Nicolae Tonitza
Template:Short description Template:Infobox artist
Nicolae Tonitza ({{#invoke:IPA|main}}; April 13, 1886 – February 27, 1940) was a Romanian painter, engraver, lithographer, journalist and art critic. Drawing inspiration from Post-Impressionism and Expressionism,<ref>Drăguţ et al., p.191, 192, 193; Grigorescu, p.432; Șorban, p.14-26</ref> he had a major role in introducing modernist guidelines to local art.
BiographyEdit
Born on 13 April 1886 as the first of five children of Anastasia and Neculai Toniță. He had three children. Born in Bârlad, he left his hometown in 1902 in order to attend the Iași National School of Fine Arts, where he had among his teachers Gheorghe Popovici and Emanoil Bardasare.<ref name="Şorban, p.73">Șorban, p.73</ref> The following year he visited Italy together with University of Bucharest students of archaeology under the direction of Grigore Tocilescu.<ref name="Şorban, p.73"/> During that period, together with some of his fellow students, Tonitza painted the walls of Grozești church.<ref name="Şorban, p.73"/>
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.<ref name="Şorban, p.73"/> 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.<ref>Șorban, p.13-14, 30</ref> Throughout his life, he remained committed to the Munich School,<ref name="Zambaccian">Zambaccian</ref> hailing its innovative style over the supposedly "obscure imitators of Matisse".<ref name="Tonitza, in Zambaccian">Tonitza, in Zambaccian</ref>
After his return, Tonitza painted frescos in several churches of Moldavia and worked as an art teacher, and then, together with Cezar Petrescu, as editor of Iașul newspaper.<ref>Șorban, p.73-74; Zambaccian</ref> He married Ecaterina Climescu in 1913.<ref name="Şorban, p.73"/> The art collector Template:Ill, whom Tonitza befriended after 1925, indicated that, during its existence, Iașul sided with the Conservative Party, opposing Romania's entry into World War I.<ref name="Zambaccian"/>
In 1916, after Romania entered the conflict, Tonitza was drafted into the Army and fought from 20 to 25 August with the 84th Infantry Regiment at the Battle of Turtucaia.<ref name="Romanescu">Template:Cite journal</ref> Wounded, he fell prisoner to the Bulgarians, and was sent to an internment camp in Kardzhali, together with fellow painter Template:Ill and the sculptor Horia Boambă.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> There, he became ill with malaria and rheumatism, which would plague him until his death.<ref name="Şorban, p.74">Șorban, p.74</ref> For his valor in battle, Tonitza was awarded in November 1916 the Order of Michael the Brave, 3rd class.<ref name="Anuar">Ministerul de Răsboiu, Anuarul ofițerilor și drapelelor Armatei Române cărora li s-au conferit ordinul „Mihai Viteazul”, Atelierele grafice „Socec & Co”, București, 1930, p.69</ref> He was set free and returned in April 1918.<ref name="Şorban, p.74"/><ref name="Romanescu"/>
During the 1920s, he was a member of the Arta Română group (alongside Gheorghe Petrașcu and others).<ref>Șorban, p.74-75; Zambaccian</ref> His commitment to social commentary is best perceivable in his graphic work, malicious and sometimes dramatical — he sketched for many contemporary, usually political and leftist, magazines: Socialismul (official voice of the short-lived Socialist Party of Romania), Adevărul, Flacăra, Hiena, Rampa, and Scarlat Callimachi's Clopotul —, and in his articles (including the ones in Viața Românească and Curentul), which mainly discussed cultural and social events.<ref>Drăguţ et al., p.192-196; Grigorescu, p.464; Șorban, p.15-30, 74; Zambaccian</ref> He became close to the writer and activist Gala Galaction, whose book O lume nouă he illustrated in 1919, and whose portrait ("The Man of a New World") he painted one year later.<ref name="Zambaccian"/> His first catalog, issued in 1920, was prefaced by the poet and art critic Tudor Arghezi.<ref name="Zambaccian"/>
In 1921, Tonitza expanded his range, painting prototypes for a ceramics factory, and organizing a ceramics exhibition; the same year, he moved to Vălenii de Munte,<ref>Şorban, p.35, 74; Zambaccian</ref> and decided to cease contributing to the press.<ref name="Zambaccian"/> It was at the time that he developed on his characteristic style and themes, both of which, Zambaccian contended, were determined by his experiences as a father.<ref name="Zambaccian"/>
Later, he became the editor of the art magazine Artele Frumoase, and, in 1922, traveled to Transylvania, where he befriended Aurel Popp.<ref>Șorban, p.75</ref> The same year, he took Camil Ressu's defense during a scandal involving the latter's design for a National Theater curtain, attacking the artistic guidelines advocated by the cultural establishment ("[Romania is] the country where scientist historians compose erotic pieces and embarrassing rhymes, [...] where intellectual women draw the gusty gestures of decrepit election agents, [...] where physicians push their rusty hypodermics into the unmentionable muscle tissues of artists as a means to draw up aesthetical logarithms").<ref name="Tonitza, in Zambaccian"/> In 1926, Tonitza, Oscar Han, Francisc Șirato, and Ștefan Dimitrescu, organized themselves as Grupul celor patru ("The Group of Four").<ref>Șorban, p.75; Zambaccian</ref> He met success in 1925, after opening a large exhibit of his Vălenii de Munte paintings in Bucharest, while raising controversy (including criticism from Ressu) over his "poster-like" style.<ref name="Zambaccian"/>
Despite his fame, he continued to live an impoverished and hectic existence, which probably contributed to the decline of his health.<ref name="Zambaccian"/> By 1931, he was dividing his time between Bucharest and Constanța, having agreed to paint the walls of Saint George's Church in the latter city.<ref name="Zambaccian"/> Tonitza was angered by the reception of his work in Constanța, declaring himself insulted after he was made to showcase his designs in competition to lesser-known artists.<ref name="Zambaccian"/> Eventually, he received the commission, and spent the next two years at work on the murals, while distancing himself from Grupul celor patru.<ref name="Zambaccian"/>
Upon Dimitrescu's death in 1933, Tonitza held his chair at the Fine Arts Academy in Iași.<ref>Șorban, p.76; Zambaccian</ref> A participant in several national exhibitions and World Fairs, he painted his last works around Balchik.
According to Zambaccian, Tonitza's early association with socialism was partly due to the interest taken in him by the leftist press, who was willing to reward his contributions at a time when "one could not live solely by painting".<ref name="Zambaccian"/> The same source stated that the artist later refrained from expressing political opinions, and, on one occasion during the 1930s, jokingly referred to himself as "a supporter of Petre P. Carp"<ref name="Tonitza, in Zambaccian"/> (the Conservative leader had died in 1919). Nevertheless, he signed, alongside several other prominent cultural figures, an appeal to tighten cultural connections between Romania and the Soviet Union, leading to the creation of Societatea pentru întreținerea raporturilor culturale dintre România și Uniunea Sovietică (the Society for Maintaining Cultural Links between Romania and the Soviet Union) in May 1935 (see Amicii URSS).<ref>Ioniță, p.61</ref>
He fell severely ill in 1937,<ref>Șorban, p.76-77</ref> and died three years later. He is buried at the Ghencea Cemetery, in Bucharest.
ArtEdit
Owing much to the art of his predecessor Ştefan Luchian,<ref>Drăguţ et al., p.193, 196; Şorban, p.32-33; Zambaccian</ref> Tonitza was largely inspired by Impressionism,<ref>Şorban, p.18-20</ref> but he equally admired the discoveries made by Post-impressionist artists (their revolution in composition and Belle Époque splendor).<ref>Șorban, p.20-21, 24</ref> Tonitza was notably critical of Nicolae Grigorescu, the major trend-setter in Romanian art, whose success over "peasant motifs", he stated, had "lured him to remain, for the rest of his life, in this rosy and light-hearted atmosphere".<ref name="Tonitza, in Zambaccian"/> He equally objected to Grigorescu's influence over younger generations, which had led to "mannerism" and "nationalism" in choice of subjects,<ref name="Tonitza, in Zambaccian"/> and the emergent urbane art ("where man shall represent only a decorative and amusing accessory").<ref name="Tonitza, in Zambaccian"/>
Evidencing his "tormented life" and "fantasy-driven and bohemian lifestyle", Zambaccian wondered if these had not been the source of Tonitza's "ingenious art, full of chromatic joys that are nonetheless transited by melancholia".<ref name="Zambaccian"/> He drew a direct comparison between the artist's innovative presence in painting and George Bacovia's Symbolist poetry.<ref name="Zambaccian"/>
During his stay abroad, Nicolae Tonitza was influenced by the works of Rembrandt and Antonio da Correggio.<ref name="Zambaccian"/> An admirer of both Frans Masereel and Käthe Kollwitz,<ref name="Drăguţ p.432">Drăguţ et al., p.193; Grigorescu, p.432</ref> he also adapted Expressionist guidelines — ones especially present in his satirical drawings, but also manifested large works such as Coadă la pâine ("Queuing for Bread", 1920).<ref name="Drăguţ p.432"/> According to Zambaccian, Tonitza stopped short of adopting clear Expressionist tenets ("Modigliani and Pascin favored contorting [shapes], while Tonitza does not stray away from nature and places an emphasis on feeling");<ref name="Zambaccian"/> the two continued to oppose each other on the issue of Henri Matisse's style (admired by Zambaccian, by hotly contested by Tonitza).<ref name="Zambaccian"/> A more distant but no less direct influence was the graphic art of Honoré Daumier, which Tonitza had studied.<ref>Drăguţ et al., p.192; Șorban, p.24, 26-28</ref>
The early art produced by these influences was described in Sburătorul by Şirato, Tonitza's friend, as "paintings which are [in fact] drawings with a light resonance of intellectualism";<ref>Șirato, in Zambaccian</ref> during the period, Rampa magazine hailed the painter as "A priest of humanitarian ideas, of ideas demanding the attention of present-day world leaders, with a more and more clear and audacious tone".<ref>Rampa, in Zambaccian</ref>
Most of his works are serene in tones, in contrast with those expressing Tonitza's involvement in social issues. They proposed a classical aesthetical ideal, viewing art as a treasurer of spiritual values.<ref>Drăguţ et al., p.193-195, 196; Șorban, p.30, 66</ref> This message is most obvious in his Northern Dobruja landscapes, his still life studies, the portraits of clowns (celebrated for their way of sublimating the comic and grotesque elements in masks and makeup, in order to reveal a sad humanity),<ref>Drăguț et al., p.194-195; Grigorescu, p.110, 286, 432; Șorban, p.44-45</ref> young women and children. The so-called "Tonitza eyes", both point-shaped and expressive, are a characteristic trait in his children portraits.<ref name="Zambaccian"/> In contrast with their appreciation for these pieces, Zambaccian and other members of Grupul celor patru expostulated the Balchik landscapes: Zambaccian remarked that his were "more like arabesques in colored tones, [...] at a time when Șirato evolved upward toward a nuanced painting of a beautiful representativeness in a luminous space".<ref name="Zambaccian"/>
WorksEdit
- Nicolae Tonitza (1886-1940).jpg
Seaside
- TonitzaSfSpiridonIasi.PNG
Sf. Spiridon Square in Iași (1906)
- Tonitza13Dec1918.PNG
1919 cartoon
- TonitzaOrfanderazboi.PNG
1920 cartoon
- Nicolae Tonitza - Portretul lui Gala Galaction (Omul unei lumi noi) (1919-1920) (frame cropped out).jpg
The Man of a New World, portrait of Gala Galaction (1920)
- TonitzaSiFiulMeu.PNG
1922 cartoon
- Nicolae Tonitza - Fetita padurarului.jpg
The Forester's Daughter (1924)
- Nicolae Tonitza - Portret de copil.jpg
Portrait of a Child (1926)
- Nicolae Tonitza - Gradina din Valeni.jpg
The Garden in Văleni (1926)
- Nicolae Tonitza - Nude.jpg
Nude (1927)
- Nicolae Tonitza - Portrait of a girl.JPG
Portrait of a girl (19xx)
NotesEdit
ReferencesEdit
- Vasile Drăguţ, Vasile Florea, Dan Grigorescu, Marin Mihalache, Pictura românească în imagini ("Romanian Painting in Images"), Editura Meridiane, Bucharest, 1970
- Dan Grigorescu, Istoria unei generații pierdute: expresioniștii ("The History of a Lost Generation: the Expressionists"), Editura Eminescu, Bucharest, 1980
- Gh. I. Ioniță, "«Un succes al spiritului de solidaritate»" ("«A Success for the Spirit of Solidarity»"), in Magazin Istoric, October 1972
- Raul Șorban, Nicolae Tonitza, Editura Meridiane, Bucharest, 1965
- Template:In lang Krikor Zambaccian, "Chapter XII: Tonitza", in Însemnările unui amator de artă ("The Recordings of an Art Aficionado"), published and hosted by LiterNet