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SOROLLA AND THE DAWN OF MODERNITY

Joaquín Sorolla is the Valencian painter who steered the local and national art scene towards modernity and became a leading artist not only on a national but also on an international scale.

Sorolla drew inspiration from Parisian Impressionism and the naturalist painters who championed creative freedom and embraced the outdoors as the stage for their paintings, seeking to capture reality, the moment and the ephemeral nature of light.

You have to paint swiftly, because so much is lost, fleeting, never to be found again.” This striving to capture the moment nature offers means that Sorolla’s brushstrokes are light, fast, and rich in textures and a combination of complementary colours that accentuate the painting’s luminosity.

The light and optimism of Sorolla’s paintings, featuring scenes of everyday life and Mediterranean landscapes, stand in stark contrast to the paintings of his Spanish contemporaries. “Here, to make a name for yourself and win medals, you have to paint inanimate subject matter,” Sorolla contended, alluding to the rejection of his luminist work in Spain.

In 1898, Spain lost the colonies of Cuba, the Philippines, Puerto Rico and Guam and plunged into decline that gave rise to a pessimistic and tragic mood, which was reflected in the works of the painters, writers and intellectuals of the Generation of 1898, such as Valle-Inclán, Ortega y Gasset, Zuloaga, Julio Romero de Torres, Pérez Galdós and Unamuno.

In Valencia, in contrast, a more optimistic spirit took root, which can be seen in the great Valencian artists of the turn of the century.

1. Sewing the Sail
Joaquín Sorolla, 1896

2. The Hermit
Ignacio Zuloaga, 1904

3. The Sin
Julio Romero de Torres, 1913

THOROUGH AND SOLID EDUCATION

At the age of 14, Sorolla attended the School of Artisans and, at 15, he enrolled at the San Carlos Royal Academy of Fine Arts. On his trips to Madrid he met the great Spanish painters of the Prado Museum and, in 1884, he received a grant from Valencia Provincial Council to study in Rome, where academicism prevailed. On a trip to Paris, in 1885, he became acquainted with his artistic milieu and fell in love with its great naturalist painters, such as Bastien-Lepage.

In 1889, he settled in Madrid and began to develop his own artistic language that, in the space of ten years, would earn him enormous prestige and major prizes.

Francisco de Goya (1746-1828) was one of his points of reference. He regarded him to be the first modern artist to paint for himself and with creative freedom, and adopted his approach to social themes and his long brushstrokes.

Sorolla was interested in Mariano Fortuny i Marsal (1833-1874), particularly on account of the influence borne on him in Rome by the Macchiaioli, painters who captured reality en plein air and reproduced impressions through spots or patches of colour (macchie) and sharp light and shade contrasts. This artist’s interest in direct sunlight influenced Sorolla’s loose brushstrokes. Other elements borrowed from Fortuny are his attention to detail and preciosity, as well as his depiction of costumbrist themes and exotic scenes.

1. The Painter’s Studio
Joaquín Sorolla, 1888

2. The Tapestry Seller
Marià Fortuny, 1870
Museu de Montserrat
Donated by J. Sala Ardiz, 1980

3. A Moor with Oranges
Joaquín Sorolla, 1885-1886

4. A Moroccan
Marià Fortuny, 1869