enache, the curators, for their help and support in Directeur du Musée départemental breton mounting this exhibition. PLOUGASTEL-DAOULAS Nicolae Grigorescu LES ÂGES DE LA VIE (Pitaru, 1838 – Câmpina, 1907) Grigorescu commença sa carrière étant désormais portée seulement comme peintre d’icônes, de décors par les touches de couleur. d’églises et monastères. En 1862, Grigorescu était très attaché à ses il gagna Paris, où il travailla dans toiles bretonnes, au point qu’il leur l’atelier de Charles Gleyre en même fixait des prix très élevés, afin de temps que Claude Monet, Auguste s’assurer qu’aucun acheteur ne Renoir et Alfred Sisley, avant d’être pourrait les acquérir ! Exposées en admis à l’École des beaux-arts. Mais Roumanie, elles eurent une influence dès 1863, il abandonna ses études déterminante sur l’évolution de la académiques pour rejoindre la peinture dans ce pays. colonie artistique de Barbizon, qu’il fréquenta jusqu’en 1869 pour peindre Grigorescu began his career by painting icons and en plein air, « sur le motif », selon decorating churches and monasteries. In 1862 he l’exemple de Corot, Courbet ou moved to Paris where he worked in the studio of Millet. Ainsi, l’École de Barbizon a-t- Charles Gleyre at the same time as Claude Monet, elle représenté un moment décisif Auguste Renoir and Alfred Sisley, before gaining 1 dans la carrière artistique du peintre admission to the École des Beaux-Arts. However, roumain et, par son intermédiaire, after barely a year he abandoned his academic influencé l’évolution de toute la studies and joined the Barbizon group of artists peinture roumaine. to paint from real life in the open air, following Grigorescu revint à Paris en 1876, the example of Corot, Courbet and Millet. He se familiarisant alors avec l’art des remained with the group until 1869. Thus the impressionnistes Renoir, Berthe Barbizon School marked a turning point in the Morisot et Camille Pissarro. Entre artistic career of Grigorescu and, through him, 1878 et 1880, il peignit à Vitré, Dinan, influenced the entire development of Romanian Granville, au Mont-Saint-Michel, à painting. Fougères, puis encore à Vitré, Dinan Grigorescu returned to Paris in 1876, and et Granville entre 1880 et 1887. Après soon became familiar with the work of the le clair-obscur et la touche lisse de la Impressionists Renoir, Berthe Morisot and période de Barbizon, ses œuvres des Camille Pissarro. Between 1878 and 1880, he années 1880 témoignent d’une plus painted at Vitré, Dinan, Granville, Mont-Saint- grande vivacité. Leur expressivité Michel and Fougères. He returned to Vitré, Dinan est soutenue par une palette plus and Granville between 1880 and 1887. After lumineuse et par l’élimination de la the chiaroscuro and smooth brush strokes of his 2 ligne, la construction des volumes Barbizon period, his works of the 1880s were far livelier, maintaining expressivity through the use of brighter colours, an absence of lines and intense patches of colour to give an idea of volume. Grigorescu was very fond of his Breton canvasses, so much so that he asked very high prices for them so that no-one would buy them! They remained on exhibition in Romania and were strongly influential on the development of painting in the country. 1. Intérieur à Vitré. Huile/toile, 1876-1883. Interior at Vitré. Oil on canvas, 1876-1883. 2. Portrait de petite fille bretonne.Huile sur bois, [1880-1885]. Portrait of a little Breton girl. Oil on wood, [1880-1885]. 3. Côte en Bretagne. Huile sur toile, [1883-1884]. On the coast of Brittany. Oil on canvas, [1883-1884]. PAGE DE COUVERTURE ET DOS DE COUVERTURE : Iosif iser, Plage (détail). Aquarelle et encre de Chine, [1926]. Beach scene.Watercolour and Indian ink, [1926]. 3 Nicolae Grant (Bucarest, 1868 – 1950) Nicolae Grant naquit au manoir meura fidèle à une vision réaliste de Belvédère, propriété familiale au nord la nature, ne se fiant qu’à son sens de de Bucarest. Il fit ses études en France l’observation, à sa sensibilité devant avant de retourner en Roumanie le sujet et à sa science de coloriste. où il suivit, à l’École des beaux-arts de Bucarest, l’enseignement des artistes académiques Theodor Aman et Gheorghe Tattarescu. En 1885, il Nicolae Grant was born at the Manoir Belvédère, retourna à Paris, s’inscrivant d’abord the family home to the north of Bucharest. After à l’École des arts décoratifs, avant studying in France he returned to Romania where d’être admis à l’École des beaux-arts, he was a student at the École des Beaux-Arts in dans l’atelier de Jean-Léon Gérôme. Bucharest under the art teachers Theodor Aman and Gheorghe Tattarescu. In 1885, he went back Attiré par la peinture en plein air, to Paris where he first enrolled at the École des il peignit à Fontainebleau, en 1886, Arts Décoratifs, before entering the studio of ses premières compositions d’après Jean-Léon Gérôme at the École des Beaux-Arts. nature. En 1893, il organisa une Grant was drawn to open-air painting and painted exposition de ses œuvres à l’Athénée his first studies of nature at Fontainebleau in 1 roumain, célèbre édifice bucarestois 1886. In 1893 he organised an exhibition of his qui abritera la Pinacothèque nationale work at the Romanian Athenaeum, a famous entre 1906 et 1948. Il retourna en building in Bucharest which later became home France l’année suivante et en 1896 to the national Pinacothèque between 1906 and se rendit en Bretagne avec son ami 1948. He returned to France the following year Theodor Pallady, parcourant à vélo la and in 1896 he visited Brittany with his Theodor côte nord et le Finistère. Il rapporta Pallady, cycling along the north coast and through en Roumanie de nombreuses Finistère. He went back to Romania with numerous vues de Pléneuf-Val-André, de paintings of Pléneuf-Val-André, Bréhat and Bréhat et de Pont-Aven, marquées Pont-Aven, all of which featured the hallmarks par la leçon impressionniste et of Impressionism and Post-Impressionism. postimpressionniste. Il continua He continued to divide his time between de partager son temps entre la Romania and France and spent the summers of Roumanie et la France, passant les 1900 and 1902 at Loctudy and in Normandy. étés de 1900 et 1902 à Loctudy et en He was one of the founder members of La Normandie. Jeunesse Artistique art society in his homeland as Dans son pays natal, il fut l’un des well as a well-known landscape artist. Despite the membres fondateurs de la société La avant-garde waves of the 20th century, he remained Jeunesse artistique, et un paysagiste faithful to a realistic vision of nature, trusting reconnu.
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