El Modernismo - Fondation de l`Hermitage

Transcription

PRESS FILE
El Modernismo
De Sorolla à Picasso
1880-1918
Du 28 janvier
au 29 mai 2011
MARDI À DIMANCHE DE 10H À 18H
JEUDI JUSQU’À 21H
2, ROUTE DU SIGNAL LAUSANNE
WWW.FONDATION-HERMITAGE.CH
Fondation de l’Hermitage
Donation Famille Bugnion
Press release
Practical information
Catalogue excerpt
Timeline
List of lenders
List of works
Biographical notes
Events
Illustrations
Joaquín Sorolla, María en costume de paysanne valencienne (détail), 1906, huile sur toile, 189 x 95 cm, collection privée © photo Gonzalo de la Serna Arenillas/Charlie Peel, Archives BPS, Madrid
Graphisme Laurent Cocchi Photolitho Images 3 Impression PCL
p. 2
p. 3
p. 4
p. 8
p. 11
p. 12
p. 16
p. 21
p. 24
Press Contact : Emmanuelle Boss – [email protected]
2, route du Signal, case postale 38
CH - 1000 LAUSANNE 8 Bellevaux
www.fondation-hermitage.ch
director :
tel.
fax
e-mail
Juliane Cosandier
+41 (0)21 320 50 01
+41 (0)21 320 50 71
[email protected]
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El Modernismo
PRESS RELEASE
El Modernismo
From Sorolla to Picasso, 1880-1918
27 JANUARY TO 29 MAY, 2011
In January 2011, the Fondation de l’Hermitage in Lausanne is organizing a major exhibition
devoted to Spanish art at the dawn of the 20th century. Focusing on painters of “The
Generation of 1898” who emerged from the severe upheavals endured by Spain throughout
the 19th century, the exhibition highlights how these artists evolved. Oscillating between
respect for Hispanic traditions and modernity, their works were part of the contemporary
surge to broaden horizons that arose among the Spanish avant-garde.
Although it is extraordinarily rich and varied, Spanish art at the dawning of the 20th century is still
relatively little known outside Spain. And yet the years between Goya’s death and Picasso’s
Cubist period span several fascinating decades which bore the first fruits of Spanish modern art.
With this exhibition, the Fondation de l’Hermitage is offering its visitors the opportunity of
discovering some of Spain’s hidden treasures, many of which will be seen in Switzerland for the
first time.
With some one hundred paintings, the event will be bringing together the most significant artists
of the time (Anglada, Beruete, Casas, Mir, Picasso, Pinazo, Regoyos, Rusiñol, Sorolla, Zuloaga).
The vast majority of works are from public Spanish museums (the Prado, the Sorolla Museum, the
Thyssen-Bornemisza Museum, the Valencia Fine Arts Museum), as well as from private Spanish
collections. Some major paintings from the Musée d’Orsay and the Musée Rodin will complete
this rigorous selection of exceptional works.
Project Director: Juliane Cosandier, director of the Fondation de l’Hermitage
Curator : William Hauptman, art historian and author of the catalogue raisonné on Charles Gleyre,
who has curated several important exhibitions at the Fondation de l’Hermitage, such as L’âge
d’or de l’aquarelle anglaise (1999), L’impressionnisme américain (2003), Impressions du Nord, La
peinture scandinave (2005) and La Belgique dévoilée (2007).
Catalogue : Published jointly with Editions 5 Continents in Milan, with a preface by Juliane
Cosandier and colour reproductions of all the works displayed, the catalogue includes articles by
William Hauptman and Blanca Pons-Sorolla, the great-granddaughter of the artist Joachín
Sorolla. The catalogue also includes a biography of each artist and a bibliographical section on
reference works.
The exhibition and catalogue have so far been generously supported by
and the Fondation pour L’Art et la Culture.
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PRACTICAL INFORMATION
PRACTICAL INFORMATION
Title
El Modernismo
From Sorolla to Picasso, 1880-1918
Venue
2, route du Signal
CH – 1000 Lausanne 8 Bellevaux
tel. +41 (0)21 320 50 01
www.fondation-hermitage.ch
[email protected]
Director
Juliane Cosandier
Dates
28 January – 29 May, 2011
Exhibition hours
Tuesday to Sunday 10.00 – 18.00, Thursday open till 21.00, closed on Monday
Open on Easter Monday (25 April) 10.00 – 18.00
Admission fees
adults : CHF 18.Senior citizens : CHF 15.Students and apprentices over 18, unemployed : CHF 7.Disabled visitors (with AI card) : CHF 13.Youngsters under 19 : free
Reduced prices for groups of 10 or more
Payment accepted in Euros
Number of works
100
General Curator
Juliane Cosandier, assisted by Florence Friedrich
Curator
William Hauptman
Catalogue
Publisher
160 pages, 22 x 27 cm, 100 full-page colour illustrations
Fondation de l’Hermitage, joinly with Cinq Continents Editions, Milan
Exhibition-related activities
and events
guided tours
Art & Gastronomy evenings
Art & Brunch Sundays
Lectures and concert
For children and schools
Workshop-tours for children, workshop-tours for children and adults,
Children’s quiz tours, educational file and special guided tour for teachers
Café-restaurant L’Esquisse
+41 (0)21 320 50 07 or www.lesquisse.ch
Access by bus
bus n° 3, 8, 22 or 60 : bus-stop Motte, or bus n° 16 : bus-stop Hermitage
Access by car
follow signs after motorway exits Lausanne-Blécherette (n° 9) or Lausanne-Vennes
(n° 10), car park Place des Fêtes at Sauvabelin
Next exhibition
Van Gogh, Bonnard, Vallotton…
The Arthur & Hedy Hahnloser Collection
24 June - 23 October, 2011
Press Contact person
Emmanuelle Boss, [email protected]
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CATALOGUE EXCERPT
CATALOGUE EXCERPT
Une certaine vision de l’Espagne
« Un voyage en zigzag en Espagne serait un voyage de découvertes. »
Victor Hugo, En voyage, Alpes et Pyrénées, 1890
More than most European countries, France has had an unusual interest in the exoticism and
culture of its southern neighbor, but not always in the most affirmative light. During much of the time, the
popular French belief was that Spain was an inscrutable country of strange disparities: while it had the traits
of an idealistic, impractical, courtly Don Quixote, it also possessed the foolishness and ignorance of
Sancho Panza. Despite the appeal of Spain as a curious foreign land, at once aristocratic and poor, mystic
and terrestrial, much of the image of Spain in France—and perhaps the rest of Europe—before the middle
of the 19th century was seen largely as a backward country far removed from the enlightening forces of the
rest of Europe. Montesquieu thought it a country replete with idle noblemen, mass ignorance, ignoble
cruelty, religious fanaticism, and social decay. Voltaire voiced the notion that the Spain of his time was the
very symbol of the pre-Enlightenment world, a country that had ruthlessly and materialistically imposed its
will and rule on the New World for its own immoral profit; it is little wonder that he pronounced that Spain
“ne mérite pas la peine d’être connu.” For Victor Hugo, the inimitable contrasts of the country were at once
attractive and bizarre: “O Espagne décrépite! O pays tout neuf! Grande histoire, grand passé, grand avenir!
présent hideux et chétif! O misère! O merveilles! On est repoussé, on est attiré . . . c’est inexplicable.” Such
ideas were frequently expressed without having visited the country situated beyond the Pyrenees, which
determinedly preserved its autonomy and sometimes a self-imposed isolation from the rest of Europe. Even
the Romantic writers, who frequently used Spanish lore and history as motifs for their works, rarely chose to
go to Spain, although Hugo, Sand, and Stendhal are notable exceptions. In the absence of first-hand récits
de voyage, what was generally thought about Spain was to be found in countless roguish contes of
gypsies, brigands, colorful scoundrels, and other typecast figures that permeated the popular imagination.
Only with Théophile Gautier’s Voyage en Espagne, published in full in 1843 after a Spanish sojourn
three years earlier, did the French public have a reliable, if still romanticized notion, of its landscape,
customs, and culture. Assured by the image of Spain already digested through Balzac, Hugo, de Musset,
Vigny, Nodier, and others, Gautier was nevertheless apprehensive as he crossed the border into another
European world, as he remembered Heinrich Heine’s question to him posed during a concert by Liszt:
“Comment ferez-vous pour parler de l’Espagne quand vous y serez allé?” That Gautier did speak of Spain
with poetry and ease is an indication of his descriptive prowess—he thought of his work as a
“daguerréotype littéraire”—indeed providing his readers with an undeniably vivid, entertaining, and
attractive picture of a country that was still barely known to the north. He also dispelled the clichéd idea of
Spain that most Frenchmen had at the time: “Le type espagnol tel qu’on l’entend en France n’existe pas en
Espagne.” Gautier’s account, picturesque to an extreme, would be followed by dozens of others as the
century continued thus providing further impetus for additional voyagers curious to explore a country that
for some hardly constituted a part of Europe, an echo of the adage that “l’Afrique commence aux
Pyrénées.”
But while Spain remained an uncharacteristic country for most Frenchmen, many of the fictional
characters that formed the core of Spain’s cultural heritage had occupied a central place in French
literature for centuries. Such proverbial heroes as Le Cid (Corneille, 1636-7), Don Juan (Molière, 1665), Don
Quixote (in Lesage’s Gil Blas de Santillane, 1715-35), or Beaumarchais’ Figaro trilogy—Le Barbier de Seville
(1775), La Folle journée, ou Le Mariage de Figaro (1784), and La Mère coupable (1792)—were all icons of
Spain’s literature which then became appropriated in French culture. Nevertheless, as enduring as these
classics came to be in their diverse forms, it is not from such literary sources that most of us associate as
the customary image of Spain. The most evident vehicle from which many of our impressions of the
Hispanic spirit derive is in the form of “Spanish” music written by French composers. The most notable
examples are the incredibly durable Carmen by Bizet (1875), staged in opera houses the world over since
its ill-fated premiere, and the sensationally popular Bolero by Ravel (1928), so pervasive a composition—as
inspired by the industrial factory rhythms as by purely Spanish ones—that is played in some form
somewhere on the globe every 15 minutes. The importance of Iberian history in plot lines and distinctive
Spanish rhythms employed in French opera in the 19th century is so abundant that it could be considered a
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CATALOGUE EXCERPT
veritable fashion in the Paris opera houses. This was true to some extent in Italian music from Rossini—who
does not know that the most celebrated barber in opera comes from Seville?—to Verdi, who wrote five
operas set in Spain or which employ Spanish historical events —Ernani (Aragon and Saragossa), Alzira
(Peru), Il Trovatore (Aragon, based on the play by Antonio Garcia Gutiérrez), La Forza del Destino (Seville
and Hornachuelos), and Don Carlos (San Jerónimo de Yuste and Madrid).
What this indicates is not only the magnetism of Spanish musical exoticism, but also the projection
of a certain Spanish imprint that, however diverted in its perpetual metamorphosis, nevertheless
corresponds to our perceptions of what constitutes a native Hispanic cultural temperament. At once alien
and wholly unlike the ethnicity of its neighbors but at the same time strangely familiar, it was precisely this
sense of the atypical in European traditions that excited poets, writers, painters, and particularly French
composers in the later 19th century. If no other pseudo-Spanish cultural manifestation left such impressions
on our image of Spain as did Bizet’s Carmen (1875), dozens of French composers had already begun to
explore the dynamism of Spanish themes, rhythms, melodies, and orchestration, including at times the use
of castanets for local orchestral color. Examples include not only operas, but also such concert works such
as Édouard Lalo’s Symphonie espagnole (1874), Emmanuel Chabrier’s, Espagne (1883), which knew an
immense success after its premier, and Debussy’s Iberia (1905-8), the second segment of Images, which
presents a haunting musical poetry that acts on our imagination as an evocative incarnation of how we wish
Spain to appear, or at least sound, even though Debussy never went to Spain. All these scores, and many
more, including those by such Russian composers as Glinka—who actually lived in Spain after 1843—who
composed two Spanish overtures (1845 and 1845) and Rimsky-Korsakov, whose Capriccio Espagnol (1887)
is still widely played, in their own characteristic manner projected a Hispanic mental picture through wide
distribution—especially in recordings—that no other medium of the 19th century, including painting, could
equal.
Une peinture peu connue
“Il paraît . . . que le silence des écrivains
sur l’école espagnole est fort injuste.”
—Paillot de Montalbert,
Traité complét de la peinture, 1851.
With this image of Spain diffused perpetually in music—authentic and invented, transcribed and
modified, some of it in the later 19th and early 20th centuries from Spanish composers such as Albéniz,
Granados, Turina, and particularly De Falla—why is it that our reflection of Spain does not come from the
visual arts? Why is it that most of us can hum tunes from Bizet’s opera—as even Bart Simpson did in an
absurd episode Bart the Genius—or recognize the relentless ostinato of Ravel’s Boléro (1928) instantly,
even in a much altered version by Frank Zappa, but have difficulty in naming a single Spanish painter of the
19th century after of Goya’s death in 1828 and Picasso’s birth about a half century later? One reason clearly
is the worldwide flow of key works, such as Carmen or the Bolero, sometimes in very bizarre forms, which
have become such household staples that indeed they form an integral part of our cultural metabolism. The
process of “Hollywoodizing” the music of Spain into every conceivable appearance transformed a previous
elitism of concert music or opera into prevalent culture symbols of Spain, familiar to all and available
through almost any mass media source. Such freely available music accessible on a global scale in cinema,
television, pop culture, and other manifestations, clearly could not equal the limited exposure exhibitions or
monographs of Spanish painting afford. It is therefore not unexpected that when we consider the history of
19th century art in a global aspect, we infrequently turn our attention to Spain as a member of the artistic,
and particularly, modernistic community, with but one major exception—Picasso. So prevailing is Picasso’s
iconic stature in the art world that there is hardly an enlightened individual who does not recognize the
name or can not cite a work of his, whether out of admiration for the revolutionary manner of his vision or
from revulsion for the way in which the artist dispensed with the conventional dogmas of painting. And yet,
if we remove Picasso from the sphere of reference regarding Spanish painting from the late 19th century to
the years around the First World War, however irreverent that may seem, who remains? With whose work
among artists of the Iberian Peninsula are we familiar before Picasso, Dali, or Miro, all of whom may be
considered artists of the 20th century?
Why Spanish painting of the period is so little known was examined in an unlikely context in 1929
by Gabriel Rouchès, a conservateur-adjoint at the Louvre and a professor of art history at the École du
Louvre. In a published manual entitled La peinture espagnole. Le Moyen Age, destined “à tous ceux qui
désirent aborder l’étude de la peinture espagnole,” he began by outlining the geographical and historical
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CATALOGUE EXCERPT
circumstances that contributed to the character of Spanish art in the Middle Ages, but with notions still
applicable to his own time. He cited first as a prime cause “l’isolement de ce peuple à l’extrémité de
l’Europe,” and concluding that “L’Espagne, séparé d’autres nations, devait vivre replié sur elle-même.” The
seclusion of Spain from the rest of Europe, particularly in the 19th century, would indeed play a role in
separating its art from that of other nations, with the exception of Spanish art historians who have
continually studied the art of the period. It was not for nothing that one travel guide of 1864 noted that
“L’Europe oubliait l’Espagne,” and that since the epoch of Charles V, “l’Espagne resta complétement à
l’écart, isolée dans sa péninsule, à l’extrémité du continent européen . . .” This fact alone is significant and
in tune with not only its special character, but also the extraordinary turmoil Spain saw in this period of its
history. Toward the end of the 19th century, this very phenomenon of remoteness would become a vital
matter of debate for dozens of critics and philosophers, most notably Miguel de Unamuno, who
approached the problem of how to bring Spain and Spanish art out of this very contained border, not so
much to elevate it to the level of other art elsewhere, but in order to help preserve its character within a
unified national identity.
This lack of recognition of Spanish painting was not confined to France. Even in the revisionist art
history of the 1970s, where traditional and avant-garde paintings were reexamined, Spanish painting of the
19th century received little focus outside Spain. In examining Robert Rosenblum’s and Horst Janson’s
monographic panorama of 19th-centry art, we find, surprisingly, a noticeable paucity of Spanish artists
mentioned, despite the fact that the book is replete with significant and less significant artists placed within
respective cultural contexts. Of the early years of the century, Goya is rightfully seen as an important
precursor of many styles and ideas that would forge the following century, particularly Goya’s later, very
fearsome paintings which are understood within the context of Romanticism as a whole and decidedly the
product of Spanish society, culture, and politics. But in the section devoted to the years 1815-1848, there
are discussions of diverse painters from France, England, Germany, Austria, Russia, America, Belgium,
Holland, Switzerland, and even Portugal (Domingos Antonio de Sequiera), but not a single Spanish painter.
In the section devoted to the years 1848-1870, even though Spanish scenes are illustrated by a variety of
non Iberian painters, especially Manet and others, only one Spanish artist is cited: Jenaro Pérez Villamil, a
minor Galician painter, known for his majestic scenes of the Spanish mountains and religious processions.
Only in the last section, covering the years 1870-1900, do we find Mariano Fortuny, whose reputation was
international but who remained essentially a conservative painter, or Fernand Pelez, a Paris-born painter of
Spanish origin with Socialist leanings. In Janson’s chapters on sculpture not a single Spanish artist is
included.
What may be made of this curious situation? Can it be inferred that no Spanish painters of the
period were worthy of inclusion in histories of 19th-century art between Goya and Picasso? Without
immense knowledge of the period, we can sense instinctively that this could hardly be the case. If we
review some of the Spanish histories of art, we learn that not only did a thriving school indeed exist in the
main centers of Barcelona and Madrid, but that its character was wide-ranging, bountiful, and in some
cases astonishingly original. To be sure, the painters who pushed and cajoled Spain into the modern era in
art are hardly familiar names: Bereute, Rusiñol, Casas, Anglada, Pinazo, Mir, Regoyos, and many others,
are all but forgotten figures outside of Spain who nevertheless decidedly contributed to the character of
Spanish painting at the dawn of the 20th century. On the international level, only two Spanish painters with
the exception of Picasso can be said to have achieved noteworthy status outside of their native country,
Joaquín Sorolla and Ignacio Zuloaga, both of whose works were purchased with the enthusiasm we
associate with international stars and with prices in accord with their celebrity. But even these names
remain alien to most; the former less so as a result of major exhibitions in Europe and America in recent
years, while Zuloaga figures in non-Hispanic histories only infrequently, if at all. And yet in their day both
painters were widely hailed as indelible voices of contemporary Spanish painting, the true representatives
of the espirítu del alma espagñola, moreso than either the “Spanish” creations of others, including Bizet or
Ravel.
In 1805, the writer Louis de Marcillac remarked in his Nouveau voyage en Espagne that the
European traveling to Spain through the Pyrenees needed only six minutes to cross the border bridge of the
Bidassoa River in order to enter Irún, the first Spanish town. But here, he remarked, the air was already
different, by now fresh, exotic, and foreign, clearly detached from the European locus from which the
traveler departed. He might have added that crossing the bridge also led the traveler to a wholly different
cultural environment which painters of the late 19th and early 20th centuries tried to capture in an idiom that
was native to their traditions. It is in this perspective that the Foundation de l’Hermitage has undertaken to
mount an exhibition devoted to the main trends in Spanish art during the late 19th and early 20th centuries
when Spain’s artistic voice, the heirs of Velasquez and Goya, was revived after a noticeably fallow period.
The exhibition reinforces the notion that much European art outside of the perpetual French locus remains
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CATALOGUE EXCERPT
little known in Switzerland and indeed, with the exception of a previous exhibition at the Hermitage of
treasures from Barcelona, or works by Picasso included in varied exhibitions, Spanish art has never entered
into its program of art historical exploration of the period. The exhibition at the same time continues the
path of exploring subjects of 19th century art often overlooked by museums who too frequently mount
manifestations of exceedingly familiar names to guarantee stellar crowds. In concentrating on the Spanish
achievement in painting during the generation before the War, an area hardly collected by Swiss museums
with the exception of Picasso’s work, the exhibition reveals a compelling school in itself, inspired by, but
sometimes independent of, other European trends that had nurtured its emergent roots. It offers yet another
exploration into a neglected school of 19th century painting that sparkles with originality, innovation, and
diversity, at once foreign, but also oddly familiar. An important consequence of the exhibition is a view of
the painterly milieu from which such giants of the 20th century as Picasso, Miro, and Dali emerged and
developed.
William Hauptman
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TIMELINE
TIMELINE
1808
King Charles IV (1788-1808) is overthrown by Napoleon who has invaded Spain;
Napoleon installs his brother Joseph Bonaparte, king of Naples, on the Spanish
throne. The date marks the beginning of the Franco-Spanish war.
1813
The Anglo-Spanish Alliance and the liberation of Spain. The defeated
French army leaves the country. Ferdinand VII (1814-1833) becomes king and
proclaims the restoration of absolutism.
1819
The Prado opens its doors in Madrid.
1820
Outbreak of the Spanish Civil War between royalists and liberals.
1828
Death of Goya (born in 1746) in exile in Bordeaux.
1833
Death of Ferdinand VII. Following the abolition of Salic Law established by
Ferdinand VII, his daughter becomes Queen Isabella II. The accession of a woman
to the throne triggers the first Carlist War : it opposes supporters of the Pretender,
Infante Charles of Spain, brother of deceased Ferdinand VII, and the liberals,
supporters of Queen Isabella II.
1840
Théophile Gautier travels all over Spain; his book, Voyage en Espagne, initially
entitled Tra los Montes, is published three years later.
1845
Carmen by Prosper Mérimée is published in the Revue des deux mondes. Birth of
Aureliano de Beruete y Moret.
1846
Second Carlist War.
1849
Birth of Ignacio Pinazo Camarlench.
1857
Birth of Darío de Regoyos y Valdés.
1861
Birth of Santiago Rusiñol y Prats.
1863
Birth of Joaquín Sorolla y Bastida.
1865
Manet’s journey to Spain.
1866
Birth of Ramon Casas i Carbó.
1867
Birth of composer Manuel de Falla.
1868
Coup d’État led by General Prim succeeds in forcing Queen Isabella II to leave the
country. End of the Bourbon Monarchy proclaimed by the Cortes.
1870
Birth of Ignacio Zuloaga y Zabaleta.
1871
Birth of Hermenegildo Anglada-Camarasa. Amédée of Savoie is proclaimed King,
only to abdicate two years later.
1872
Third Carlist War.
1873
Parliamentary proclamation of the First Spanish Republic.
1874
Bourbon Restoration in the person of Alfonso XII.
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TIMELINE
1875
First performance of Bizet’s Carmen in Paris. New Spanish constitution following
the Third Carlist War.
1877
Opening of the Sala Parés, the first modern art gallery in Barcelona.
1878
Beginning of Gaudí’s career.
1881
Birth of Pablo Ruiz Picasso. Casas studies in Paris.
1882
Miquel Utrillo y Morlius moves to Paris.
1884
Rusiñol exhibits in Barcelona.
1885
Death of Alfonso XII at the age of 28.
1888
Opening of the Universal Exhibition in Barcelona. Triumph of Modernism. Regoyos
exhibits in Brussels with the XX.
1889
Casas and Rusiñol exhibit at the Sala Parés.
1890
Casas, Rusiñol and Utrillo share a flat near the Moulin de la Galette in Paris.
1892
First “festiva modernista” at Sitges organized by Rusiñol.
1893
Formation in Barcelona of the independent Colla del Safrá group including, more
particularly, painters Isidre Nonell i Monturiol and Joaquim Mir i Trinxet. Anarchy
surges through the Catalan city with the terrorist attack on the Gran Teatre del
Liceu in Barcelona. Birth of Juan Miró. Sorolla wins an award at the World’s
Columbian Exposition in Chicago.
1895
Publication of El torno al casticismo by Miguel Unamuno, urging Spanish artists to
revive the traditions of their country.
1897
Opening of the café-restaurant Els Quatre Gats in Barcelona which becomes the
main centre of Modernism.
1898
Publication of España negra by Émile Verhaeren, illustrated by Regoyos. Spain is
defeated by the United States and loses her last colonies. It marks the end of a
period of decline that has lasted since the 17th century. Intellectual circles search
for the reasons for Spain’s slow deterioration and decide to give a new impetus to
the world of arts : the birth of the Generación del 98.
1900
Picasso’s first exhibition at the café Els Quatre Gats and first trip to Paris. First
modern art exhibition in Bilbao. Sorolla is awarded the Grand Prix at the Exposition
Universelle in Paris.
1902
Nonell exhibits at the Sala Parés. Anglada exhibits in Brussels with the Libre
Esthétique group. Alfonso XIII accedes to the Spanish throne.
1904
José de Echegary y Eizaguirre is the first Spaniard to receive the Nobel Prize for
Literature. Birth of Salvador Dalí. Anglada exhibits at the Wiener Secession with
Klimt.
1905
Zuloaga travels to Madrid with Rodin.
1906
Gaudí adds the finishing touches to the Casa Batlló in Barcelona.
1907
Picasso paints Les demoiselles d’Avignon.
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1909
Return of anarchy to Barcelona.
1911
Death of Nonell in Barcelona.
1913
Death of Regoyos in Barcelona.
1914
Outbreak of the First World War. Spain is neutral.
TIMELINE
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LIST OF LENDERS
LIST OF LENDERS
Barcelone
Fundación Francisco Godia
MNAC – Museu Nacional d’Art de Catalunya
Bilbao
Museo de Bellas Artes de Bilbao
Castres
Musée Goya, Musée d'art hispanique
Godella
Casa Museo Pinazo
Madrid
Fundación Banco Santander
Museo Nacional del Prado
Museo Sorolla
Fundación Colección Thyssen-Bornemisza
Oviedo
Colección Masaveu
Paris
Centre Pompidou, Musée national d'art moderne/Centre de création industrielle
Musée d’Orsay
Musée Rodin
Pau
Musée des beaux-arts de Pau
Sitges
Museu Cau Ferrat
Valence
Museo de Bellas Artes de Valencia
Vevey
Musée Jenisch Vevey
Zurich
Fondation Collection E. G. Bührle
as well as many private collections.
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LIST OF WORKS
LIST OF WORKS
Artists are listed in alphabetical order
Joaquín Agrasot y Juan (1836–1919)
Un jardín valenciano (Un jardin à Valence), sans date
huile sur toile, 61 x 116 cm
Museo de Bellas Artes de Valencia, n° inv. 2581
Hermenegildo Anglada-Camarasa (1871–1959)
Paris la nuit, 1900
huile sur bois, 22,7 x 35 cm
Colección Masaveu, n° inv. F/M. 302
Flamenco, 1901
El Palco (Le balcon), 1901-1902
Ricardo Canals y Llambí (1876–1931)
En el bar (Dans le bar), vers 1910
MNAC – Museu Nacional d’Art de Catalunya,
Barcelone, n° inv. 10943
Ramon Casas i Carbó (1866–1923) et Maurice Lobre
(1862–1951)
Retrato en el espejo, París (Portrait dans le miroir,
Paris), 1882
huile sur toile, 60,7 x 73,3 cm
Colección Carmen Thyssen–Bornemisza,
en depósito en el Museo Thyssen-Bornemisza, Madrid,
n° inv. CTB.1997.27
Gitanas con perros (Gitanes avec chiens), 1904
Ramon Casas i Carbó (1866–1923)
Interior (Intérieur), vers 1890
Mur céramique, 1904
huile sur toile, 32,5 x 41 cm
Chula (L’effrontée), 1897-1898
Colección Masaveu, n° inv. C/TV. 178
Aureliano de Beruete y Moret (1845–1912)
El rio Isole (Quimperlé) (La rivière Isole à Quimperlé)
1901
Museo de Bellas Artes de Bilbao, n° inv. 04/1
Lavaderos del Manzanares (Lavandières du
Manzanares), 1904
Museo Sorolla, Madrid, n° inv. 01297
Los Cigarrales (Les Cigarrales), vers 1905
Musée d’Orsay, Paris, en dépôt au Musée Goya de
Castres, n° inv. D 49-1-3
Convento Santo Espiritu, Segovia (Le couvent SaintEsprit, Ségovie), 1908
huile sur toile, 67 x 100,5 cm
Museo de Bellas Artes de Valencia, colección de la
Real Academia de San Carlos, n° inv. 829
El Tajo, Toledo (Le Tage, Tolède), 1908
Vue de Tolède, sans date
Musée des beaux-arts de Pau, n° inv. 04.8.1
Montserrat Casas de Nieto, en traje de noche
(Montserrat Casas de Nieto en robe de soirée), 1904
Colección Santander
Antonio Fillol Granell (1870–1930)
Después de la refriega (Après l’escarmouche), 1904
Eliseo Meifrén y Roig (1859–1940)
Contraluz (Contre-jour), vers 1921
Nocturno (Palma de Mallorca) (Nocturne, Palma de
Majorque), sans date
Colección Carmen Thyssen-Bornemisza, en depósito
en el Museo Thyssen-Bornemisza, Madrid,
n° inv. CTB.1997.76
Paisaje nocturno (Paysage nocturne), sans date
en el Museo Thyssen-Bornemisza, Madrid,
n° inv. CTB.2000.33
12
El Modernismo
Joaquim Mir i Trinxet (1873–1940)
L’arbre gran. Sa Calobra (Le grand arbre. Sa Calobra)
vers 1903
Fragmento de la decoración del comedor grande de la
casa Trinxet (Fragment de la décoration de la grande
salle à manger de la maison Trinxet), vers 1903
Fundación Francisco Godia, Barcelone
Vista de l’Aleixar (Vue de l’Aleixar), 1915
Isidre Nonell i Monturiol (1872–1911)
La Pelona, 1904
huile sur carton, 67 x 54 cm
Pura, la gitana (Pura, la gitane), 1906
Francisco Oller y Cestero (1833–1917)
Bords de Seine, 1875
Musée d’Orsay, Paris, don du Dr R. J. Martinez, 1953,
n° inv. RF 1953-19
Pablo Ruiz Picasso (1881–1973)
Le bassin ou La fontaine dans le cloître de la cathédrale
de Barcelone, 1899
Musée Jenisch Vevey, legs d’Alain Ollivier, 1994,
n° inv. P 833
LIST OF WORKS
El molino, Godella (Le moulin, Godella), 1875
Casa Museo Pinazo, Godella, n° inv. 268
Paisaje con río (Paysage avec rivière), 1878
huile sur bois, 10 x 18 cm
Pantéon de Agripa (Le Panthéon d’Agrippa), 1880
huile sur bois, 33 x 19,5 cm
Niña (Fillette), 1882-1883
Museo Nacional del Prado, Madrid, n° inv. P04581
Ermita de Godella (L’ermitage de Godella), 1883
Mi familia en el campo (Ma famille dans les champs)
vers 1885
huile sur bois, 10,5 x 18,3 cm
Nieve en Valencia (Neige à Valence), vers 1885
Valencia nevada (Valence enneigée), vers 1885
Mujer con pavos (Femme avec dindons), 1888
Calle de Godella (Ruelle de Godella), 1890
Le french cancan, automne 1900
huile sure toile, 46 x 61 cm
collection privée
Alameda de Valencia (Peupleraie de Valence), 1895
Les courses à Auteuil, 1901
collection privée, Europe
Ofrenda de flores (Offrande de fleurs), 1898
Portrait de Gustave Coquiot, vers 1901
Fondation Collection E. G. Bührle, Zurich, n° inv. 79
Autorretrato con sombrero (Autoportrait au chapeau)
1901
Devant l’église, 1901-1902
Fondation Collection E. G. Bührle, Zurich, n° inv. 80
Ignacio Pinazo Camarlench (1849–1916)
Pintando en el jardín (Peignant dans le jardin), 1874
La cruz del molino en Godella (La croix du moulin à
Godella), 1916
Almendros en flor (Amandiers en fleur), sans date
Pintando en el parque (Peignant au parc), 1874
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El Modernismo
Autorretrato en el espejo (Autoportrait dans le miroir)
sans date
Campamento de gitanos (Campement de gitans)
sans date
Cazando mariposas (À la chasse aux papillons)
sans date
Domingo de Ramos en Godella. Calle en fiesta
(Dimanche des Rameaux à Godella. Ruelle en fête)
sans date
Escena de playa (Scène de plage), sans date
Fuegos artificiales (Feux d’artifice), sans date
Jardín (Jardin), sans date
Las calderas de Borbotó (Les chaudrons de Borbotó),
sans date
Marina. Paisaje con luna (Marine. Paysage avec lune)
sans date
Mastiles y velas (Mâts et voiles), sans date
Paisaje con figuras (Paysage avec personnages)
sans date
Romería (Pèlerinage), sans date
Cecilio Pla Gallardo (1859–1934)
La Mosca, vers 1897
La esposa del pintor (L’épouse du peintre), sans date
LIST OF WORKS
Darío de Regoyos y Valdés (1857–1913)
Paisaje nocturno nevado (Haarlem) (Paysage nocturne
enneigé, Haarlem), 1886
Colección Carmen Thyssen-Bornemisza,
en depósito en el Museo Thyssen-Bornemisza, Madrid
n° inv. CTB.1995.27
Toros en Pasajes (Taureaux à Passages), 1898
Santiago Rusiñol y Prats (1861–1931)
Patio (Cour), vers 1887
Casa de préstamos, Paris (Mont-de-piété, Paris), 1889
Museu Cau Ferrat, Sitges, n° inv. 30.772
Barcas en el Sena (Bateaux sur la Seine), vers 1894
Señorita Nantas (Mademoiselle Nantas), vers 1895
Retrato de Modesto Sánchez Ortiz (Portrait de Modesto
Sánchez Ortiz), 1897
La Glorieta (Aranjuez), avant 1909
Musée d’Orsay, Paris, n° inv. RF 1980-22
El embarcadero, Aranjuez (L’embarcadère, Aranjuez)
1911
Barcelone, n° inv 4049
Joaquín Sorolla y Bastida (1863–1923)
El niño Jaime García Banús (Le petit Jaime García
Banús), 1892
María Clotilde, 1900
collection privée
Jacinto Felipe Picón y Pardiñas, 1904
María enferma en El Pardo (María malade au Pardo)
1906
collection privée
14
El Modernismo
María en la playa de Zarauz (María sur la plage de
Zarauz), 1906
collection privée
María vestida de labradora valenciana (María en
costume de paysanne valencienne), 1906
collection privée
Sol poniente, Biarritz (Soleil couchant, Biarritz), 1906
Jardines de La Granja (Jardins de La Granja), 1907
collection privée
María en los jardines de La Granja (María dans les
jardins de La Granja), 1907
Maria mirando los peces. Granja
(Maria regardant les poissons. Granja), 1907
collection privée, Europe
Jardines del Alcázar de Sevilla en invierno
(Jardins de l’Alcázar de Séville en hiver), 1908
collection privée
Pescadora con su hijo, Valencia
(Pêcheuse avec son fils, Valence), 1908
María con blusa rosa (María en blouse rouge), 1910
collection privée
Mi mujer y mis hijas en el jardín (Mon épouse et mes
filles au jardin), 1910
Traineras. Puerto de Zarauz (Bateaux de pêche. Port de
Zarauz), 1910
huile sur toile, 68 x79 cm
María la guapa (La belle María), 1914
Fundación Museo Sorolla, Madrid, n° inv. 01039
Madre e hija. Playa de Valencia (Mère et fille. Plage de
Valence), 1916
collection privée
LIST OF WORKS
Adelfas en el patio de la casa Sorolla
(Lauriers roses dans la cour de la maison Sorolla)
vers 1918
collection privée
Retrato de Unamuno (Portrait de Unamuno), vers 1920
Joaquim Sunyer i de Miró (1874–1956)
Place Pigalle, París, 1904
Pablo Uranga Dias de Arkaia (1861–1934)
Portrait d’Ignacio Zuloaga, 1893
Castres, n° inv. D 49-1-6
Pere Ysern Alié (1875–1946)
Bohemia, París (Bohème, Paris), 1901
Ignacio Zuloaga y Zabaleta (1870–1945)
La partición del vino (La distribution du vin), vers 1900
Las tres primas (boceto)
(esquisse pour Les trois cousines), vers 1903
huile sur carton, 24,5 x 31 cm
Le maire de Torquemada (El alcalde de Torquemada)
1905
Musée Rodin, Paris ; donation Auguste Rodin, 1916
n° inv. P 7346
Le palais des rois d’Aragon à Tarassone, avant 1926
huile sur toile, 97,5 x x76,6 cm
Centre Pompidou, Musée national d’art moderne,
Paris, en dépôt au Musée des beaux-arts de Pau, legs
M. Cosson, 1926, n° inv. JP 417 P
Portrait de jeune fille, sans date
Musée Jenisch Vevey, legs de Barbara Daelen, 1998
N° inv. P908
Niños en la playa, Valencia (Enfants à la plage,
Valence), 1916
collection privée
15
El Modernismo
BIOGRAPHICAL NOTES
BIOGRAPHICAL NOTES
Joaquín Agrasot y Juan (1836–1919)
Born in Orihuela, south of Valencia, Agrasot began his artistic formation in his native city before acquiring a
grant to study in Valencia. He began exhibiting in 1860, won a medal, and was awarded a second grant to
study in Rome in 1861. Here he came under the influence of the leading Spanish painter, Marià Fortuny,
who won renown for his colorful costume and historical paintings. After the latter’s death in 1874, he
returned to Valencia where he settled for the rest of his life. Much of his painting follows the style of Fortuny
with acute, chromatic renditions of figures and historical scenes. But in his later years, he was drawn to
landscape and absorbed Impressionist techniques in delineating light and shade in a manner similar to
Sorolla and Pinazo. His works were shown in the Exposition Universelle in Barcelona in 1888 and were
sought after by numerous important collectors both in Spain and in the United States.
Hermenegildo Anglada-Camarasa (1871–1959)
Anglada, born in Barcelona, worked first with Modest Urgell, who taught many of the modernists at the
Llotja. In 1894, Anglada moved to Paris where he studied with Jean-Paul Laurens and Benjamin Constant,
both respected Academic painters. While studying in their studios, Anglada joined various bohemian
groups of painters and writers, many of them Spaniards in Paris, painting the gaiety of the nightlife in a
manner that was extremely free and robust. Some of his paintings, influenced in part by the works of
Toulouse-Lautrec, were seen as influential not in only in Picasso’s early Paris period, but also on
Kandinsky’s vivid color paintings. His exhibition in 1900 in Barcelona had an important impact in
introducing Post-Impressionist trends. In 1901 he began to exhibit his works in Germany and then in Spain
and South America. His interest in Spanish folklore—the subjects of many of his later paintings—was not
based on nationalistic pride, but rather as a vivid source of light, color, and patterns. Anglada’s work,
curiously, was very much sought after by Russian collectors: Maxim Gorky was an avid admirer, and the
visionary stage director Vsevolod Meyerhold produced a play in St. Petersburg based on his paintings. After
1914, his works centered on landscapes in Mallorca and became more traditional in their technique and
outlook.
Aureliano de Beruete y Moret (1845–1912)
Beruete, born in Madrid, was first a lawyer and politician before his interests turned to painting. Like most
Spanish landscapists of his generation, he was a student of Carlos de Haes, a transplanted Dutch painter,
who helped introduce landscape painting from direct observation. He was one of the first Spanish painters
of the period to work Paris, arriving there in1878 where he quickly fell under the influence of the Barbizon
school and then the Impressionists. Among his contemporaries, Beruete was probably the only painter who
remained within the bounds of Impressionism throughout his artistic career. He was one of Sorolla’s trusted
friends; after Beruete’s death, Sorolla organized the first retrospective exhibition of his works. Beside his
active career as a painter, Beruete was also an avid historian of Velasquez whose biography he published in
1898. He was also a director of the Prado, exhibiting the large works by Velasquez in a prominent position.
As a member of the committee organizing the Spanish pavilions in the Exposition Universelle of 1889 and
1900, he came into contact with dozens of important artists, including Sargent, whose works he greatly
admired.
Ricardo Canals y Llambí (1876–1931)
Born in Barcelona, Canals became a regular at El Quatre Gats where he formed a long relationship with
Picasso and Nonell with whom he traveled. He joined the Colla de Soffra group with Mir and others. In
Paris, he frequented not only Picasso, but was also influenced by the bohemian nightlife scenes of
Toulouse-Lautrec and Anglada. He adopted a bold vigorous style in his images of Spanish dancers and
café scenes. He was also a very accomplished engraver who taught the technique to Picasso in 1900. In
Paris, Picasso and Canals even photographed each other in their respective studios. Much of Canals’s
work was influenced by Picasso, but his independence is also in evidence in much of his café scenes.
16
El Modernismo
BIOGRAPHICAL NOTES
Ramon Casas i Carbó (1866–1923)
Casas, the son of a rich industrialist from Barcelona, was one of the founding members of El Quatre Gats,
the group of which included Rusiñol, Miguel Utrillo, and later Picasso. Casas and Rusiñol were the first of
the Catalan modernists to seek additional inspiration from Paris, studying with Carolus-Duran. In 1890, he
established himself in the Moulin de la Galette with Rusiñol and Utrillo. His work at this time was centered
on Parisian nightlife, particularly inspired by Toulouse-Lautrec and Steinlen, both of whom he counted as
friends. As early as 1889, he was sending works, mostly blends of Realist and Impressionist styles, to be
exhibited in the Sala Parés in Barcelona. While in Barcelona, he created a series of over 200 charcoal
drawings of the cultural luminaries, while also designing distinctive Art Nouveau posters and illustrations for
journals. His influence was felt by all the modernists afterwards, especially Mir, and Nonell, whom he helped
to support, as he did the young Picasso. In 1904, he moved to Madrid where he became a regular in
Sorolla’s studio, exhibiting in major exhibitions throughout Europe. Casas’ fame in America became very
prominent when he was patronized by Charles Deering, an American tycoon, who introduced his work to
notable members of society. As a result, Casas received dozens of portrait commissions, which he painted
in a traditional Academic style so that by the 1920s he was no longer considered among the Spanish
modernists.
Antonio Fillol Granell (1870–1930)
Born in Valencia where he flourished, Fillol Granell was one of the most important disciples of Pinazo when
the latter taught at the art academy there. He was a very versatile painter, adept in almost all genres, but
especially in Spanish costume painting and works of contemporary history. His style rarely extended to
modern experimentation, but his naturalist paintings were hardly academic and owed much to Sorolla
whom he admired fervently. He was particularly drawn to political and patriotic subjects, usually in a very
evocative manner that drew him apart from his contemporaries.
Eliseo Meifrén y Roig (1859–1940)
Born in Barcelona, Meifran began his studies at the university in medicine, but then changed to art,
enrolling in La Llotja. He then went to Paris where he became aligned with Rusiñol and Casas, but his
influences were more aligned to the Barbizon school than to Paris scenes while still depicting Spanish
dancers in the cabarets. Like many of his colleagues, he visited Italy but he was more interested in the
landscape than in antiquity. He showed his work for the first time in 1880 and then variously in Barcelona
and Paris, especially in the Salons of the Independents. During the 1890s, his work was much in demand in
Europe and the Americas, which he visited, and where he was widely collected. During this time, much of
Meifran’s work shifted to a more Impressionist style, emphasizing light and color over form, aided by his
relationship with Rusiñol in Sitges and Cadaqués where he painted numerous beach scenes often.
Joaquim Mir i Trinxet (1873–1940)
Born in Barcelona, Mir studied at the Llotja before joining the Colla del Safrà group with Canals, Nonell, and
Pichot. He was an infrequent habitué of El Quatre Gats where he met many of the modernist painters. In
1899 Mir went to Mallorca with Rusiñol where he met the mystic Belgian painter William Degouve de
Nuncques, whose work would influence his own. He was one of the rare Spanish painters of the period who
did not continue his artistic education in Paris. Working in isolated circumstances in Mallorca, Mir painted
odd landscapes in which forms and chromatic colors merged. In his first exhibition in Barcelona in 1901,
the critical reviews were positive but the public found his paintings difficult to comprehend. An accident and
psychological difficulties led to internment in a psychiatric ward between 1905-1906. Afterwards, his
paintings tended to become more mystic, more abstract, and highly colored evocations of nature rather
than topographical scenes.
Isidre Nonell i Monturiol (1872–1911)
Nonell was born into a prosperous family in Barcelona. He went to school with his childhood friend Joaquin
Mir and developed his artistic inclinations early. During his studies in Barcelona, he became friends with
members of the Saffron group, working essentially in landscape, and began to provide illustrations for the
avant-garde newspaper La Vanguardia. A turning point in his art came in 1896 when he and Ricardo Canals
spent the summer in Caldes de Boí where he saw many villagers afflicted with cretinism, which then
became the subject of many of his works. He went to Paris in 1897 with Canals and established a studio
17
El Modernismo
BIOGRAPHICAL NOTES
that, for a time, he would share with Picasso. From about 1901, the subjects of his paintings were portraits
of the poverty he saw in Paris—beggars and gypsies—in particular, as filtered through the influence of Van
Gogh’s paintings. Nonell’s melancholy works were almost always reviewed by critics as crude in technique
and austere in subject, often defined as ugly because of Nonell’s insistence on portraying their true
character. He did not have a success until an exhibition he prepared in 1910 in Barcelona, but only months
later he died from typhoid fever at the age of 38.
Francisco Oller y Cestero (1833–1917)
Oller was born in Puerto Rico where he began his studies. When he was eighteen, Oller moved to Madrid,
studying at the San Fernando. In 1858, he moved to Paris where he studied under Thomas Couture—Manet
was a classmate—and Charles Gleyre. He also worked in the Académie Suisse where he met and
befriended Cézanne. In 1859 he exhibited along with Bazille and Renoir and by the later 1860’s was already
showing tendencies toward Impressionism, which he would adopt, the first Latin American painter to do so.
Close friends with Pissarro and Doctor Gachet, he also frequented the circle of Père Tanguy from whom he
and Cézanne bought bought painting equipment. He returned to Puerto Rico in 1868 founding a school
there, while remaining in Paris until 1884. His style echoes Realist and impressionist ideas.
Pablo Ruiz Picasso (1881–1973)
Born in Malaga, Picasso began to draw with his father José Ruiz y Blasco, himself a reputed teacher. By
1892, he was studying at the local École des Beaux-Arts, and two years later some of his drawings were
published. He attended art school in Barcelona in 1895, went to Madrid in 1897, but returned to Barcelona
after he was disenchanted by his studies there. In 1899 he was introduced into the bohemian crowd of El
Quatre Gats, especially Rusinol and Casas, showing his work here in 1900. That year he left for Paris
staying with Nonell in Montparnasse. It was certainly from Nonell’s influence that Picasso embarked on his
Blue Period, which lasted from 1901 to 1904. He began as well to appear in exhibitions at Ambroise
Vollard’s gallery, gaining notoriety for his audacious works. By 1907, he had made his breakthrough
towards Cubism, along with Braque, with his painting Les Demoiselles d’Avignon. Picasso would adapt
most of the preeminent styles of the 20th century, except Abstraction, in almost every medium until his
death.
Ignacio Pinazo Camarlench (1849–1916)
Of an extremely modest background from his native Valencia, Pinazo combined his art studies with his
profession as an artisan. When his mother died, he helped support his family by painting tiles and fans and
working as a silversmith. In 1870, he entered the San Carlos Academy in Valencia to train as a painter. In
1873, he visited Rome and then from 1876 to 1881 and was able to live there from a stipend, producing
mostly historical painting, then very much in vogue. He eventually won success with his large canvases,
many of them in a traditionally realistic manner, but by the later 1870s, he abandoned historical painting in
favor of nudes and landscapes, mostly in a personal Impressionist style. While he taught in Valencia and
had many private patrons, Pinazo lived much of his later life in retreat in the village of Godella to the north
where he created a corpus of works that are intimate, nervous, vigorous, and highly personal. Light and
color in landscape became his most important subjects, often working on small surfaces for his private
interests. Unlike some of his contemporaries, he never sought international fame and rarely exhibited
outside of Spain.
Cecilio Pla Gallardo (1859–1934)
Pla, born in Valencia, was encouraged to artistic talent by his father, a professor of music. He entered the
local art school in 1878 with the idea of preparing for a career as an art teacher; one of his friends here was
Sorolla with whom he maintained a life-long friendship. He continued his studies in Madrid and then in Italy
in 1880. When he went to Paris afterwards, his work became broader and more fluid. It was said of Pla that
he followed modernist trends rather than creating them, but his work was always well received; in the Paris
Exposition Universelle of 1900, he was awarded a prestigious medal. He was highly influenced by Sorolla’s
portraits and beach scenes, employing Sorolla’s very loose brush strokes and vibrant colors, while also
catering to conservative trends. Like many Spanish painters at the time, Pla also taught in Madrid, including
the young Cubist painter, Juan Gris.
18
El Modernismo
BIOGRAPHICAL NOTES
Darío de Regoyos y Valdés (1857–1913)
Regoyos was born in Ribadesella on the northern coast of Spain near Oviedo. He spent his youth, however,
in Madrid, where his father was an architect, a teacher at the Académie Royale, and a politician. His early
tastes were geared to music and painting and in 1876 he enrolled in the Académie to work with the
landscapist Carlos de Haes. In 1880, he went to Paris for the first time, but two years later, he accompanied
his two musician friends, Arbos and Albéniz to Brussels, “un voyage de huit jours qui dura neuf ans,” as he
wrote later. Settled in Belguim, Regoyos became an active member of the avant-garde and participated in
several manifestations, including the group Les XX, of which he was a founding member. He came into
contact with Ensor, Knopff, and Rysselberghe who influenced his work in various degrees. Regoyos was
one of the few painters who experimented with Pointilisme as a result of the work he saw exhibited in Paris
and Brussels. In 1888, he accompanied the poet and critic Émile Verhaeren on a trip to Spain, which
became the basis for their joint publication, España Negre (1898). In the 1890s, he stayed in Paris many
times, meeting such luminaries as Mallarmé, Degas, Redon, Pissarro, Whistler, while enthusiastically hailing
Seurat. Always supportive of his fellow Spanish painters, Regoyos also helped initiate exhibitions of modern
French painters, as he did with a Gauguin retrospective in Bilbao in 1911. He continually exhibited in
Barcelona and Paris, but by 1911 he had contracted a cancer of the tongue, from which he died two years
later.
Santiago Rusiñol y Prats (1861–1931)
Rusiñol was one of the most important figures of this period in Spanish art. Painter, writer, collector, and
dramaturge, he was born to a wealthy family in Barcelona who had a thriving textile business. He studied
painting and drawing in secret against his family’s wishes. He was very much influenced in his youth by
Catalan artifacts including primitive ironwork, which he collected. Rusiñol went to Paris in 1889, with Miguel
Utrillo and later with Ramon Casas, while writing regular reviews for the newspaper La Vanguardia and
L’Avenç, which Casas often illustrated. Returning to Barcelona in 1894, he became the titular head of the
modernist movement. He ardently advocated his Catalan roots, writing the first prose poems in Catalan. At
the same time, he became addicted to morphine, which would haunt him for years to come. During these
years he often represented the difficulties of bohemian life—poverty, drugs, self-doubt—but in the last
years of the century, a new poetic phase entered his art through the subject of the abandoned garden. He
was also one of the first of the Spanish painters of the end of the century—with Zuloaga—to admire the
works of El Greco, two of whose paintings he purchased for his apartment, shared by Zuloaga; Erik Satie
was one of the first of his friends to be invited to admire the purchase. Among his many activities were also
opera libretti, collaborating with de Falla, and others. In Sitges, he established his studio-museum Cau
Ferrat where several festivals of modern art took place.
Joaquín Sorolla y Bastida (1863–1923)
Born to a tradesman in Valencia, Sorolla was orphaned at the age of two, his parents having succumbed to
a cholera epidemic. He began drawing as an adolescent, trained at the Academy in Valencia, and by the
age of 16 had his first studio. In the early 1880s, Sorolla traveled to Madrid and copied works by Velasquez,
whose brilliant brush work would influence him throughout his career. In 1884, he received a grant to study
in Rome where he would stay for almost five years. He began to exhibit his works in Spain and elsewhere
and in 1900 was in Paris for the Exposition Universelle where he met Sargent, Boldini, and the Dane Peder
Krøyer, all of whom provided influences for his own painting. In 1906 Sorolla had a major retrospective
exhibition at the Galerie Georges Petit—almost 500 works—and then in London in 1908 where he met his
American patron Archer Huntington. From then on, Sorolla exhibited regularly in America besides Europe,
and at the same time painted dozens of portraits of wealthy American clients. In 1911, Sorolla contracted
with Huntington to create a vast mural for the Hispanic Society of New York of the Provinces of Spain. The
project would take years to finish and exhausted Sorolla considerably. After completing the enormous
panorama, Sorolla suffered a stroke, became paralyzed, and died in 1923.
Joaquim Sunyer i de Miró (1874–1956)
Born in Sitges near Barcelona, Sunyer began his artistic training among the modernists of Barcelona,
working along side of Mir and Nonell. In 1893, he moved to Paris where he stayed until 1911, making
friends with the Spanish community there, especially Utrillo and Picasso, as well as Steinlen and Bonnard.
His first influences were from Renoir, whom he met, and Cézanne, developing an impressionist style similar
to the former, but also marked by the works of Modigliani and Marquet. He was a gifted illustrator who
19
El Modernismo
BIOGRAPHICAL NOTES
regularly sent drawing to La Vanguardia. Like many of his Spanish predecessors, especially Anglada, he
painted Parisian nightlife and cabaret scenes in both oils and pastels. In 1904, he began exhibiting with
Matisse and Vuillard, among others. When he returned to Spain, his style developed more toward a
simplified figure style based on Cézanne’s nudes and bathers, emphasizing Mediterranean colors and
pastoral scenes.
Pablo Uranga Dias de Arkaia (1861–1934)
Although little known outside of Spain, Uranga was an important painter who lived for seven years in Paris
with the sculptor Francisco Durrio. He trained in Alava and in Madrid where he was especially attracted to
Velasquez and El Greco. In Paris, Uranga became associated with the Spanish colony there, including
Regoyos, Casas and Rusiñol, but also Toulouse-Lautrec whose work he admired. While in Paris, he
became the protégé of Ignacio Zuloaga, with whom he was associated throughout his artistic life. He
exhibited first in 1897 and continued to exhibit in various cities in Spain. His style was a mixture between
traditional realist subjects, sometimes social in content, with a broad impressionist handling of color and
brush.
Père Ysern Alié (1875–1946)
Ysern studied under Pere Borrell del Caso at his private academy in Barcelona, forming a group of young
painters called El Rovell de l’Ou (“The Yoke of the Egg”). After further studies in Rome, he returned to
Barcelona before 1898, and then went to Paris with Maria Pidelasarra, where he studied and exhibited. In
1901 he won the patronage of the czar of Russia who purchased some of his paintings. He also sent back
extremely vibrant scenes of Paris life to the exhibitions in the Sala Parés in Barcelona, which caused a
sensation for the wildness of color and form. He was greatly influenced by Anglada Camarasa with whom
he painted and with whom he maintained a long friendship. Few of his paintings are known outside Spain.
Ignacio Zuloaga y Zabaleta (1870–1945)
Zuloaga, born in Eibar near San Sebastien in the Basque country, installed himself in Paris in 1889, working
first with the conventional painter Henri Gervex. His interests in the work of his avant-garde friends led him
to encounters with Degas and Toulouse-Lautrec. In 1892 he shared a studio with Santiago Rusiñol and two
years late, he went to Italy with Rusiñol with whom he established a life-long friendship. Upon his return to
Paris, he was stimulated by the work of the proto Symbolists, which led to meeting Gauguin, with whom he
would share a studio for a short time. He would add Rodin to his lists of friends shortly afterwards, with
whom he would travel, as well as Rilke, Degas, and Emile Bernard. As a long time admirer of Goya, Zuloaga
had the possibility of purchasing his house in Fuendetodos, which he helped to preserve. His interests in
the works of El Greco, of which he owned several paintings, served as a significant source for his art,
especially the portraits. Besides his paintings, Zuloaga also designed sets and costumes for some of the
operatic productions of De Falla and Granados. His work was sought after by collectors throughout Europe
and America. Portraiture has a special place in his oeuvre, especially those of artists, writers, and even
Presidents of the United States.
20
El Modernismo
ACTIVITIES & EVENTS
ACTIVITIES AND EVENTS
Public guided tours (in French)
Thursdays at 18.30 and Sundays at 15.00
Price: CHF 5.- (in addition to the admission fee)
No advanced booking. Limited number of participants
Private guided tours for groups
Guided tours are organized on request (in French, German or English)
Price: CHF 130.- (in addition to the admission fee)
Maximum 25 per group
Advanced booking
Les jeudis de l’Hermitage
Performance
Thursday, 7 April, at 19.00
« De España vengo ». Zarzuelas et mélodies espagnoles
Recital by Isabelle Henriquez, mezzo-soprano
Price : CHF 30.- (CHF 25.- reduced price). Advanced booking
Talks
Thursday, 10 March, at 19.00
La ville des prodiges. Barcelone au temps de Gaudí
by Caroline Mathieu, head curator at the Musée d’Orsay, Paris
Thursday, 19 May at 19.00
Picasso, Casas, Rusiñol : les artistes espagnols à Paris
by William Hauptman, art historian, curator of the exhibition
Information and booking : +41 (0)21 320 50 01
Joaquín Sorolla y Bastida, Mon épouse et mes filles au jardin, 1910
Colección Masaveu © photo Gonzalo de la Serna Arenillas, Madrid
CATALOGUE
Published by the Fondation de l’Hermitage, jointly with Editions 5 Continents, Milan
160 pages, 22 x 27 cm, 100 full-page colour illustrations
Price : CHF 54.The catalogue may be ordered online at www.fondation-hermitage.ch or by calling
+41 (0)21 320 50 01
21
El Modernismo
ACTIVITIES & EVENTS
ART & GASTRONOMY EVENINGS
The evening starts at 18.45 with a guided tour of the exhibition, followed at 20.00 by a gourmet
dinner with Spain as its theme at the café-restaurant L’Esquisse.
Amuse-bouche de calamars frits
Œuf cocotte à l’andalouse
Copeaux de chorizo, tomates en dés et basilic
Paella valenciana :
Daurade royale, crevettes géantes et coquillages
Riz safrané et petits pois
Crème catalane au thym citronné
Fruits frais et menthe
February : Friday 18, Saturday 26
March : Sat 12, Fri 18
April : Sat 2, Fri 8, Fri 15
May : Fri 6, Sat 7, Fri 13, Sat 21, Fri 27
Price : CHF 89.- including the guided tour and the meal, not incl. drinks
Advanced booking: +41 (0)21 320 50 01
Maximum 25
ART & BRUNCH SUNDAYS
Enjoy a delicious brunch from 10.00 at the café-restaurant L’Esquisse, followed by a guided tour of
the exhibition at 11.15.
Panier de viennoiseries
Pains campagnards
Confitures, beurre, miel, Nutella et dulce de leche
Bar à tapas :
Tomates séchées, olives noires et manchego
Poulpe mariné, ail confit
Sardines au citron, échalote
Tostados à la tomate et à l’huile d’olive
Planchette de jambons ibériques et saucisses
Tortilla de huevos y patatas
Jus de fruits frais
Café et thé
Eaux minérales
February : Sun 20
March : Sun 20, Sun 27
April : Sun 10, Sun 17
May : Sun 1st, Sun 8, Sun 22
Price : CHF 62.- including the guided tour and the brunch, with fruit juice and hot beverages
Advanced booking : +41 (0)21 320 50 01
Maximum 25
22
El Modernismo
ACTIVITIES & EVENTS
ACTIVITIES FOR CHILDREN (6 to 12 year-olds)
Children’s workshops
Discovery tour of the exhibition and painting a picture inspired by the works exhibited under the
supervision and guidance of a qualified activity leader.
February : Weds 23 at 14.00
March : Weds 2 at 14.00, Weds 16 at 14.00, Sat 19 at 14.00, Weds 30 at 14.00
April : Weds 6 at 14.00, Weds 19 at 10.00, Weds 20 at 14.00 Thurs 21 at 10.00, Weds 26 at 14h, Weds
27 at 10.00, Thurs 28 at 14.00, Fri 29 at 14.00
May : Sat 14 at 14.00, Weds 25 at 14.00
Price: CHF 10.- including the discovery tour and the materials
Length : 2 hours
Maximum 25
Advanced booking required : +41 (0)21 320 50 01
Children and Adults’ Workshops
Discovery tour of the exhibition and painting a picture inspired by the works exhibited under the
supervision and guidance of a qualified activity leader.
March : Weds 23 at 14.00
April : Weds 19 at 14.00., Weds 27 at 14.00
May : Weds 11 at 14.00, Sat 21 at 14.00
Price : children CHF 10.-, adults CHF 23.-, including the discovery tour and the materials.
Length : 2 hours
Maximum 25
Advanced booking required : +41 (0)21 320 50 01
Other workshops may be organized on request for private groups, schools or birthdays.
Quiz Tour A fun, educational way of visiting the exhibition for 6 to 12 year-olds, with a free question
board available free on request at the reception.
FOR SCHOOLS
Guided tour for teachers - Wednesday, 2 February, 2011, at 14.00 (in French)
A free guided tour of the exhibition is specially organized for teachers to enable them to prepare an
exhibition visit with their pupils.
Information and registration at: +41 (0)21 320 50 01 or on [email protected]
Educational file for teachers (in French)
An educational file is available for teachers to prepare an instructive visit of the exhibition.
It can be downloaded from our site : www.fondation-hermitage.ch
23
El Modernismo
ILLUSTRATIONS
ILLUSTRATIONS OF EXHIBITION WORKS RESERVED FOR THE PRESS
To be downloaded from www.fondation-hermitage.ch (password required)
Joaquín Sorolla y Bastida
Enfants à la plage, Valence, 1916
collection privée
© photo Gonzalo de la Serna Arenillas/Charlie Peel,
Archives BPS, Madrid
María en costume de paysanne valencienne, 1906
collection privée
© photo Gonzalo de la Serna Arenillas/Charlie Peel,
Archives BPS, Madrid
Pêcheuse avec son fils, Valence, 1908
Museo Sorolla, Madrid
© photo Museo Sorolla, Madrid
Soleil couchant, Biarritz, 1906
Coleccíon Masaveu
© photo Gonzalo de la Serna Arenillas
Santiago Rusiñol y Prats
Portrait de Modesto Sánchez Ortiz, 1897
Museu Cau Ferrat, Sitges
© photo Archives photographiques (Consorcio del
Patrimonio de Sitges), Museo Cau Ferrat, Sitges
Ramon Casas i Carbó et Maurice Lobre
Portrait dans le miroir, Paris, 1882
Colección Carmen Thyssen–Bornemisza, en depósito
en el Museo Thyssen-Bornemisza, Madrid
© photo Museo Thyssen-Bornemisza, Madrid
Eliseo Meifrén y Roig
Paysage nocturne, sans date
en el Museo Thyssen-Bornemisza, Madrid
© photo Museo Thyssen-Bornemisza, Madrid
24
El Modernismo
Pablo Ruiz Picasso
Le French Cancan, automne 1900
collection privée
© photo Patrick Goetelen, Genève
© 2011, ProLitteris, Zurich
Ricardo Canals y Llambí
Au bar, vers 1910
Barcelone
© photo Calveras/Méridas/Sagristà, MNAC, Barcelone
ILLUSTRATIONS
Aureliano de Beruete y Moret
Les Cigarrales, vers 1905
Castres
© photo P. Bru, Musée Goya, Castres
Ignacio Zuloaga y Zabaleta
Le palais des rois d’Aragon à Tarassone, avant 1926
Centre Pompidou, Musée national d’art moderne/Centre
de création industrielle, Paris, en dépôt au Musée des
beaux-arts de Pau, legs M. Cosson, 1926
© photo Jean-Christophe Poumeyrol, Musée des
beaux-arts de Pau
Anonyme, Joaquín Sorolla peignant Enfants sur la
plage à Valence, 1916 collection privée
© photo Archives BPS, Madrid
Joaquim Mir i Trinxet
Fragment de la décoration de la grande salle à manger
de la maison Trinxet, vers 1903
Fundación Francisco Godia, Barcelone
© photo Fundación Francisco Godia, Barcelone
Anonyme, Picasso à Montmartre, place de Ravignan
1904
© RMN / Jacques Faujou
25

El Modernismo - Fondation de l`Hermitage

Transcription

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