Catalogue of Paintings of Ignacio Zuloaga: Exhibited by the Hispanic Society of America, March 21, to April 11, 1909

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Hispanic Society of America, 1909 - Painting - 133 pages
 

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Page 38 - Eibar and eventually have succeeded to the paternal position had it not been for a chance visit to Madrid, where he saw for the first time the incomparable masterpieces of the Prado.
Page 31 - Celtiberian stock which early settled on the southern slopes of the Pyrenees and has never migrated and never been dislodged.
Page 19 - She is at last learning to look within, not without, and that spirit of enterprise which once led her so ruthlessly to subjugate other countries is now guiding her toward the saner path of self-conquest. It is to her art as well as to her literature that one must turn in order to discover the image of this New Spain, so long sought across hostile frontier and distant sea, only to be found at last among the bare sierras, the purple vineyards, and the stern, proud hearts of the home country. It is...
Page 86 - Although he painted with ready distinction family groups and society, as it were, on dress parade, Zuloaga also descended into that dark and semi-savage underworld of love, passion, and hatred which forever seethes about the roots of the Spanish tree of life. He knows intimately the majas and gitanas of the Sevillian Triana, and naturally they, too, figure in his work with their mouths red as open wounds, their glistening, carnivorous teeth, their avid glances, and insinuating gait. Here also has...
Page 98 - Zuloaga and that of his great forebears of the brush, just as there are between the Spain of yesterday and the Spain of to-day. It would hence be manifestly absurd to expect a man of similar birth and training to be other than he is or to paint but as he paints.
Page 20 - From first to last this art has remained objective and positive. It was for long periods ardently Christian, but was never enslaved by the sensuous afterglow of Renaissance paganism, nor has it since become sentimental or fanciful. Painters of other lands have rejoiced in the widest latitude; the truly Spanish artist has from the beginning known but two sources of inspirationChurch and Country. Imagination has thus played little or no part in the triumphs of these great chroniclers whose canvases...
Page 20 - Spanish art at its best lias ever been a tradition of fearless and masterful graphic realism. From first to last this art has remained objective and positive. It was for long periods ardently Christian, but was never enslaved by the sensuous afterglow of Renaissance paganism, nor has it since become sentimental or fanciful. Painters of other lands have rejoiced in the widest latitude; the truly Spanish artist has from the beginning known but two sources of inspiration — Church and Country. Imagination...
Page 79 - Goyesque air," and, frankly, the faces one meets in these huge, affirmative pictures are the faces known to Spanish art as well as to Spanish society for centuries. Unbroken and scarcely unchanged throughout the ages have come down to us profiles that are...
Page 50 - Eibar, or have returned at any moment to that great house with its massive stairway and spacious rooms, he was too proud to think of anything in the nature of a compromise. Possessing a passion for the past and all that appertains to bygone times, he struggled along for awhile as a dealer in antiques Portrait de Madame Bourdin Portrait of Mr.
Page 73 - ... social stratum they belong. In Zuloaga's canvases can be studied as nowhere, save from the originals themselves, those deep-rooted racial factors which have molded into distinct types the seductive Andalusian, the aggressive Basque, the haughty Castilian, or the languorous and passionate Segovian. The art of Zuloaga, like that of his great predecessors, is an art which is based upon observation, which is founded not upon vague esthetic formulae but upon the definite aspect of the world external....

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