press file el modernismo - fondation-hermitage.ch€¦ · el modernismo press release 2 el...

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PRESS F ILE

Donation Famille Bugnion Fondation de l’Hermitage

El ModernismoDe Sorolla à Picasso 1880-1918

MARDI À DIMANCHE DE 10H À 18HJEUDI JUSQU’À 21H2, ROUTE DU SIGNAL LAUSANNEWWW.FONDATION-HERMITAGE.CH

Du 28 janvier au 29 mai 2011

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, MadridGraphisme Laurent Cocchi Photolitho Images 3 Impression PCL

Press release p. 2 Practical information p. 3 Catalogue excerpt p. 4 Timeline p. 8 List of lenders p. 11 List of works p. 12 Biographical notes p. 16 Events p. 21 Illustrations p. 24

Press Contact : Emmanuelle Boss – [email protected]

Fondation de l’Hermitage director : Juliane Cosandier 2, route du Signal, case postale 38 tel. +41 (0)21 320 50 01 CH - 1000 LAUSANNE 8 Bellevaux fax +41 (0)21 320 50 71 www.fondation-hermitage.ch e-mail [email protected]

El Modernismo PRESS RELEASE

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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.

El Modernismo PRACTICAL INFORMATION

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PRACTICAL INFORMATION

Title El Modernismo

From Sorolla to Picasso, 1880-1918

Venue Fondation de l’Hermitage 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 160 pages, 22 x 27 cm, 100 full-page colour illustrations Publisher Fondation de l’Hermitage, joinly with Cinq Continents Editions, Milan

Exhibition-related activities guided tours and events 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]

El Modernismo CATALOGUE EXCERPT

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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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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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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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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

El Modernismo TIMELINE

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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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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.

El Modernismo LIST OF LENDERS

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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.

El Modernismo LIST OF WORKS

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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 huile sur bois, 43,5 x 81 cm Colección Masaveu, n° inv. F/M. 307 El Palco (Le balcon), 1901-1902 huile sur bois, 23,3 x 33 cm Colección Masaveu, n° inv. F/M. 348 Gitanas con perros (Gitanes avec chiens), 1904 huile sur toile, 114 x 147 cm Colección Masaveu, n° inv. F/M. 340 Mur céramique, 1904 huile sur toile, 32,5 x 41 cm Colección Masaveu, n° inv. F/M. 365 Aureliano de Beruete y Moret (1845–1912)

El rio Isole (Quimperlé) (La rivière Isole à Quimperlé) 1901 huile sur toile, 50 x 38 cm Museo de Bellas Artes de Bilbao, n° inv. 04/1 Lavaderos del Manzanares (Lavandières du Manzanares), 1904 huile sur toile, 57,5 x 81 cm Museo Sorolla, Madrid, n° inv. 01297 Los Cigarrales (Les Cigarrales), vers 1905 huile sur toile, 67,3 x 100,6 cm Musée d’Orsay, Paris, en dépôt au Musée Goya de Castres, n° inv. D 49-1-3 Convento Santo Espiritu, Segovia (Le couvent Saint-Esprit, 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 huile sur toile, 53 x 48 cm Museo Sorolla, Madrid, n° inv. 01298 Vue de Tolède, sans date huile sur toile, 57 x 80 cm Musée des beaux-arts de Pau, n° inv. 04.8.1

Ricardo Canals y Llambí (1876–1931)

En el bar (Dans le bar), vers 1910 huile sur toile, 73 x 61 cm 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 Ramon Casas i Carbó (1866–1923)

Interior (Intérieur), vers 1890 huile sur toile, 100,5 x 81,5 cm MNAC – Museu Nacional d’Art de Catalunya, Barcelone, n° inv. 4042 Chula (L’effrontée), 1897-1898 huile sur toile, 67,2 x 55 cm Colección Masaveu, n° inv. C/TV. 178 Montserrat Casas de Nieto, en traje de noche (Montserrat Casas de Nieto en robe de soirée), 1904 huile sur toile, 198 x 101 cm Colección Santander Antonio Fillol Granell (1870–1930)

Después de la refriega (Après l’escarmouche), 1904 huile sur toile, 111 x 186 cm Museo de Bellas Artes de Valencia, n° inv. 829 Eliseo Meifrén y Roig (1859–1940)

Contraluz (Contre-jour), vers 1921 huile sur toile, 80 x 85 cm MNAC – Museu Nacional d’Art de Catalunya, Barcelone, n° inv. 10826 Nocturno (Palma de Mallorca) (Nocturne, Palma de Majorque), sans date huile sur toile, 81 x 100 cm Colección Carmen Thyssen-Bornemisza, en depósito en el Museo Thyssen-Bornemisza, Madrid, n° inv. CTB.1997.76 Paisaje nocturno (Paysage nocturne), sans date huile sur toile, 60,5 x 80,5 cm Colección Carmen Thyssen-Bornemisza, en depósito en el Museo Thyssen-Bornemisza, Madrid, n° inv. CTB.2000.33


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Joaquim Mir i Trinxet (1873–1940)

L’arbre gran. Sa Calobra (Le grand arbre. Sa Calobra) vers 1903 huile sur toile, 98,5 x 174 cm Colección Santander 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 huile sur toile, 142 x 174 cm Fundación Francisco Godia, Barcelone Vista de l’Aleixar (Vue de l’Aleixar), 1915 huile sur toile, 62,5 x 96,5 cm Museo de Bellas Artes de Bilbao, n° inv. 04/2 Isidre Nonell i Monturiol (1872–1911)

La Pelona, 1904 huile sur carton, 67 x 54 cm MNAC – Museu Nacional d’Art de Catalunya, Barcelone, n° inv. 10928 Pura, la gitana (Pura, la gitane), 1906 huile sur toile, 81 x 65,5 cm Museo de Bellas Artes de Bilbao, n° inv. 82/21 Francisco Oller y Cestero (1833–1917)

Bords de Seine, 1875 huile sur carton, 25 x 24 cm 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 huile sur toile, 61 x 51 cm Musée Jenisch Vevey, legs d’Alain Ollivier, 1994, n° inv. P 833 Le french cancan, automne 1900 huile sure toile, 46 x 61 cm collection privée Les courses à Auteuil, 1901 huile sur bois, 46,8 x 62 cm collection privée, Europe Portrait de Gustave Coquiot, vers 1901 huile sur carton, 46 x 37 cm Fondation Collection E. G. Bührle, Zurich, n° inv. 79 Devant l’église, 1901-1902 huile sur toile, 45,5 x 54 cm Fondation Collection E. G. Bührle, Zurich, n° inv. 80 Ignacio Pinazo Camarlench (1849–1916)

Pintando en el jardín (Peignant dans le jardin), 1874 huile sur bois, 29,5 x 17,5 cm Casa Museo Pinazo, Godella, n° inv. 596 Pintando en el parque (Peignant au parc), 1874 huile sur bois, 10,5 x 18,5 cm Casa Museo Pinazo, Godella, n° inv. 369

El molino, Godella (Le moulin, Godella), 1875 huile sur bois, 10,5 x 18 cm Casa Museo Pinazo, Godella, n° inv. 268 Paisaje con río (Paysage avec rivière), 1878 huile sur bois, 10 x 18 cm Casa Museo Pinazo, Godella, n° inv. 2 Pantéon de Agripa (Le Panthéon d’Agrippa), 1880 huile sur bois, 33 x 19,5 cm Casa Museo Pinazo, Godella, n° inv. 160 Niña (Fillette), 1882-1883 huile sur toile, 31 x 54 cm Museo Nacional del Prado, Madrid, n° inv. P04581 Ermita de Godella (L’ermitage de Godella), 1883 huile sur toile, 30 x 58 cm Casa Museo Pinazo, Godella, n° inv. 243 Mi familia en el campo (Ma famille dans les champs) vers 1885 huile sur bois, 10,5 x 18,3 cm Casa Museo Pinazo, Godella, n° inv. 70 Nieve en Valencia (Neige à Valence), vers 1885 huile sur bois, 40 x 33,5 cm Casa Museo Pinazo, Godella, n° inv. 116 Valencia nevada (Valence enneigée), vers 1885 huile sur bois, 23,5 x 28 cm Casa Museo Pinazo, Godella, n° inv. 13 Mujer con pavos (Femme avec dindons), 1888 huile sur bois, 13,5 x 19,5 cm Casa Museo Pinazo, Godella, n° inv. 117 Calle de Godella (Ruelle de Godella), 1890 huile sur bois, 14 x 21,5 cm Casa Museo Pinazo, Godella, n° inv. 59 Alameda de Valencia (Peupleraie de Valence), 1895 huile sur toile, 70 x 99 cm Casa Museo Pinazo, Godella, n° inv. 212 Ofrenda de flores (Offrande de fleurs), 1898 huile sur bois, 30 x 24 cm Museo Nacional del Prado, Madrid, n° inv. P04570 Autorretrato con sombrero (Autoportrait au chapeau) 1901 huile sur toile, 58 x 45 cm Museo Nacional del Prado, Madrid, n° inv. P04572 La cruz del molino en Godella (La croix du moulin à Godella), 1916 huile sur toile, 44 x 62 cm Museo de Bellas Artes de Valencia, colección de la Real Academia de San Carlos, n° inv. 742 Almendros en flor (Amandiers en fleur), sans date huile sur bois, 9,5 x 21 cm Casa Museo Pinazo, Godella, n° inv. 111


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Autorretrato en el espejo (Autoportrait dans le miroir) sans date huile sur toile, 33,5 x 27 cm Casa Museo Pinazo, Godella, n° inv. 902 Campamento de gitanos (Campement de gitans) sans date huile sur bois, 9,5 x 21 cm Casa Museo Pinazo, Godella, n° inv. 131 Cazando mariposas (À la chasse aux papillons) sans date huile sur toile, 89 x 51 cm Casa Museo Pinazo, Godella, n° inv. 345 Domingo de Ramos en Godella. Calle en fiesta (Dimanche des Rameaux à Godella. Ruelle en fête) sans date huile sur bois, 43 x 22,5 cm Casa Museo Pinazo, Godella, n° inv. 936 Escena de playa (Scène de plage), sans date huile sur bois, 10,5 x 18 cm Casa Museo Pinazo, Godella, n° inv. 254 Fuegos artificiales (Feux d’artifice), sans date huile sur bois, 17 x 19 cm Museo de Bellas Artes de Valencia, colección de la Real Academia de San Carlos, n° inv. 734 Jardín (Jardin), sans date huile sur bois, 10 x 18 cm Casa Museo Pinazo, Godella, n° inv. 935 Las calderas de Borbotó (Les chaudrons de Borbotó), sans date huile sur bois, 9,7 x 21 cm Casa Museo Pinazo, Godella, n° inv. 536 Marina. Paisaje con luna (Marine. Paysage avec lune) sans date huile sur bois, 10 x 21 cm Casa Museo Pinazo, Godella, n° inv. 449 Mastiles y velas (Mâts et voiles), sans date huile sur bois, 20,3 x 11,4 cm Casa Museo Pinazo, Godella, n° inv. 383 Paisaje con figuras (Paysage avec personnages) sans date huile sur bois, 10 x 18 cm Casa Museo Pinazo, Godella, n° inv. 338 Romería (Pèlerinage), sans date huile sur bois, 9,7 x 21 cm Casa Museo Pinazo, Godella, n° inv. 461 Cecilio Pla Gallardo (1859–1934)

La Mosca, vers 1897 huile sur toile, 135 x 77 cm Museo de Bellas Artes de Valencia, colección de la Real Academia de San Carlos, n° inv. 1250 La esposa del pintor (L’épouse du peintre), sans date huile sur toile, 122 x 151 cm Museo de Bellas Artes de Valencia, n° inv. 1269

Darío de Regoyos y Valdés (1857–1913)

Paisaje nocturno nevado (Haarlem) (Paysage nocturne enneigé, Haarlem), 1886 huile sur toile, 87 x 119 cm Colección Carmen Thyssen-Bornemisza, en depósito en el Museo Thyssen-Bornemisza, Madrid n° inv. CTB.1995.27 Toros en Pasajes (Taureaux à Passages), 1898 huile sur toile, 61 x 50 cm Museo de Bellas Artes de Bilbao, n° inv. 82/129 Santiago Rusiñol y Prats (1861–1931)

Patio (Cour), vers 1887 huile sur toile, 47,5 x 73,5 cm Museo de Bellas Artes de Bilbao, n° inv. 82/2437 Casa de préstamos, Paris (Mont-de-piété, Paris), 1889 huile sur toile, 95 x 128 cm Museu Cau Ferrat, Sitges, n° inv. 30.772 Barcas en el Sena (Bateaux sur la Seine), vers 1894 huile sur toile, 44 x 54 cm Colección Santander Señorita Nantas (Mademoiselle Nantas), vers 1895 huile sur toile, 100 x 81 cm Museu Cau Ferrat, Sitges, n° inv. 32.0033 Retrato de Modesto Sánchez Ortiz (Portrait de Modesto Sánchez Ortiz), 1897 huile sur toile, 50 x 52,7 cm Museu Cau Ferrat, Sitges, n° inv. 32.0032 La Glorieta (Aranjuez), avant 1909 huile sur toile, 102,8 x 110 cm Musée d’Orsay, Paris, n° inv. RF 1980-22 El embarcadero, Aranjuez (L’embarcadère, Aranjuez) 1911 huile sur toile, 79,5 x 97 cm MNAC – Museu Nacional d’Art de Catalunya, Barcelone, n° inv 4049 Joaquín Sorolla y Bastida (1863–1923)

El niño Jaime García Banús (Le petit Jaime García Banús), 1892 huile sur toile, 85,5 x 110 cm Museo Nacional del Prado, Madrid, n° inv. P07653 María Clotilde, 1900 huile sur toile, 110 x 80 cm collection privée Jacinto Felipe Picón y Pardiñas, 1904 huile sur toile, 65 x 98 cm Museo Nacional del Prado, Madrid, n° inv. P04654 María enferma en El Pardo (María malade au Pardo) 1906 huile sur toile, 74 x 115 cm collection privée


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María en la playa de Zarauz (María sur la plage de Zarauz), 1906 huile sur toile, 64 x 92 cm collection privée María vestida de labradora valenciana (María en costume de paysanne valencienne), 1906 huile sur toile, 189 x 95 cm collection privée Sol poniente, Biarritz (Soleil couchant, Biarritz), 1906 huile sur toile, 62 x 94 cm Colección Masaveu, n° inv. F/M. 332 Jardines de La Granja (Jardins de La Granja), 1907 huile sur toile, 81 x 106 cm collection privée María en los jardines de La Granja (María dans les jardins de La Granja), 1907 huile sur toile, 56 x 89 cm Museo Sorolla, Madrid, n° inv. 00796 Maria mirando los peces. Granja (Maria regardant les poissons. Granja), 1907 huile sur toile, 81 x 105,8 cm collection privée, Europe Jardines del Alcázar de Sevilla en invierno (Jardins de l’Alcázar de Séville en hiver), 1908 huile sur toile, 104 x 73 cm collection privée Pescadora con su hijo, Valencia (Pêcheuse avec son fils, Valence), 1908 huile sur toile, 90,5 x 128,5 cm Museo Sorolla, Madrid, n° inv. 00814 María con blusa rosa (María en blouse rouge), 1910 huile sur toile, 63,5 x 43 cm collection privée Mi mujer y mis hijas en el jardín (Mon épouse et mes filles au jardin), 1910 huile sur toile, 166 x 206 cm Colección Masaveu, n° inv. C/TV. 230 Traineras. Puerto de Zarauz (Bateaux de pêche. Port de Zarauz), 1910 huile sur toile, 68 x79 cm Colección Masaveu, n° inv. C/TV. 143 María la guapa (La belle María), 1914 huile sur toile, 125 x 100 cm Fundación Museo Sorolla, Madrid, n° inv. 01039 Madre e hija. Playa de Valencia (Mère et fille. Plage de Valence), 1916 huile sur toile, 100 x 70 cm collection privée Niños en la playa, Valencia (Enfants à la plage, Valence), 1916 huile sur toile, 70 x 100 cm collection privée

Adelfas en el patio de la casa Sorolla (Lauriers roses dans la cour de la maison Sorolla) vers 1918 huile sur toile, 52 x 71 cm collection privée Retrato de Unamuno (Portrait de Unamuno), vers 1920 huile sur toile, 143 x 105 cm Museo de Bellas Artes de Bilbao, n° inv. 82/14 Joaquim Sunyer i de Miró (1874–1956)

Place Pigalle, París, 1904 huile sur carton, 35 x 47 cm MNAC – Museu Nacional d’Art de Catalunya, Barcelone, n° inv. 3842 Pablo Uranga Dias de Arkaia (1861–1934)

Portrait d’Ignacio Zuloaga, 1893 huile sur toile, 67,5 x 54,5 cm Musée d’Orsay, Paris, en dépôt au Musée Goya de Castres, n° inv. D 49-1-6

Pere Ysern Alié (1875–1946)

Bohemia, París (Bohème, Paris), 1901 huile sur toile, 147 x 197 cm MNAC – Museu Nacional d’Art de Catalunya, Barcelone, n° inv. 11619

Ignacio Zuloaga y Zabaleta (1870–1945)

La partición del vino (La distribution du vin), vers 1900

huile sur toile, 207 x 162 cm Museu Cau Ferrat, Sitges, n° inv. 32.017

Las tres primas (boceto) (esquisse pour Les trois cousines), vers 1903 huile sur carton, 24,5 x 31 cm Colección Santander Le maire de Torquemada (El alcalde de Torquemada) 1905 huile sur toile, 197 x 185 cm 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 huile sur toile, 105,7 x 113,5 cm Musée Jenisch Vevey, legs de Barbara Daelen, 1998 N° inv. P908

El Modernismo BIOGRAPHICAL NOTES

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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.


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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


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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.


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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


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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.

El Modernismo ACTIVITIES & EVENTS

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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 Price : CHF 15.- (CHF 12.- reduced price). Advanced booking

Thursday, 19 May at 19.00 Picasso, Casas, Rusiñol : les artistes espagnols à Paris by William Hauptman, art historian, curator of the exhibition Price : CHF 15.- (CHF 12.- reduced price). Advanced booking

Information and booking : +41 (0)21 320 50 01

Joaquín Sorolla y Bastida, Mon épouse et mes filles au jardin, 1910

huile sur toile, 166 x 206 cm

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


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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


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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

El Modernismo ILLUSTRATIONS

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ILLUSTRATIONS OF EXHIBITION WORKS RESERVED FOR THE PRESS

To be downloaded from www.fondation-hermitage.ch (password required)

Joaquín Sorolla y Bastida

María en costume de paysanne valencienne, 1906 huile sur toile, 189 x 95 cm collection privée © photo Gonzalo de la Serna Arenillas/Charlie Peel, Archives BPS, Madrid


Pêcheuse avec son fils, Valence, 1908 huile sur toile, 90,5 x 128,5 cm Museo Sorolla, Madrid © photo Museo Sorolla, Madrid


Soleil couchant, Biarritz, 1906 huile sur toile, 62 x 94 cm Coleccíon Masaveu © photo Gonzalo de la Serna Arenillas

Joaquín Sorolla y Bastida Enfants à la plage, Valence, 1916 huile sur toile, 70 x 100 cm collection privée © photo Gonzalo de la Serna Arenillas/Charlie Peel, Archives BPS, Madrid

Santiago Rusiñol y Prats Portrait de Modesto Sánchez Ortiz, 1897 huile sur toile, 50 x 52,7 cm 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 huile sur toile, 60,7 x 73,3 cm 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 huile sur toile, 60,5 x 80,5 cm Colección Carmen Thyssen-Bornemisza, en depósito en el Museo Thyssen-Bornemisza, Madrid © photo Museo Thyssen-Bornemisza, Madrid

El Modernismo ILLUSTRATIONS

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Pablo Ruiz Picasso Le French Cancan, automne 1900 huile sur toile, 46 x 61 cm collection privée © photo Patrick Goetelen, Genève © 2011, ProLitteris, Zurich

Ricardo Canals y Llambí

Au bar, vers 1910

huile sur toile, 73 x 61 cm

MNAC – Museu Nacional d’Art de Catalunya, Barcelone

© photo Calveras/Méridas/Sagristà, MNAC, Barcelone

Joaquim Mir i Trinxet

Fragment de la décoration de la grande salle à manger de la maison Trinxet, vers 1903 huile sur toile, 142 x 174 cm Fundación Francisco Godia, Barcelone © photo Fundación Francisco Godia, Barcelone

Aureliano de Beruete y Moret

Les Cigarrales, vers 1905 huile sur toile, 67,3 x 100,6 cm Musée d’Orsay, Paris, en dépôt au Musée Goya de Castres © photo P. Bru, Musée Goya, Castres © 2011, ProLitteris, Zurich

Ignacio Zuloaga y Zabaleta Le palais des rois d’Aragon à Tarassone, avant 1926 huile sur toile, 97,5 x 76,6 cm 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 © 2011, ProLitteris, Zurich

Anonyme, Joaquín Sorolla peignant Enfants sur la plage à Valence, 1916 collection privée © photo Archives BPS, Madrid

Anonyme, Picasso à Montmartre, place de Ravignan 1904 © RMN / Jacques Faujou

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