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Showing posts with label Velázquez. Show all posts
Showing posts with label Velázquez. Show all posts

Thursday, June 30, 2016

Diego Velázquez, View of the Garden of the Villa Medici



Impressionists were fascinated with Veláquez: they considered him a forefather. What was that they found in him? I could assure that would be topic enough for another post...

Maybe, the best way to admire Velázquez’ innovations is observing closely these 2 tiny landscapes by him.

He’s absolutely innovating: stand-alone landscapes, which weren’t part of the decoration of any scene, painted outdoors, when oil tubes were still not invented…

He spent his 1629 Summer in Rome’s Villa Medici and today we are travelling there...


Fuentes: Bennassar, B. Velázquez.Vida. Cátedra, Madrid, 2012
Brown, J.-Garrido, C. Velázquez. The technique of genius. New Haven-London, Yale, 1998

Remember that if you are using a tablet or a smartphone and you can't see this presentation, you can access to an alternative version of it on Youtube.




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Thursday, June 23, 2016

Collector’s Soul

(Image: C.del Rosso)
The Lázaro Galdiano Museum is one of many must-see museums in Madrid. You just need to shift a bit from the path Reina Sofía-Prado-Thyssen and it’s not a small museum: you will spend some time there.

Goya, El aquelarre, 1798



José Lázaro Galdiano (1862-1947) was a very wise man, with various interests (he was an editor, bibliophilic, collector by devotion) and had a huge fortune that let him set an enormous and coherent art collection. The Museum is located in what used to be his private housing, a 4 story palace built in 1908. In 1947 he donated the whole collection to the Spanish Government. The palace was opened to the wide public as conditioned museum in 1951.








Thursday, February 25, 2016

Joaquín Sorolla, My family



We know Sorolla mostly for his awesome paintings of the sea and the beach, and for his magnificent “The Vision of Spain”, but he was also a great portraitist! Not only have kids playing in the beach posed for him, but also several illustrious people of his era, from King Alfonso XIII of Spain and the Queen, president Taft of USA, men and women of high society, intellectuals, literates, doctors…

He didn’t like being a portraitist, but he needed to make a living.  During summer, he’d paint outdoors, and in winter he’d not leave his atelier in Madrid to paint his portraits. He was really fast carrying them out: it’s always said that the painter gets tired, and the poser does so too… and it’s also needed to portray the instantaneity of the moment, which gets lost when the portrayed one gets tired of being in the same position.

Thursday, December 3, 2015

Valencia

(Imagen: C. del Rosso)



Valencia is not only beaches and oranges: it’s got a lot to show off in terms of art. It’s not a matter of luck that it’s Sorolla’s hometown.

Benlliure, J. Sorolla,  1919
(Image: C.del Rosso)




Sorolla is not an isolated case, but is just the summit of centuries of tradition, the so called Valencian School. I guess it’s that marvelous light, brighter than in other places, and its people’s aesthetical sense that make art part of daily life there. (Or is it maybe the other way around?)





Thursday, October 29, 2015

The intruder and the jealous

The contest

Velázquez, The Triumph of Bacchus, 1629
Madrid, 1623. A young 24 year old painter called Diego Rodríguez de Silva y Velázquez, was invited to join Philip IV’s Court, who was by then 18 years old.

Velázquez, Philip IV, 1623

Seville was too little  for  Velázquez: there were too many high level painters, Zurbarán, Alonso Cano, Sebastián de Llanos, Francisco Herrera; too many to make a name and receive commissions. His father-in-law, Francisco Pacheco, tried in every possible way to get Diego into the Court as painter and the fact that the Count-Duke of Olivares, who had Andalucian family, got to be the King’s right-hand man was key.






The Court’s painters were, at that moment, Eugenio Cajés, Vicente Carducho, Bartolomé González, Santiago Morán y Rodrigo de Villandrado. This last one died by 1622 and his position got soon available waiting for a new painter to be member of the Court. Pacheco and the Count of Olivares move quickly. Velázquez was called to join the Court and was commissioned a portrait of the King.



Thursday, August 6, 2015

Goya in Zaragoza

Museo Goya, Ibercaja Collection
Goya, The fight against the mamelukes, 1814 (Wikipedia)

It’s really hot: it’s the heat of summer. I didn’t even get my family to come with me: ‘A museum again’. They just don’t understand. It’s like entering to a candy shop to me! In museums is where I learn: I learn from the greatest masters. Plus, it’s fresh in there... Goya is not one of my favorites, but he is one of the greatest, and the more you study him, the more you will understand his genius.

(Image: Museo Goya)
I am talking about the Museo de Goya, Ibercaja Collection, in Zaragoza, steps away from basilica of Our Lady of Pilar. It opened this year, but we aren’t talking about a completely new museum. It was first opened in 1979 with the collection of the professor Camón Aznar, in the Renaissance palace of Jerónimo Cósida (1525). In 2008 it was remodelled, with the economical support of Ibercaja and the Real Sociedad Económica de Aragón in order to adapt it to the current needs to exhibit. And really, it was all worth it.

(Image:zaragozaturismo.es)
Its 3 floors are articulated with Goya’s shape as central concept: his precedents, his artwork and his legacy. We can also see the collection of Camón Aznar, the funds of Ibercaja and of the Real Sociedad Económica, along with some other posterior purchases. The spaces could not be better presented: from the mirror room to the chandelier for Goya’s work to the dimly light hall of engravings in a black atmosphere.

What could I tell you about my impressions on the works I saw? I keep many on mind, and I could not tell you which one is my favorite.

Self´-portrait, 1773
I was taken aback by a 27 year old Goya self-portrait... but with an incredible mastery... By then he was already in Madrid, painting tapestry sketches.











It was really interesting to see his copies of Velázquez, Menipo and Esopo, for example, or the sketches for his fresco in El Pilar “Adoration of the name of God” (1771) and his “The 2nd of May”: The fight against the mamelukes (1814): you can see his evolution, how he gains skill and spontaneity... (maybe I will choose this one as favorite...)

Adoration of the name of God, 1771


María Luisa de Parma, 1799
And the portrait of the Queen María Luisa... he did it merciless, hiding nothing, almost disdainfully... He started it in 1789 and continued it in 1799, which is why he added some wrinkles to her face and changed the dress to one more according to the changing trends.
The hall of engravings was impressive: there were around 500, organized according to his albums, so that you can have an overall vision.

In the rest of halls you can admire works by Berruguete, Pacheco, Tiépolo, Mengs, Meléndez, Fortuny, de Haes, Pradilla, Beruete, Pinazo, Palencia, Vaquero Palacios, Menchu Gal, Saura, Toral, Guayasamín, between others.






(Image: C.del Rosso)

If you ever happen to go to Zaragoza, I’d suggest going visit this museum. It won’t disappoint.









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Thursday, July 16, 2015

Holidays!!!!

Sorolla, Niños en la Playa, Valencia, 1816
Sorolla enjoyed painting his sea in Valencia! Kids always bothered him, those kids he loved to paint… You might not know how tiresome painting by the beach is: canvas will get full of sand! 

Today’s quiz:
 1)  What was the Christmas desert of the Monet family?
 2)  Who stole la Gioconda?
 3) What’s the color of humility and poverty?
 4)  Who was Velázquez’ enemy?

You can find out using our search engine, press “enter”.

Today’s game: Do you recognise what painting is this image taken from? 


Share your answer on the comment section or send me an email… Correct answer will be revealed next Thursday!


Last week’s Solution:   Braque's "Ace of Heart".

(No, it was not Picasso)


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Thursday, July 2, 2015

Holidays!!!!

Sorolla, Paseo por la orilla del mar, 1909


If only we could walk along the shore like Miss Clotilde and María Sorolla! But no, we aren´t going on holidays. But our blog will. In part to let you all rest, but also, to prepare new articles and surprises we will start adding throughout the rest of the year…

In July, we won´t have new posts published, but, so that you don´t miss us, we will suggest some lectures, games and riddles... Do you know which were the most read entries this year? Here you´ve got our ranking, in case you missed them or want to read them once again:

5) A supertechnical article… What did you like from our “The extremes meet: violet”?



















3) The most famous con; with a nazi heirarch as victim: “Vermeer”’s ‘Christ with the Adulteress’.


















1) And winner was… the essence of art by Kandinsky!








Today´s game: do you recognise what painting is this image taken from? 




Share your answer on the comment section or send us a mail! We´ll reveal the answer next Thursday!


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Thursday, January 8, 2015

Chez Carmen

Chez Carmen

My friend Carmen is keen on philosophy and is always looking forward to learning and understanding. Since it’s never enough with reading books, she tends to get some expert to talk to her about a definite interesting topic. She’d also invite some friends who share that interest with her and offering also a delicious dinner as icing on the cake.
I attended one of these some days ago, which was hosted by Asunción Domeño, who would talk about Picasso.
Picasso, The accordionist, 1911
It seems impossible to reduce Picasso’s whole career in 400 words, but I’ll try.
Asun focused on Picasso’s evolution towards cubism, or , in other words, how he started from a traditional style and ended up destroying the academical painting’s fundaments and refounded it through cubism: from the whole shape to tearing it apart in a thousand facets and presenting in a two-dimensional planes, through simultaneous perspectives or multiperspectivism, four whole dimensions: width, height, depth and temporal course of the painting’s contemplation.
He wasn’t the first one chasing this, actually Cézanne was the one… And Picasso’s fascination for  Iberic and African sculptures shouldn’t be forgotten: there are references of them in every other of his paintings (for example: "Les demoiselles d'Avignon")
Neither should be his interest in bullfighting… Nor his epoque in Barcelona where he was quite influenced by modernism. Nor his early days in the “Bateau-Lavoir” nor his friendship with Matisse


Picasso, Au bon marché, 1913
He and Braque invented a new way of painting: both of them started doing research on their own, but always keeping hold of each other through correspondence. The more the shape was broken, the less recognisable the object was, but it wasn’t their intention to leave reality aside or reach a kind of abstraction. That’s why they both start trying with pieces of that elusive reality: the “papier collés” or collages.
“Guernica” is his masterpiece: it was commissioned by the republican Goverment for the Spanish contribution for the Universal Exhibition in Paris (1937). He painted in 3 months (not such an easy task regarding the dimensions: 7’77 x 3’5 meters),in grisaille way, with no color and using around 45 previous sketches.



Picasso, Las Meninas, 1957
In his last years, his will to experiment led him close to surrealism, where figures are recognisable and volumes are found. He also starts remaking emblematic paintings like Velázquez’ ”Las Meninas”.









And to conclude, his last painting, his self-portrait: this how he looked like being 92 years old.

Picasso, Self-portrait, 1972

 And to our dear teacher, thanks for your exposition! Also to Carmen for having an actually cosy home, and for always treating us with lots of love. And of course, Resu’s work deserves to be remarked, for such a great dinner!
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Thursday, December 25, 2014

Francisco de Zurbarán, Adoration of the Shepherds

Let's celebrate Christmas doing our best: talking art.

Zurbarán is not a quite popular artist: his dark paintings don't harmonize with nowadays' tastes. However, his works are very deep and worth knowing and understanding.

He was born in Extremadura, but is considered part of the Seville School for being mainly active in Sevilla. Other artists part of this movement were  VelázquezAlonso CanoMurilloValdés Leal... But Zurbarán is undoubtedly who best represented the Counter-Reformation's spirit.

Let's know a little more about this Spanish Baroque painting.

And of course, we wish you
A MERRY CHRISTMAS!

Remember that if you are using a tablet or a smartphone and you can't read the whole post, you can access to an alternative version of it on Youtube.



Sources: Alcolea, S. Zurbarán. Barcelona, Ed. Polígrafa, 2008;
Hubala, Die Kunst des 17. Jahrhunderts, Berlin, PKG, 1990;
personal notes.
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Thursday, December 4, 2014

They’ve not always been there

Prado Museum in the Spanish Civil War

The Third of May 1808, Goya, 1814
Velázquez’s Meninas, Goya’s The Second of May… seem to always have been there hung on the Museo del Prado’s walls, but it’s not that way.

(Picture: Prado Museum)
In July 1936 the Spanish Civil War started. As a consequnce of the bombing in Madrid, and despite the flare signposting, the Museum was also bombing, but wasn’t severely damaged. Due to the advance of the franquist forces, the republican government decides to move to Valencia in November 1936. And so did the Museum’s artworks: the government considered itself the one in charge of the country’s cultural heritage, and that’s why it should be kept where the government was located. The transportation was carried out by the Junta de Defensa del Tesoro Artístico, keeping a log and a specific order. In May 1938, though, the government has to move to Catalonia, and this time, the transportation would be unlogged and chaotic. A truck carrying Goya’s The Second and The Third of May crashed against an empty house in Benicarló and a balcony fell on The Second of May: the damage caused is still visible by the left bottom corner. This is paradoxical, since this painting, which showed the horrors of another war, was damaged as a consequence of the war.
All these artworks were stored in the Peralada Castle, close to the frontiers and with a solid structure, but also a weapon storage, which could make the castle burst in any moment. In January 1939 after the defeat of Barcelona, the government moves to Figueras.

Prado Museum in 1939
(Picture: Prado Museum)
Meanwhile, the international community was getting worried about the fate of these artworks. José María Sert, artist, without a certain political allegiance, supports the formation of an international committee that would assure the protection of them in Geneva, in the League of Nations. But these weren’t allowed to take part in state issues and they didn’t want to seem to be supporting Franco. In the end, due to English and French museum’s pressure, they accept to keep the collection safe, committing to nothing else. None of the 2 sides supported this committee but they allowed them to do their will: there was no other alternative. A treaty was signed with the republicans on 2nd and 3rd February in Figueras, all in a rush, since the Franquist troops were already approaching. The paintings were taken through the French frontier between the 3rd and 4th February, using 71 trucks carrying 140 tons each, and thousands of people fleeing away. In France, the painting parted towards Switzerland by train, apparently paid by Picasso. In Geneva, an inventory of the paintings was done while the legality and competences of the International Committee were being discussed.

The artworks return, 1939
(Picture: Prado Museum)
When the war ends, the paintings had to return home: by then, the League of Nations had already recognised Franco’s government. But, before giving the paintings back, a great exhibition is carried out in Geneva, which turned out to be a great event: even the King Alfonso XIII, who was exiled in Switzerland, went to the opening and so did many other politicians and members of European Monarchies. A day after the exhibition’s ending, World War II was declared. The paintings get to cross France, which was taking part in the war, by train and with a great number of inconvenients: the artworks wouldn’t be able to cross the bridgets, the locomotive would disengage, the Meninas had fallen in the wagon making them have to stop, the last wagon would start to be on fire…On 7th July 1939, the Museo del Prado would re-open: the paintings we can enjoy today were wandering around for 3 years and a half as hostages of a fratricidal confrontation …


Note: this is a a quite simple summary of a great work by Colorado Castellary. In case you want to know more details, I suggest reading his book.

Fuentes: Colorado Castellary, A. Éxodo y exilio del Arte. Madrid, Cátedra, 2008;
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Thursday, August 21, 2014

Fire red, passion red...









Red is the color par excellence:  it’s the first kids recognise and name, it attracts us since we are young. In all cultures, it’s related to fire, and, therefore, to heat and light and to blood, life, fertility and sacrifice. Each culture adds also their own positive or negative connotations: bravery, love, hate, agression, sin or war. It’s also the color that represents all passions (good and bad ones), shame, shyness and anger. Hearts are painted in red and red roses are a love symbol.
Hot water is represented by the color red and the matches’ tips are also red.
This color is also used by the Catholic Church for all the festivities related to the Holy Spirit (such as whit Sunday and confirmations) but also to the Passion (like palm Sunday and good Friday) and to the martyr Saints, because of the spilt blood... That’s also why Christ is wearing red in all the representations from Middle Age.
Blood also explains why red is the color of war. And it also explains the name of the red planet, Mars, which is also the Roman god of war. Several armies wear red uniforms, such as the Pontifical Swiss Guard and the Buckingham Palace’s.
It was quite expensive to dye clothes red, so it always was considered as a power and high status symbol. Only noble or wealthy people were allowed to wear red clothes. Similarly, nowadays we keep red carpets for celebrities, kings and political figures. Cardinals dress in red, and so does Santa Claus (in memory of Saint Nicholas of Myra, bishop, in the times in wich bishops dressed in red instead of nowadays’ purple).

 Let’s take Van Eyck’s ‘The Arnolfini Portrait’ as example. They aren’t a noble family: they are bourgeois traders, they shouldn’t wear red. They could, anyways, have red bed clothes and, if that was the case, they had to show it in the portrait! What’s more, it was thought that red bed clothes enhanced fertility and assured well born babies. (We can see that Miss Arnolfini had been pregnant for a while already) It was thought that it shooed demons: during Middle Age, not baptised babies were covered by red sheets. Demons were also represented by red and redhead women were condemned to the stake for being witches.


To prevent illnesses, it was usual to carry red amulets, like corals or red hands. Philip Prosper was very ill when born and Velázquez painted a portrait of him being 2 years old, with his amulets and red clothes. And in the well known Little Red Riding Hood tale, she wears a red hood to shoo the forest’s danger.
It’s also the brightest color, which is mainly why it’s used in advertisements, in exam corrections, in sale announcements and in signs showing danger, like traffic signs or soccer’s red cards.









Matisse, Red Room
1908
In painting, red zones are the most outstanding ones, which is why there are not many paintings with red backgrounds. In those that do have a red background, there is no perspective, like Matisse’s.
And of course, it’s not the proper color to keep unnoticed in a party!








cristinadelrosso.com // cristinadelrosso.artproject@gmail.com 
Sources: Welsh,N.-Liebmann, C.Chr. Farben. München, Elsevier V.2004
Heller, E. Wie Farben auf Gefühl und Verstand wirken. München, Droemer V., 2000
Translation: Lorenzo Vigo
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Thursday, July 17, 2014

The Masterpiece of Vicente Carducho


Image: C.del Rosso
Some months ago, I visited the Monastery of El Paular with the student group of the University of Navarra’s Senior Programme. I’ll share my experience with all of you today.

Autorretrato, 1633
I must admit that Carducho didn’t mean much to me, but when I started to research more about him and his artwork, I found an artist with a great inventiveness and category.

He was originary from Florence and well known by the Spanish Court: he worked for Philip III and IV. He had the bad luck of being contemporary to Velázquez, a highly talented genius willing to outshine the rest, who soon gets to be Phillip IV’s favorite. Carducho wrote ‘Diálogos de la Pintura’ in which, without mentioning him explicitly, he criticisizes Velázquez harshly.
His masterpiece can be found in the Monastery of El Paular, Rascafría, on the Sierra de Guadarrama, Madrid. I’d suggest going there, but if possible, not in winter, since it can get to be really cold up there.
Image: C.del Rosso

The painting was ordered by the prior Juan de Baeza: he wanted the history of the Carthusian and its founder, Saint Bruno, order painted on the arches found in the monastery’s gallery. Today the Carthusian order is a benedictine abbey. Carducho, helped by his assistants and following the prior’s guidelines, finished 56 paintings measuring up to 10 square meters each one, with round arch, in 6 years (from 1626 to 1632), which is actually an enormous labour.  Nowadays 52 of them are displayed: 2 of them disappeared during the Spanish Civil War. The other 2 consist in a reproduction of the Order’s coat of arms and a portrait of Phillip IV. Yet, the paintings were saved abruptly during the Ecclesiastical Confiscation carried out in 1835 and ended up in different museums and other venues, most of them in a horrible state of conservation. Finally, they ended up under the Museo del Prado’s jurisdiction and its restoration unit needed 9 years to get their shine and dignity back. The monastery had been abandonned for years by then and it would need restoration and aconditioning before receiving its collection back; the lighting and temperature weren’t appropriate.  

Out of the whole collection, it’s convenient to highlight ‘Saint Bruno’s conversion’, ‘The Death of Odón de Novara’ (with his self-portrait and his friend’s portrait, Lope de Vega), and, of course, the monastery itself is a must see. It was founded in 1390 and it keeps incredible treasures inside.
The conversion of St. Bruno

The death of Odón de Novara


Special  thanks to Letizia Ruiz, director of this Museo del Prado’s restoration unit, who was our guide during the visit.

cristinadelrosso.com // cristinadelrosso.artproject@gmail.com
Sources: Hubala, E. Die Kunst des 17. Jahrhunderts. Berlin, Propyläen  Verlag, 1990;
Bennassar, Velázquez, Vida. Madrid, Cátedra, 2010;
 Carducho, Diálogos de la pintura.Valladolid, Maxtor, 2011
Monastery’s web : monasteriopaular.com
Translation: Lorenzo Vigo











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