SOROLLA AND BLASCO IBÁÑEZ
Blasco and Sorolla were able to capture the emotions of Valencian and Mediterranean life with their naturalistic and realistic approach. We find Blasco’s Valencian character in the localism of his novels, which are rich in geographical, linguistic, costumbrist and historical references, yet invariably with a lively and colourful touch. Similarly, Sorolla adopted the Valencian Mediterranean as the main setting for his works to show not only a geography but also the activities and people who live there, with the same lively and colourful style.
Their mutual influence on one another is also evident. Sorolla’s painting ¡Aún dicen que el pescado es caro! (Fish is still expensive, they say!) was inspired by the last passage of Blasco Ibáñez’s novel Flor de Mayo (Mayflower), which describes the shipwreck of the boat “Flor de mayo” and which ends with the sentence: “…aún les parecía caro el pescado?” (…still think the fish was expensive?). The novel was published in instalments in the Republican newspaper El Pueblo, founded by Blasco.
1. Female nude
Joaquín Sorolla, 1902
2. The naked “maja”
Vicente Blasco Ibáñez, 1906
3. And they still say fish is expensive!
Joaquín Sorolla, 1894
4. May Flower
Vicente Blasco Ibáñez, 1895
Ed. Prometeo, València 1924
5. Poster “El Pueblo”
Republican newspaper of València
Joaquín Sorolla, 1900
Lithograph on paper
Museu Nacional d’Art de Catalunya
Plandiura Collection
Sorolla pinta el 1894 el cartell que servir
de capçalera del diari El Pueblo
6. Vicente Blasco Ibáñez
Joaquín Sorolla, 1906
7. Among orange trees
Joaquín Sorolla, 1903
8. Among orange trees
Vicente Blasco Ibáñez, 1900
Ed. Prometeo, València 1919
THE PHOTOGRAPHIC GAZE. GARCÍA PERIS AND SOROLLA
In 1878, Sorolla, at the age of just 15, joined the studio of Antonio García Peris (1841-1918), one of the most renowned photographers of his time.
He not only gave him work, colouring his photographs, but also took him into his home and eventually became his father-in-law and artistic mentor, introducing him to artistic circles.
Like all the Impressionist painters of his time, Sorolla was interested in photography, a revolutionary medium that enabled him to capture the fleetingness of time and became his source of memory and documentation. Moreover, the influence of the photographic knowledge he acquired alongside García Peris is apparent in the framing, composition and use of light in his works.
The number of works in which their fellow artist is featured reveals the affection, affinities and artistic concerns they share.
1. Skipping, La Granja
Joaquín Sorolla, 1907
2. The photographer Antonio García in his studioJoaquín Sorolla, 1908
3. Snapshot, Biarritz
Joaquín Sorolla, 1906
4. Half-length portrait of
Joaquín Sorolla Bastida, 1892
AGFDV. Col·lecció Boldún
5. Half-length portrait of Joaquín Sorolla Bastida
in a work coat, 1903
AGFDV. Col·lecció Boldún
6. Portarit of Joaquín Sorolla seated
in front a cup of coffee and spirits, 1904
AGFDV. Col·lecció Boldún