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La pintura representa a una pescadora de la región del Boulonnais en el departamento de Pas-de-Calais. Estas “matelotes o verrotières” eran pescadoras, recogedoras de mariscos, que se ocupaban también del desembarco del pescado. Solían posar orgullosamente con los brazos en jarras, y así pintó María Blanchard a esta. Esta obra muestra el afianzamiento de una pintura basada en la figura tras la eta
A portrait of Ignacio, the artist´s youngest son and one of his favorite models, shown here at the age of eleven. The profusion of child portraits by Pinazo is based on his capacity to capture the freshness and spontaneity of children´s acts, making works of great intimacy and closeness. This portrait may be one of the painter´s finest and it reveals his most personal characteristics. The dark ton
Representative of Sorolla’s fully mature period, this work is also one of the finest female portraits he ever executed. The artist knew the sitter very well, as she was the wife of one of his closest friends, whose portrait he would, in turn, paint the following year. The amiable frankness with which they related to each other, expressed by the artist in his dedication, and his recognition of the
Sorolla painted this portrait of Aureliano de Beruete y Moret (1876–1922) the same year he portrayed his father, the painter Aureliano de Beruete, and a year after he painted his mother, María Teresa Moret. In this work—sold to the Beruete family for two thousand five hundred pesetas—however, the artist resorted to a different and more modern format whose narrow verticality more adequately
Trees acquired particular importance in Beruete’s late works. In this canvas the poplars are outlined against the sky and the background wood. The short, heavily charged brushstrokes of ochre and yellow tones contrast with the green ones in the foreground, their length emphasizing the line of the river.
This portrait of María Guerrero, Sorolla’s neighbour and friend, is probably the finest and most expressive example of the eminent actress’s lifelong obsession with her own image. From childhood, she had herself portrayed by some of the most famous painters of her time, many of whom were friends of her father, the set designer Ramón Guerrero. María Guerrero grew up in a cultur
The series of paintings featuring the ‘children in the water’ motif culminates in this work, in which nude boys play a greater part in the composition than in other pictures by Sorolla. While it is signed in 1910 and this chronology has been followed by almost everyone, the artist must have painted it in the summer of 1909, as the image was already reproduced in a book by Rafael Doménech th
During his trip to Paris in the autumn of 1913 Sorolla painted the wife of Jacques Seligmann, a leading art dealer of German origin, emphasising her beauty and elegance through the use of a restrained background painted with very loose brushstrokes. Impasto is reserved for the brightest areas such as the flesh tones and the sumptuous white shawl.
Dressed for attending the bullfight, with a white mantilla and hair comb and holding a large fan, the subject looks defiantly at the viewer. The expressivity of the face and intensity of the gaze make this female portrait one of Zuloaga’s finest works from this period.
Following his arrival in Paris in 1894, Anglada-Camarasa became extremely interested in the city’s nightlife. The interior of this café-concert, one of the many to be found in the capital, is seen without the audience or the performers, allowing the artist to focus on the effects of the artificial lights that produce a wide range of reflections and colours.
This is one of the eleven works that Regoyos painted in Béjar and Candelario (Salamanca) in the spring of 1900. The Sierra de Candelario, seen in the background partly covered in snow, is depicted as purple with the lower slopes in violet in accordance with the Impressionist use of colour. The dotted, fragmented and superimposed brushstrokes and the practice of plein air painting, here unde
In the summers of 1905 to 1907 Aureliano de Beruete painted the landscape of the Alps. From the Swiss village of Grindelwald he climbed up to the Kleine Scheidegg pass by Mount Eiger where he painted from life. His rapid technique of broad brushstrokes and his ability to capture the local colour that tints the snow reveal an original interpretation of Impressionist pictorial devices.
In 1879 Regoyos moved to Brussels where he established links with its celebrated art world. This previously unpublished work is one of his largest from this period. The principal element is the structure of an agricultural building on the city’s outskirts, painted in a muted, melancholy palette typical of this phase in the artist’s career.
Desolation and defeat, yearning and loneliness are all conveyed through the sensual female nude that seems to emerge softly from the block of marble. The girl’s face is not shown and remains hidden beneath her long hair. Grief is a key example of modernista funerary sculpture and there are obvious links with the work of Auguste Rodin (1840-1917).
This elegant portrait bust depicts María Purificación Fernández y Cadenas (1884-1965), second wife of the politician José Canalejas. Following his assassination, the Spanish King conceded him the posthumous title of 1st Duke of Canalejas. On the sitter’s gown is a jewel in the form of a ducal coronet, a discreet reference to the title received while the work was being s
Faustina Peñalver y Fauste (1856-1916), second wife of the 1st Marquis of Amboage, Ramón Plá y Monge (1823-1892), was a great admirer of Benlliure, from whom she commissioned various works for her residence on calle Juan Bravo 16 in Madrid, a building that now houses the Italian Embassy.
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