Who painted Floarea soarelui?

Floarea soarelui was painted by Sabin Popp in 1922.

Where can I see Floarea soarelui?

Floarea soarelui is held by Gavrila Simion Eco-Museum Research Institute Tulcea.

Artwork

Floarea soarelui

Sabin Popp , 1922

Floarea soarelui is a print by Sabin Popp. It dates from 1922 and is held in the collection of the Gavrila Simion Eco-Museum Research Institute Tulcea.

About this work

Overview

Floarea soarelui is an early 1920s work by Romanian artist Sabin Popp, dated approximately 1922. The piece is part of the collection of the Museum of Ethnography, where it is catalogued as a printed image on cardboard. The work’s title, translated as “Sunflower,” appears on the reverse side of the support.

Subject & Meaning

The title suggests a focus on the sunflower, a motif often associated with vitality and the cycle of growth. While the image itself is not visible in the available documentation, the naming indicates an interest in natural forms that may reflect broader artistic or cultural themes of the period.

Technique & Style

The artwork is executed on a light‑brown cardboard substrate, typical of inexpensive print media of the era. The surface bears faint pencil annotations, indicating that the piece was likely produced as a printed reproduction rather than a painted canvas. Minor scratches and wear on the cardboard reveal its age and handling.

History & Provenance

Created around 1922, Floarea soarelui entered the Museum of Ethnography’s holdings sometime after its production, though precise acquisition details are not recorded. The presence of handwritten labels, including the artist’s name and title, points to its cataloguing within the museum’s archival system.

Context

Sabin Popp worked during a period of significant cultural transformation in Romania, when folk motifs and modernist tendencies intersected. The use of a modest cardboard medium aligns with the era’s practice of disseminating images through affordable prints, making art accessible beyond elite circles.

Legacy

Although the piece is primarily documented through its reverse side, its inclusion in a national ethnographic collection underscores its relevance to the study of early twentieth‑century Romanian visual culture and the dissemination of artistic ideas through printed media.