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The Garden of the Fortuny Residence
Fortuny y Marsal, Mariano; Madrazo y Garreta, Raimundo de
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Fortuny y Marsal, Mariano
Reus, Tarragona, 1838 - Rome, 1874
Madrazo y Garreta, Raimundo de
Rome, 1841 - Versailles, 1920

The Garden of the Fortuny Residence

1872 - 1877. Oil on panel

This work bears exceptional witness to the concurrence of Fortuny’s painting with that of his close friend, Raimundo de Madrazo. Begun by the former, it was completed after his death by the latter with a completely concordant style that does not, however, hide Madrazo’s own individuality. Fortuny had been living in Granada since the summer of 1870 and he spent the best days of his life there before returning to Rome in 1872. At first, he lived in the Fonda de los Siete Suelos, renting a house for studio use in the Campo de los Mártires, on the hill near the Alhambra. Late in 1871, he found more spacious lodgings at number 1, Realejo Bajo, at the foot of the Alhambra, which he managed to rent for a reasonable amount. That location drew its name from the former royal orchards there, where tradition has it that the Nasrid monarchs spent the summer. Baron Davillier, who visited Fortuny, described it as a large house that one entered via an open patio with columns, which served as his studio when he wanted to paint outdoors. There was a garden on the other side, and that must be what he depicted here. Judging by the light and the vegetation, it must have been painted in the summer. Therefore, this panel could date from 1872.

He painted this rich view with a freshness and a sense of life that announce his finest period as an artist. After completing the trees, he filled the areas of blue sky between them with rapid and compact horizontal brushstrokes, capturing the garden’s radiant atmosphere and the reflections of the whitewashed wall in an effort especially characteristic of his period in Granada. He even managed to represent the sunrays falling obliquely on the fountain. The composition somehow recalls Veláquez’s views of the villa Médicis, one of which presents cypress trees in front of a wall, cut off by the upper edge of the canvas. The distance of the fountain in the background is perfectly measured by a succession of areas of light and shadow, creating a sensation of breadth and depth reminiscent of Velázquez. That sense of depth is reinforced by Fortuny’s idea of painting a dog in the foreground on the same side as the fountain. In fact, he was unable to actually paint it, but he marked a space for it with a few brushstrokes.

Years later, almost certainly in 1877, Raimundo, who often worked in the greenhouse in Errazu’s garden, completed this panel. To do so, he consulted Fortuny’s studies of dogs, which his widow, Cecilia, had kept. Raimundo understood his brother-in-law’s interest in the dog, as he had greatly mourned the death of his own. In fact, his friend, sculptor Emmanuel Frémiet, actually suggested the erection of a small monument to that animal -a square stele topped by a gilded bronze likeness of it. The painting of the dog is excellent, with loose brushstrokes and a silky rendering of the animal’s coat that, like the shades of color, are very characteristic of his work. Fortuny’s widow -Cecilia de Madrazo y Garreta (Madrid, 1846-Venice, 1932)- was also added to this work by her brother, who placed her in front of the boxwood hedge on the right. To do so, he painted a study of her in Paris in 1877, which must be the year that he completed this painting. It clearly defines her silhouette, elegantly dressed in her morning attire, with a fan and a reddish parasol. To include her, Raimundo had to paint her figure over the green hedge that Fortuny had partially painted and whose color had exceeded its upper boundary in some places. To make the composition more homogeneous, Madrazo also modified the shadow, which had not been a regular strip, so that it quite successfully occupies the entire foreground, reflecting a very attentive view of its natural appearance.

By bringing the figure of Cecilia de Madrazo into the composition, the artist accentuated the elegant character of that tranquil, secluded garden. Madrazo’s intervention in a work by Fortuny comes as no surprise; he had already done so at the latter’s request on his most famous painting, La vicaría, where he corrected one of the figure’s feet. Moreover, in his father’s studio, it was quite common for one artist to intervene in another’s work. But in the case of the present work, there is a special character to Raimundo de Madrazo’s collaboration, and it undoubtedly added to the painting’s value, bringing more life to the memory of an intimate and exquisite time in a composition that must have enormously pleased Errazu (Text drawn from Barón, J.: El siglo XIX en el Prado. Museo Nacional del Prado, 2007, pp. 312-314).

Multimedia

Technical data

Inventory number
P002613
Author
Fortuny y Marsal, Mariano; Madrazo y Garreta, Raimundo de
Title
The Garden of the Fortuny Residence
Date
1872 - 1877
Technique
Oil
Support
Panel
Dimension
Height: 40 cm.; Width: 28 cm.
Provenance
Mariano Fortuny y Marsal's heirs, 1874; Ramón de Errazu Collection, 1875; Legacy of Ramón de Errazu y Rubio de Tejada, 1904

Bibliography +

Exposición Fortuny, Servicio de Defensa del Patrimonio Artístico Nacional, Barcelona, 1940.

Museo Nacional del Prado, Museo del Prado: catálogo de las pinturas, Museo del Prado, Madrid, 1972.

Ainaud de Lasarte, Josep M., Mariano Fortuny, Comisaría Nacional de Museos y Exposiciones Junta de Museos de Barcelona, Barcelona, 1974.

Pintores españoles de la luz, Ayuntamiento de Barcelona; Banco de Bilbao, 1983, pp. nº1891.

Museo Nacional del Prado, Catálogo de las pinturas del siglo XIX, Ministerio de Cultura, Madrid, 1985, pp. 83.

García Iglesias,C., La evolución del paisaje decimonónico español. El tratado de O'Neille y Rosiñol., Goya, 184, 1985, pp. 246-253.

Pareja, E., Pintores Andaluces de 1900, Caja de Ahorros, Granada, 1985.

Gonzalez Lopez, Carlos, Mariano Fortuny Marsal, I, Diccionario Rafols, Barcelona, 1989, pp. 344 / lám. 192.

Museo Nacional del Prado, Museo del Prado. Inventario general de pinturas. Nuevas Adquisiciones. Museo Iconográfico. Tapices., Museo del Prado, Espasa Calpe, Madrid, 1996.

El legado de Ramón de Errazu: Fortuny, Madrazo y Rico, Museo Nacional del Prado, Madrid, 2005, pp. 141, nº16.

Impressionnisme et Naissance du Cinematographe, Edition Fage, Lyon, 2005.

El siglo XIX en el Prado, Museo Nacional del Prado, Madrid, 2007, pp. 312-314/ lám.69.

G.Navarro,C., Testamentaría e Inventario de Bienes de Mariano Fortuny en Roma, Locvs amoenvs, nº9, 2007-8, pp. 319-349.

Maurer, G., Goya: lo bello y lo recóndito. En: La belleza encerrada: de Fra Angelico a Fortuny, Museo Nacional del Prado, Madrid, 2013, pp. 450.

Mena Marqués, M.; Albarrán, V., La belleza encerrada: de Fra Angelico a Fortuny, folleto, Museo Nacional del Prado, Madrid, 2013, pp. 59 n.268.

Barón, Javier, 'El virtuosismo en la pintura española del s.XIX: Mariano Fortuny, Martín Rico y Raimundo de Madrazo' En: Del realismo al impresionismo, Fundación Amigos Museo del Prado - Galaxia Gutenberg, Madrid, 2014, pp. 237-265 [245].

Mena Marqués, M.; Albarrán, V., Azúa, F. de, La belleza cautiva. Pequeños tesoros del Museo del Prado, Museo del Prado - Obra Social ''La Caixa'', Barcelona, 2014, pp. 210.

Museo Nacional del Prado, Pintura del Siglo XIX en el Museo del Prado: catálogo general, Museo Nacional del Prado, Madrid, 2015, pp. 194 y 360.

Prado captive beauty: treasures from the Prado Museum, Mitsubishi Ichigokan Museum, 2015, pp. n.97.

En plein Air, La Boverie,, 2016, pp. 73 n.35.

Gutiérrez Márquez, Ana, Cecilia de Madrazo: Luz y memoria de Mariano Fortuny., Museo Nacional del Prado. Fundación María Cristina Masaveu, Madrid, 2017, pp. 57,59,105 f.17.

Barón, Javier, 'Mariano Fortuny. Jardín de la casa de Fortuny' En:, Fortuny (1838-1874), Museo Nacional del Prado,, Madrid, 2017, pp. 284-286 n.90.

Other inventories +

Inv. Nuevas Adquisiciones (iniciado en 1856). Núm. 1365.
Autor = Fortuny y Madrazo / 1365. Asunto = Jardín (tabla) / Dimensiones = alto = 0,40 ancho = 0,27 [Nota en el margen izquierdo] Como se ha notado que los cuadros de la colección legada por D. Ramón de Errazu, no se hallan inventariados, se ponen ahora en este sitio aunque debieran estar antes. / Legado de D. Ramón de Errazu, que se aceptó por Real Orden de 13 de diciembre de 1904

Catálogo Museo del Prado, 1910. Núm. 10.

Catálogo Museo del Prado, 1933. Núm. Legado Errazu nº10.

Catálogo Museo del Prado, 1942-1996. Núm. 2613.

Exhibitions +

Fortuny (1838-1874)
Madrid
21.11.2017 - 18.03.2018

En plein Air
Lieja
04.05.2016 - 15.08.2016

Captive Beauty. Treasures from The Prado Museum
Tokio
10.10.2015 - 31.01.2016

Captive Beauty. Small Treasures at the Prado Museum
Barcelona
16.07.2014 - 05.01.2015

Captive Beauty. Fra Angelico to Fortuny
Madrid
21.05.2013 - 10.11.2013

El Siglo XIX en el Prado
31.10.2007 - 20.04.2008

El legado Ramón Errazu: Fortuny, Madrazo y Rico
13.12.2005 - 12.03.2006

L ' Impressionisme et la naissance du Cinématographe
Lyon
13.04.2005 - 18.07.2005

Location +

Room 063 (On Display)

Expuesto

Displayed objects +

Fountain / Source

Garden

Parasol

Update date: 12-06-2018 | Registry created on 28-04-2015

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