Wednesday, July 15, 2009

FAVOURITE SON OF VALENCIA



Artist's studio ca. 1903
Joaquin Sorolla Y Bastida
By unidentified photographer
Photographic print
Charles Scribner's Sons Art Reference Dept. records
1839-1962
Smithsonian Archives of American Art


Self portrait in profile


Self Portrait
39.37 inch wide x 25.98 inch high
Landscape


Self-Portrait, 1909
From Wikipedia, the free encyclopedia


At the age of eighteen Joaquin Sorolla traveled to Madrid, vigorously studying master paintings in the Museo del Prado. After completing his military service, at twenty-two Sorolla 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 F. 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 José Villegas.
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.

Otra Margarita
Another Marguerite
Oil on canvas, 1892
Private collection
51 1/8 x 78 5/8 inches (130 x 200 cm)
From Wikipedia, the free encyclopedia


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.


Pescadores valencianos
Valencian Fisherman
Private Collection
33.47 inch wide x 25.59 inch high
Landscape


Valencian Fisherwomen, 1915
52.36 inch wide x 79.13 inch high
Portrait


Towing in the boat
Valencia Beach, 1916
48.03 inch wide x 35.83 inch high
Landscape


Fisherwomen on the Beach
Landscape


Valencia's Port
Public Collection
29.00 inch wide x 18.75 inch high
Landscape


Beach at Valencia
Oil on canvas, 1908
Public Collection
Landscape
From Wikipedia, the free encyclopedia


Lunch on the Boat, 1898
98.43 inch wide x 70.87 inch high
Landscape


They Still Say That Fish Is Expensive!
Oil on canvas, 1894
60 1/4 x 80 3/8 in. (153 x 204 cm)
Landscape
Museo del Prado, Madrid
From The Artchive


Arrival of the Boats
Public Collection
Landscape


La pesca del atun - Ayamonte
The Tuna Catch - Ayamonte
Oil on canvas, 1919
137 3/8 x 190 7/8 inches (349 x 485 cm)
Landscape
Private collection
Image courtesy of the Art Renewal Center


Old Valencian Fisherman
39.76 inch wide x 31.89 inch high
Landscape


Peeling Potatoes
Public Collection
Landscape


Playa de Valencia. Pescadoras
Beach of Valencia. Fisherwomen
Museo De Bellas Artes De Valencia En Su Historia
18.70 inch wide x 14.41 inch high
Landscape


Pescadores recogiendo las redes
Fisherman Taking Up the Nets
Private Collection
34.65 inch wide x 26.38 inch high
Landscape


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. The painting earned Sorolla his greatest official recognition, the Grand Prix and a medal of honour at the Universal Exhibition in Paris in 1900, and the medal of honour at the National Exhibition in Madrid in 1901.


Triste herencia
Sad Inheritance
Oil on canvas, 1899
82 5/8 x 112 1/8 inches (210 x 285 cm)
Private collection
Image courtesy of the Art Renewal Center


With this painting Sorolla ceased his career as a salon artist, and never returned to a theme of such overt social consciousness. At the same time, 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.
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 City, and invited him to exhibit there in 1909. The exhibition was comprised of 356 paintings, 195 of which sold. Sorolla spent five months in America and painted more than twenty portraits.

Retrato de Emilio Castelar Ripoll
1901
Photo scan foroxerbar.com
present in book: Historia del Arte
by Rockger21
From Wikipedia, the free encyclopedia


Conde de Artal
The Count of Artal
Oil on linen, 1900
23 1/8 x 37 1/8 inches (59 x 94.5 cm)
Museo de Bellas Artes de Valencia en su Historia
Valencia
Image courtesy of the Art Renewal Center


Portrait of a Caballero
Oil on canvas, 1884
20 1/2 x 16 1/4 inches (52.07 x 41.59 cm)
Public collection
Image courtesy of the Art Renewal Center


Maria con sombrero
Maria with Hat
Oil on canvas, 1910
15 5/8 x 31 3/8 inches (40 x 80 cm)
Private collection
Image courtesy of the Art Renewal Center


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, painted at the White House, and suggestive of convivial sessions between painter and president.

Portrait of Mr. Taft
President of the United States
Oil on canvas, 1909
150 x 80 cm
From Wikipedia, the free encyclopedia


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).


Retrato del Rey Don Alfonso XIII con el uniforme de husares
Portrait of King Alfonso XIII in a Hussar's Uniform
Oil on canvas, 1907
81 7/8 x 42 1/2 inches (208 x 108 cm)
Private collection


Portrait of King Alfonso XIII of Spain
and his mother, Queen Maria Christina


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.


My wife and daughters in the garden
1910
From Wikipedia, the free encyclopedia


Early in 1911 Sorolla visited the United States for a second time, and exhibited 161 new paintings at the Art Institute of Chicago. Later that year Sorolla met Archer M. Huntington in Paris and signed a contract to paint a series of oils on life in Spain. The canvases, to be installed in the Hispanic Society of America, would range from 12 to 14 feet in height, and total 227 feet in length. There would be fourteen large panels in all. The major commission of his career, it would dominate the later years of Sorolla's life.
Early in 1911 Sorolla visited the United States for a second time, and exhibited 161 new paintings at the Art Institute of Chicago. Later that year Sorolla met Archer M. Huntington in Paris and signed a contract to paint a series of oils on life in Spain. The canvases, to be installed in the Hispanic Society of America, would range from 12 to 14 feet in height, and total 227 feet in length. There would be fourteen large panels in all. 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 traveled to specific locales to paint them: Navarre, Aragon, Catalonia, Valencia, Elche, Seville, Andalusia, Extremadura, Galicia, Guipuzcoa, Castile, Leon, and Ayamonte, at each site painting models posed in local costume. Each painting 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 the middle of 1919.
Sorolla suffered a stroke in 1920, while painting a portrait in his garden in Madrid. Paralyzed for over three years, he died in 1923. The room housing the Provinces at the Hispanic Society of America opened to the public in 1926.
After his death, Sorolla's widow 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, and America, and in many private collections in Europe and America. In 1933, J. Paul Getty purchased ten Impressionist beach scenes done by Sorolla, several of which are now housed in the J. Paul Getty Museum.
In 2007, many of his works were exhibited at the Petit Palais in Paris, France, alongside those of John Singer Sargent, a contemporary who painted in a similar style.
(From Wikipedia, the free encyclopedia)

Exposición de obras de Sorolla relacionadas con Castilla, en Valladolid
Author Retama, 2008
From Wikipedia, the free encyclopedia


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