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Joaquín Sorolla (born in Valencia 1863 died in Cercedilla 1923) is one of the most successful Spanish painters ever. He was a genius in capturing the essence of the scene he was painting. He lived while photography was being invented and popularized. Some of his breathtaking seascapes show how he was familiar with and employed similar techniques as the photograph. His paintings are also a great introduction to Spanish history. Most of his paintings of boats and the sea capture the fishermen in Valencia, who fished from the beach. He has painted several masterpieces of the returning boats being pulled to the beach. The oxen used to pull the boats are captured so strong, so life like, with so much love. He also painted the waiting fisherwomen and the children happily playing. He painted scenes from the lives of the fishermen. Sorollas paintings are extremely powerful and colorful and although he is usually labelled an impressionist, he is also often very naturalist and detailed. The reader is kindly referred to our book about Sorollas landscapes. This book is not a catalogue, the authors have put together a narrative and the reader may find some of the paintings in our other books as well.
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Cristina Berna loves photographing and writing. She also creates designs and advice on fashion and styling.
Eric Thomsen has published in science, economics and law, created exhibitions and arranged concerts.
World of Cakes
Luxembourg – a piece of cake
Florida Cakes
Catalan Pastis – Catalonian Cakes
Andalucian Delight
World of Art
Hokusai – 36 Views of Mt Fuji
Hiroshige 69 Stations of the Nakasendō
Hiroshige 53 Stations of the Tōkaidō
Hiroshige 100 Famous Views of Edo
Hiroshige Famous Vies of the Sixty-Odd Provinces
Hiroshige 36 Views of Mt Fuji 1852
Hiroshige 36 Views of Mt Fuji 1858
Joaquin Sorolla Landscapes
Joaquin Sorolla Boats
Joaquin Sorolla Beach
Joaquin Sorolla Family
Joaquin Sorolla Nudes
Joaquin Sorolla Animals
Joaquin Sorolla Portraits
and more titles
Outpets
Deer in Dyrehaven – Outpets in Denmark
Florida Outpets
Birds of Play
Christmas Nativity
Christmas Nativity – Spain
Christmas Nativities Luxembourg Trier
Christmas Nativity United States
Christmas Nativity Hallstatt
Christmas Nativity Salzburg
Christmas Nativity Slovenia
Christmas Market Innsbruck
Christmas Market Vienna
Christmas Market Salzburg
Christmas Market Slovenia
and more titles
Missy’s Clan
Missy’s Clan – The Beginning
Missy’s Clan – Christmas
Missy’s Clan – Education
Missy’s Clan – Kittens
Missy’s Clan – Deer Friends
Missy’s Clan – Outpets
Missy’s Clan – Outpet Birds
and more titles
Vehicles
Copenhagen vehicles – and a trip to Sweden
Construction vehicles picture book
Trains
Published by www.missysclan.net
Cover picture:
Front: La Vuelta de la pesca, Return from
Fishing, 1894
Inside: The arrival of the boats, 1907
Introduction
Joaquín Sorolla y Bastida
Breakwater, San Sebastian
“Rompeolas de San Sebastián”
Estuary of the Nalon, Asturia
El Nálon, Asturias
“Paisaje asturiano”, Asturian landscape
Galicia (Ría de Vigo)
Fisherwomen from Valencia
Pescadora con su hijo, Valencia
The arrival of the boats
Sol de la tarde,
Afternoon Sun
Llegada de la pesca,
Arrival of the Catch
Las tres velas,
The Three Sails
Las sardineras
Fisherfrauen am Strand
La Vuelta de la pesca
Barcos e pescadores, Valéncia
Bueyes en el mar
,
Oxen in the Sea
La Vuelta de la pesca
,
Return from Fishing
Y aún dicen que el pescado es caro!
A Research
Vuelta de la pesca
Escena de playa
Estudio de playa
Beaching the Boat
Ayamonte. La pesca del atún
El Pescador,
The Fisherman
El Grumete,
The Cabin Boy
Sonnellino in barca,
Sleeping in the Boat
Remendando a vela, Valéncia,
Mending the sail, Valencia
Camino de la Pesca, Valencia,
Setting out to sea
Sewing the sails
Cosiendo la red
Pescadores Valencianos,
Valencian Fishermen
Viejo pescador en una barca,
Old Fisherman in a Boat
Study for La Vuelta de la pesca
Cordeleros de Jávea
Comida en la barca
La sombra de la barca
A la sombra de la barca, Valencia
El Xiqet de Javea
Chrisopher Columbus Leaving Palos
Marina
El niño de la barquita
El balandrito
The white boat, Jávea
The smugglers
“Rocas de Jávea y el bote blanco”
Young girl in a silvery sea
The cove at Jávea
Hacindose a la mar
Pescadores Valencianas
Barca en la Albufera de Valencia
Cala de San Vicente
Elena at Cala San Vicente
References
Photo Credits
Joaquín Sorolla (born in Valencia 1863 - died in Cercedilla 1923) is one of the most successful Spanish painters ever. He was a genius in capturing the essence of the scene he was painting. He lived while photography was being invented and popularized. Some of his breathtaking seascapes show how he was familiar with and employed similar techniques as the photograph. His paintings are also a great introduction to Spanish history. Most of his paintings of boats and the sea capture the fishermen in Valencia, who fished from the beach. He has painted several masterpieces of the returning boats being pulled to the beach. The oxen used to pull the boats are captured so strong, so life like, with so much love. He also painted the waiting fisherwomen and the children happily playing. He painted scenes from the lives of the fishermen. Sorolla’s paintings are extremely powerful and colorful and although he is usually labelled an impressionist, he is also often very naturalist and detailed. The reader is kindly referred to our book about Sorolla’s landscapes. This book is not a catalogue, the authors have put together a narrative and the reader may find some of the paintings in our other books as well.
Joaquín Sorolla y Bastida (born 27 February 1863 in Valencia – died 10 August 1923 in Cercedilla, Madrid) was a Spanish painter. Sorolla excelled in the painting of portraits, landscapes and monumental works of social and historical themes. His most typical works are characterized by a dexterous representation of the people and landscape under the bright sunlight of his native land and sunlit water.
Sorolla was the eldest child born to a tradesman, also named Joaquin Sorolla, and his wife, Concepción Bastida. His sister, Concha, was born a year later. In August 1865, both children were orphaned when their parents died, possibly from cholera. They were then cared for by their maternal aunt and uncle, a locksmith
He received his initial art education at the age of 9 in his native town, and then under a succession of teachers including Cayetano Capuz and Salustiano Asenjo. At the age of eighteen he traveled to Madrid, vigorously studying master paintings in the Museo del Prado. After completing his military service, Sorolla, at age twenty-two, obtained a grant which enabled a four-year term to study painting in Rome, Italy, where he was welcomed by and found stability in the example of Francisco Pradilla, the director of the Spanish Academy in Rome. A long sojourn to Paris in 1885 provided his first exposure to modern painting; of special influence were exhibitions of Jules Bastien-Lepage and Adolf von Menzel. Back in Rome he studied with José Benlliure, Emilio Sala and Jose Vellegas Cordero.
In 1888, Sorolla returned to Valencia to marry Clotilde García del Castillo, whom he had first met in 1879, while working in her father's studio. By 1895, they would have three children together: Maria, born in 1890, Joaquín, born in 1892, and Elena, born in 1895. In 1890, they moved to Madrid, and for the next decade Sorolla's efforts as an artist were focused mainly on the production of large canvases of orientalist, mythological, historical, and social subjects, for display in salons and international exhibitions in Madrid, Paris, Venice, Munich, Berlin and Chicago. His first striking success was achieved with Another Marguerite (1892), which was awarded a gold medal at the National Exhibition in Madrid, then first prize at the Chicago
Portrait of the painter Joaquín de Sorolla y Bastida by José Jiménez Aranda in 1901
International Exhibition, where it was acquired and subsequently donated to the Washington University Museum in St Louis, Missouri. He soon rose to general fame and became the acknowledged head of the modern Spanish school of painting. His picture The Return from Fishing (1894) was much admired at the Paris Salon and was acquired by the state for the Musée du Luxembourg. It indicated the direction of his mature output.
Sorolla painted two masterpieces in 1897 linking art and science: Portrait of Dr. Simarro at the microscope and A Research. These paintings were presented at the National Exhibition of Fine Arts held in Madrid in that year and Sorolla won the Prize of Honor. Here, he presents his friend Simarro as a man of science who transmits his wisdom investigating and, in addition, it is the triumph of naturalism, as it recreates the indoor environment of the laboratory, catching the luminous atmosphere produced by the artificial reddish-yellow light of a gas burner that contrasts with the weak mauvish afternoon light that shines through the window. These paintings may be among the most outstanding world paintings of this genre.
An even greater turning point in Sorolla's career was marked by the painting and exhibition of Sad Inheritance (1899), an extremely large canvas, highly finished for public consideration. The subject was a depiction of crippled children bathing at the sea in Valencia, under the supervision of a monk. They are the victims of hereditary syphilis the title implies, perhaps. Campos has suggested that the polio epidemic that struck the land of Valencia some years earlier is present, possibly for the first time in the history of painting, through the image of two affected children. The painting earned Sorolla his greatest official recognition, the Grand Prix and a medal of honor at the Universal Exhibition in Paris in 1900, and the medal of honor at the National Exhibition in Madrid in 1901.
A series of preparatory oil sketches for Sad Inheritance were painted with the greatest luminosity and bravura, and foretold an increasing interest in shimmering light and of a medium deftly handled. Sorolla thought well enough of these sketches that he presented two of them as gifts to American artists; one to John Singer Sargent, the other to William Merritt Chase. After this painting Sorolla never returned to a theme of such overt social consciousness.
The exhibit at the Paris Universal Exposition of 1900 won him a medal of honour and his nomination as Knight of the Legion of Honour, within the next few years Sorolla was honoured as a member of the Fine Art Academies of Paris, Lisbon, and Valencia, and as a Favourite Son of Valencia.
A special exhibition of his works—figure subjects, landscapes and portraits—at the Galeries Georges Petit in Paris in 1906 eclipsed all his earlier successes and led to his appointment as Officer of the Legion of Honour.
The show included nearly 500 works, early paintings as well as recent sun-drenched beach scenes, landscapes, and portraits, a productivity which amazed critics and was a financial triumph. Though subsequent large-scale exhibitions in Germany and London were greeted with more restraint, while in England in 1908 Sorolla met Archer Milton Huntington, who made him a member of The Hispanic Society of America in New York, and invited him to exhibit there in 1909. The exhibition comprised 356 paintings, 195 of which sold.
Sorolla spent five months in America and painted more than twenty portraits. Sorolla's work is often exhibited together with that of his contemporaries and friends, John Singer Sargent and Anders Zorn.
Although formal portraiture was not Sorolla's genre of preference, because it tended to restrict his creative appetites and could reflect his lack of interest in his subjects, the acceptance of portrait commissions proved profitable, and the portrayal of his family was irresistible. Sometimes the influence of Velázquez was uppermost, as in My Family (1901), a reference to Las Meninas which grouped his wife and children in the foreground, the painter reflected, at work, in a distant mirror. At other times the desire to compete with his friend John Singer Sargent was evident, as in Portrait of Mrs. Ira Nelson Morris and her children (1911). A series of portraits produced in the United States in 1909, commissioned through the Hispanic Society of America, was capped by the Portrait of Mr. Taft, President of the United States This portrait, which was painted at the White House, is on permanent display at the Taft Museum of Art in Cincinnati, Ohio.
The appearance of sunlight could be counted on to rouse his interest, and it was outdoors where he found his ideal portrait settings. Thus, not only did his daughter pose standing in a sun-dappled landscape for María at La Granja (1907), but so did Spanish royalty, for the Portrait of King Alfonso XIII in a Hussar's Uniform (1907). For Portrait of Mr. Louis Comfort Tiffany (1911), the American artist posed seated at his easel in his Long Island garden, surrounded by extravagant flowers. The conceit reaches its high point in My Wife and Daughters in the Garden