Joaquín Sorolla Portraits 2 E-Book

Cristina Berna

• Herausgeber: BoD - Books on Demand
• Kategorie: Sachliteratur, Reportagen, Biografien
• Sprache: Englisch
• Veröffentlichungsjahr: 2024

Seitenzahl: 208

Beschreibung

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. In Joaquín Sorolla Portraits 2 1900 -1910 Sorolla becomes a celebrated portrait painter. Following the success of his one man exhibitions in France 1906, to a lesser degree Germany 1907, England 1908 but especially the USA 1909 portrait commissions flooded in. But even before Paris Sorolla produced a large number of portraits. Many of his most important sitters were male, but Sorolla did exquisite female portraits as well. Among his most successful portraits were those of female sitters whom he invariably imbued with an elegance and beauty that rank them alongside the portraits of his contemporaries Giovanni Boldini, Anders Zorn and John Singer Sargent.

Leseprobe

About the authors

Cristina Berna loves photographing and writing. She writes to entertain a diverse audience.

Eric Thomsen has published in science, economics and law, created exhibitions and arranged concerts.

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Contact the authors

[email protected]

Published by www.missysclan.net

Cover picture:

Front: "La señora de Urcola", 1909

Inside: “The Photographer Christian Franzen”, 1903

Content

Introduction

Joaquín Sorolla y Bastida

La cantata Isabel Bru

,

1900

Portrait of Jose Artal

,

1900

Mariana de Pontejos,

1900

La niña Maria Figueroa vestida de menina

,

1901

Retrato del niño José Maria Suá

1901

Portrait of Maria Teresa Moret y Remisa,

1901

Aureliano de Berouete y Moret, hijo

,

1902

Retrato del pintor Aureliano de Beruete

,

1902

The Photographer Christian Franzen,

1903

The Poet Juan Ramón Jiménez

,

1903

Retrato de Zonobia Camprubí

wife of

Jiménez

, 1918

Portrait of Jacinto Felipe Pincón y Pardiñas

,

1904

Jose Ramon Melida y Alinari

,

1904

Josefina de Alvear de Errázuriz

,

1805

The Family of Rafael Errazuriz

,

1905

Julio Gruañes

,

1905

William E B Starkweather Fishing, Jávea

,

1905

José Echegaray

,

1906

Portrait of Mercedes Mendeville, condesa de San Felíx

,

1906

El pintor Antonio Gomar y Gomar

,

1906

The Painter Raimundo de Madrazo y Garreta

,

1906

Lucretia Arana with her Son

,

1906

Maria Planas de Gil

,

1906

Santiago Ramon y Cajal

,

1906

José Canalejas y Mendez

,

1906

Vicente Blasco Ibañez

,

1906

El doctor Francisco Rodríguez de Sandoval

,

1906

El doctor Joaquín Decref y Ruiz

,

1907

Rey Don Alfonso XIII con el uniforme de husares

,

1907

Portrait of King Alfonso

Portrait of Luisa Martinez de Tejeda

,

1907

Antonio Garcia

,

1908

The Photographer Antonio Garcia in his Laboratory

,

1908

Manuel B Cossio

1908

Portrait of Basel Mundy

,

1908

Francisco Acebal

,

1908

Aureliano de Beruete

,

1908

Beatriz García Palencia

,

1908

Princess Beatrice of Battenberg

,

1908

President William Howard Taft

,

1909

Robert Bacon, 39

th

Secretary of State

,

1909

Portrait of Mrs. Traumann

Juliane Armour Ferguson

,

1909

Chandler Robbins

,

1909

Frances Tracy Morgan

,

1909

Charles M Kurtz

,

1909

Retrato de la señora Esperanza Conill de Zanetti

,

1909

Mrs Charles B Alexander

,

1909

Mrs William H Gratwick

,

1909

Mrs Winthrop W Aldrich

,

1909

Portrait of señora de Urcola wearing a black mantilla

,

1909

Retrato del Marquís de la Vega-Inclán

,

1910

Genoveva Segurola en Zarauz

,

1910

Retrato de Cristobal Colon y Aguilera de la Cerda

,

1910

José Echegaray

,

1910

Pepilla the Gypsy and her Daughter

,

1910

Victoria Eugenia de Battenberg y de Borbon

,

1910

Reference

Photo credits

Introduction

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.

In Joaquín Sorolla Portraits 2 1900 -1910 Sorolla becomes a celebrated portrait painter. Following the success of his one man exhibitions in France 1906, to a lesser degree Germany 1907, England 1908 but especially the USA 1909 portrait commissions flooded in. But even before Paris Sorolla produced a large number of portraits. Many of his most important sitters were male, but Sorolla did exquisite female portraits as well.

Among his most successful portraits were those of female sitters whom he invariably imbued with an elegance and beauty that rank them alongside the portraits of his contemporaries Giovanni Boldini, Anders Zorn and John Singer Sargent.

Cristina and Eric

Joaquín Sorolla y Bastida

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

Sorolla received his initial art education from the age of nine 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 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.

Portrait of the painter Joaquín de Sorolla y Bastida by José Jiménez Aranda in 1901, Image: Alonso de Mendoza

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 (1910), in which the idea of traditional portraiture gives way to the sheer fluid delight of a painting constructed with thick passages of color, Sorolla's love of family and sunlight merged.

Early in 1911, Sorolla visited the United States for a second time, and exhibited 152 new paintings at the Saint Louis Art Museum and 161 at the Art Institute of Chicago a few weeks later. Later that year Sorolla met Archie Huntington in Paris and signed a contract to paint a series of oils on life in Spain. These 14 magnificent murals, installed to this day in the Hispanic Society of America building in Manhattan, range from 12 to 14 feet in height, and total 227 feet in length. The major commission of his career, it would dominate the later years of Sorolla's life.

Huntington had envisioned the work depicting a history of Spain, but the painter preferred the less specific 'Vision of Spain', eventually opting for a representation of the regions of the Iberian Peninsula, and calling it The Provinces of Spain. Despite the immensity of the canvases, Sorolla painted all but one en plein air, and travelled to the specific locales to paint them: Navarre, Aragón, Catalonia, Valencia, Elche ,Seville, Andalusia, Extremadura, Galicia, Guipuzca, Castile, León and Ayamonte, at each site painting models posed in local costume. Each mural celebrated the landscape and culture of its region, panoramas composed of throngs of laborers and locals. By 1917 he was, by his own admission, exhausted. He completed the final panel by July 1919.

Sorolla suffered a stroke in 1920, while painting a portrait in his garden in Madrid. Paralysed for over three years, he died on 10 August 1923. He is buried in the Cementeri de Valencia, Spain.

The Sorolla Room, housing the Provinces of Spain at the Hispanic Society of America, opened to the public in 1926. The room closed for remodeling in 2008, and the murals toured museums in Spain for the first time. The Sorolla Room reopened in 2010, with the murals on permanent display. Sorolla's influence on some other Spanish painters, such as Alberto Pla y Rubio and Julio Romero de Torres, was so noted that they are described as "sorollista."

After her death, Sorolla's widow, Clotilde García del Castillo, left many of his paintings to the Spanish public. The paintings eventually formed the collection that is now known as the Museo Sorolla, which was the artist's house in Madrid. The museum opened in 1932.

Sorolla's work is represented in museums throughout Spain, Europe, America, and in many private collections in Europe and America. In 1933, J. Paul Getty purchased ten impressionist beach scenes made by Sorolla, several of which are now housed in the J. Paul Getty Museum.

The Spanish National Dance Company honored the painter's The Provinces of Spain by producing a ballet Sorolla based on the paintings. A high-speed RENFE train station has been named after Sorolla in Valencia.

Culmination period (1900-1910)

Noria, Jávea

(1900)

La niña María Figueroa vestida de menina

(1901)

Retrato de Beruete

(1902)

Mar y rocas de San Esteban, Asturias

(1903)

Las tres velas

(1903)

A la sombra de la barca, Valencia

(1903-1904)

Autorretrato

(1904)

Mis hijos

(1904)

El niño de la barquita

(1904)

El pescador

(1904)

Ramillete de mandarinas

(1904)

Nadadores, Jávea

(1905)

Rocas de Jávea y el bote blanco

(1905)

Retrato de Santiago Ramón y Cajal

(1906)

Instantánea, Biarritz

(1906)

María Guerrero

(1906)

Tormenta sobre Peñalara, Segovia

(1906)

María convaleciente

(1907)

Saltando a la comba, La Granja

(1907)

Aldeanos leonenses

(1907)

Fuente del Alcázar de Sevilla

(1908)

Corriendo por la Playa. Valencia

(1908)

Pescadora con su hijo, Valencia

(1908)

Reflejos de una fuente

(1908)

Paseo a orillas del mar

(1909)

El baño del caballo

(1909)

Chicos en la playa

(1910)

Clotilde sentada en un sofá

(1910)

Clotilde con traje de noche

(1910)

Bajo el toldo, plaza de Zarauz

(1910)

Jardines de Carlos V, Alcázar de Sevilla

(1910)

Jardín de los Adarves, Alhambra de Granada

(1910)

Mrs Willam H Gratwick 1909 (detail)

La cantata Isabel BruCa 1900 Image: Cvbr

Isabel Brú (Valencia, 1874-Madrid, 1 March 1931) was a popular Spanish actress and singer. Born into a family of artists, she took her first steps on the stage while still a child, in choir tasks. She had her debut in 1894 at the Apollo Theater in Madrid, specialized in the boy genre, so vogue at the time. Then she moved on to the Teatro Eslava, where she premiered in El tambor de granaderos. She returned to the Apollo, where she celebrated her professional career with Aqua azuracillos y aguardiente, La Revolypsa La fiesta de San Antó and Doloretes. She had Ruperto Chapí as one of the drivers of her career and shared the stage with the greatest of her time: Emilio Mesejo, Rosario Pino, Luisa Campos, etc. During her professional zenith, she came to be considered one of the most prominent figures of the Spanish zarzuela. She was painted by Joaquín Sorolla, and Eduardo Zamacois wrote a memoir about her in 1905. She retired from the stage 33 years old and died at 56, on 1 March 1931, in Madrid. Zarzuela is a Spanish type of musical comedy.

Portrait of Jose Artal (Conde de Artal) 1900, painting, oil on canvas Height: 59 cm Width: 94.5 cm The Museum of Fine Arts, Valencia Image: Tiberioclaudio99

The story of José Artal Mayoral in interesting as it casts light on Sorolla’s early consolidation, on the Spanish art market at the time and on how the successful from the colonies came back to Northern Spain to enjoy their fortunes. This coincided with great popularity of beach going among the wealthy bourgeoisie, see Joaquín Sorolla Beach ISBN 978-2-919787-68-5.

José Artal Mayoral, Count of Artal was born in Tarragona 9 June 1862 and died in San Sebastián 18 April 1918. The counts of Artal is a Spanish noble title created on 11 July 1912 by King Alfonso XIII specifically in favor of José Artal y Mayoral Sentís y Roig, Head of the Civil Administration and President of the Spanish Chamber of Commerce in Buenos Aires, Argentina. José Artal was a great patron of the arts. He was son of Miguel Artal and Rosa Mayoral. After his primary education, José Artal studied accounting in Barcelona, where he met Carmen Adena, a young Uruguayan, daughter of Catalan emigrants, whom he ended up marrying in Montevideo in 1886. In Montevideo he developed his skills as a journalist in the newspaper El Busilis, becoming its editor thanks to his financial knowledge. The collection of contemporary European paintings his new family owned awakened him to everything related to the arts. When he became manager of the Bank of Reus in Montevideo, which grew very successfully, Artal began to form his own collection. However, the subsequent collapse of the bank forced him to return to Spain in 1891.

In 1896 back in Buenos Aires, he became a senior employee of the Monsegur House, he developed his idea of editing a series of studies on the main Spanish painters of the moment under the name of Arte moderno. The Escuela española came true at the end of that year with the volume dedicated to Francisco Domingo. The publication, with abundant illustrations and text by Artal himself, had an excellent reception, and even the Spanish press would highlight the excellent typographic quality of the edition and the breadth of knowledge in art that the author of the biography showed. This editorial work was reinforced by a new and more ambitious art project. After verifying the weakness of the Argentine art market despite the excellent economic situation of the country, Artal planned to periodically commercialize Spanish painting in Buenos Aires. In 1897 he found an ideal place, as Alejandro Witcomb, owner of a prestigious photographic studio had just expanded with a new space for pictorial exhibitions and let Artal hold his inaugural exhibition here. With more than seventy paintings, some from his own collection and some sent from Madrid by veteran dealer Manuel Aguader, the exhibition was a success. Thus, the main Spanish graphic magazines, La Ilustración Española y Americana and La Ilustración Artística, began to praise Artal’s informative work of Spanish art, and the Buenos Aires press unanimously recognized the quality of the exhibition and qualified the event as a First order event in the city. From the first exhibition Artal sold the watercolor Lobo de Mar to the Museum of Fine Arts of Buenos Aires, the first work of a contemporary Spanish artist in that institution. Villegas, the artist, became the subject of the second volume of Artal’s series about Spanish painters, published in 1900.

Parque 3 febrero, Buenos Aires ca 1900 image: Anna Torres (WMAR)

Florida Street, Buenos Aires. 1899. Some sections pedestrian since 1913, the rest since 1971. Image: Fma12

Through the Witcomb rooms Artal, in the following two years showed his second and third exhibition with a notable increase in the number of canvases compared to the first. In 1900 he was forced to hold three practically consecutive exhibitions in the face of strong public demand. In the same year he visited Spain and during his short stay in Madrid had his portrait painted by Sorolla and Villegas. While in Spain, on the way to Tarragona, Artal visited, in different provinces, the studios of various painters in order to gather a group suitable to the traditional tastes of the Buenos Aires bourgeoisie.

The clients showed their clear preferences for the brilliant anecdotal preciousness of Andalucian or Valencian painters linked to the schools of Paris and Rome, such as José Jiménez Aranda, Sánchez Barbudo, José Benlliure or Francisco Domingo, without forgetting, also in the Valencian sphere, the luminous costumbrismo of Pinazo, Navarro Llorens and, above all, Sorolla, who would always occupy the place of honor in his exhibitions and with which he would maintain a lasting friendship documented by abundant correspondence. In any case, it was evident that the varied and powerful clientele obtained by Artal, where they were descendants of Italian or Spanish emigrants who had already reached a high economic and social status compared to families of deep Creole roots, manifested a common attraction towards a paintings acquired to decorate their mansions next to the river Plata.

In 1901 and 1902 Artal maintained the pace of holding three annual exhibitions, although he now incorporated sculptures, such as the Mariano

Florida Street, Buenos Aires 1900. With electric light. Image: Fma12

Benlliure bronzes, and oil paintings by Casas and Rusiñol, which indicated that Artal was not precisely insensitive to the renovating character of modernist aesthetics. Justo Solsona kept praising Artal in the pages of La Ilustración Artística for his indefatigable artistic-commercial task of consolidating an excellent and previously non-existent market for Spanish artists, increasing his reputation in the business environment of the country through his positions as manager of the Banco de la Plata, president of the Union of the Argentine Stock Exchange, of the Hogar Argentinos (Argentine Home) and of the Spanish Chamber of Commerce in Buenos Aires, positions that the Spanish Government would appreciate by naming him a knight of the Royal Order of Carlos III in 1901 and commander of the Royal Order of Isabel la Católica in 1902.

From 1903 Artal’s exhibition rate decreased and once again organizes a sample, with a gradual increase of Catalan painters, such as Carlos Vazquez, Cusachs, Enrique Serra, Galofre and Mir. However, the works of Sorolla, like his Playa de Valencia (Beach of Valencia), presented in 1906, were still the stellar pieces of his events. In June 1907, he temporarily changed his focus to show, as a representative of the Berheim House in Paris, an exhibition with prestigious French painters, such as Sisley, Monet and Carolus Durán, achieving another success. At the same time, he left the traditional Witcomb Hall for a new place on Viamonte Street as the venue for his exhibitions, where he would also exhibit in 1908 and 1909. Here the Museum of Fine Arts of Buenos Aires would buy from him a new work, the portrait of Alfonso XIII made by Casas.

Banco Español del Río de la Plata 1905 Image: Elsapucai