Hermenegildo Anglada Camarasa

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Bronze bust in honor of Anglada Camarasa in Port de Pollença in Mallorca

Hermenegildo Anglada Camarasa , in Catalan Hermenegild (abbreviated: Hermen) Anglada i Camarasa , also known as Anglada-Camarasa , (born September 11, 1871 in Barcelona , † July 17, 1959 in Pollença ) was a Catalan-Spanish painter whose works before the First World War to be attributed to Symbolism , Post-Impressionism , Modernism and Decorativism.

Life

Anglada Camarasa was born on September 11, 1871 in Barcelona as the son of the coach decorator and leisure watercolourist Josep Anglada Llecuna. At the age of 7 he lost his father, in whose workshop he discovered his love for painting. Against the fierce resistance of his mother Beatriu Camarasa Casanovas he succeeded in studying painting at the Escola de Belles Arts de Barcelona (School of Fine Arts in Barcelona) - called Llotja - from 1886. He was tutored by Tomás Moragas and later Modest Urgell , who shaped his style of naturalistic landscape painting and was always regarded by him as the one from whom he had learned the most. After working for several years within a group of painters in the village of Arbúcies at the foot of Montsena, to which u. a. Eliseo Meifrén also belonged, and after the first unsuccessful exhibition of his pictures in the Sala Parés art gallery in Barcelona, ​​he traveled to Paris for the first time in November 1894 to study the old masters . There he lived under very simple circumstances at first and had to return to Catalonia in 1895 due to financial difficulties. With the Peruvian painter Carlos Baca-Flor , with whom he formed a lifelong friendship, he wandered through the casinos, cabarets and cafe concerts at night. With his help, he obtained ongoing financial support from his brother-in-law Josep Rocamora Pujola, which enabled him to stay in Paris for a long time from 1897. There he acquired French citizenship around 1900.

Studies at the Académie Julian under Benjamin Constant and Jean Paul Laurens as well as additional nocturnal courses at the Académie Colarossi under Rene Prinet and Louis-Auguste Girardot with prizes in composition won at these schools enabled Anglada to have its first successful exhibitions of some pictures in the salon of the Société nationale from 1898 onwards des beaux-arts . At one of these academies Anglada met his future first wife, the painter Isabel Beaubois (* February 6, 1876, † after 1927), who after their divorce around 1911 married the Catalan pianist Enric Montoriol Tarrés and known as Isabel Beaubois Montoriol has been.

In May 1900, Anglada held a highly regarded solo exhibition with 20 of his Parisian paintings each, painted in a new style, as well as academic drawings, again in the Sala Parés in Barcelona. This triggered very opposing reactions from critics and audience. After the end of the exhibition, he and Sebastià Junyent wrote a manifesto in October 1900 that was published in the journal “Joventut” , with which they denounced the subjection of artists to the taste of the general public for mercantile reasons and promoted the priority of artistic design over lifelike depiction . In addition to various successful exhibitions in Paris, she took part in art exhibitions in Berlin (Eduard Schulte Art Salon 1901, 1902, 1904; XI. Secession 1906), Brussels (Libre Esthétique 1902, 1911; Exposition Générale des Beaux Arts 1907), Gent (XXXVIII Exposition 1902), London (International Society of Fine Arts 1903; International Art Society 1908), Düsseldorf and Cologne (1903), Dresden (large art exhibition 1904), Vienna ( Secession 1904), Munich ( Secession 1903; Kunstverein 1905; Galerie Heinemann 1911), Venice ( Biennale 1903, 1905, 1907, 1914), Barcelona (Exposició d'obres d'art i llibres catalans 1906; Sala Parés 1909), Zurich (Kunsthaus 1910), Buenos Aires (Exposición Internacional de Arte del Centenario del Mayo 1910), Rome (Exposizione Internazionale de le Belle Arti 1911; III Exposizione Internazionale della Secessione 1914), Prague (1913) and Moscow (Salon Artistique 1914). As in 1900 in Barcelona, ​​Anglada usually exhibited his drawings together with the paintings in order to show the repeated criticism that his paintings lacked drawing that he knew how to paint academically. For more than two decades, like his Basque friend Ignacio Zuloaga , he refused to take part in official Spanish exhibitions. At the great international art exhibition in Rome in 1911, both exhibited their works outside the Spanish pavilion at the invitation of the organizers in rooms reserved for them in the Italian pavilion. But from 1908 onwards, Anglada's paintings were no longer represented in Parisian salons either; He rejected the avant-garde currents that had emerged there and in 1911 sharply criticized the predominance of the French in the world of art in Rome.

From 1901 to 1904 Anglada taught at the Académie Colarossi , from 1905 to 1913 also at the Académie Vitti , of which he was a founding member. There he gathered a circle of Latin American painters as pupils, including the Argentinians Tito Cittatini and Gregorio López Naguil and the Mexican Roberto Montenegro .

After a first visit to the island of Mallorca in 1909 on the recommendation of Antoni Gaudi and a longer stay from August to November 1913 together with his second wife Simone Martini, Anglada Camarasa finally settled in Pollença in July 1914, after joining on July 21 With the help of his lawyer, the politician Francesc Cambó had regained Spanish citizenship. He lived and worked there, surrounded by Latin American students from his time in Paris as well as other artists and intellectuals until 1936. Cut off from the European art world by the war and the remoteness of Mallorca, Anglada concentrated on Spain and exhibited his works in Barcelona in 1915 ( Palau des Belles Arts ) and participated in a manifesto by Spanish intellectuals in support of the Allies. The proceeds of the exhibition were intended for the widows and orphans of artists who died in the war. At the invitation of more than 30 artists and intellectuals, including Valle-Inclan , Ortega y Gasset and Unamuno , an exhibition took place in Madrid in 1916 ( Palacio de Cristal del Retiro ), which brought its population into contact for the first time with a modern art movement beyond post-impressionism. This sparked controversy in the press, with some accusing Anglada of unpatriotism, anarchism, endangering young people, homosexuality and mental illness. On the other hand, he sparked enthusiasm in 1919 at the international art exhibition in Bilbao.

In the post-war years, Anglada started a come back in the USA. At the invitation of the director of the Art Museum of the Carnegie Institute in Pittsburgh (where works by Pierre Bonnard were shown the year before and Claude Monet the year after ) , Homer St. Gaudens , Anglada sent first five, then nine of his most important paintings to the for the first time in 1924 USA, where its competitor Sorolla had long been known and represented. Exhibitions take place u. a. in Washington (Van Dyck Galleries), New York ( Brooklyn Museum ), Chicago, Los Angeles, San Francisco, Philadelphia, Boston and Cleveland. The publication of the first monograph on Anglada by Samuel Hutchinson Harris in England in 1929 was followed by organized exhibitions in London and Liverpool in 1930.

In 1931 Anglada built her own house in Port de Pollença and married for the third time, this time his 30 years younger grandniece Maria Teresa Huelín Rocamora. Their daughter Beatriu was born in August 1933.

When Anglada was in Barcelona in preparation for an exhibition in 1936, the Spanish Civil War broke out and Mallorca fell into the hands of the Bando national (the Francists). As an avowed republican and freemason , Anglada could not return to Mallorca and at the invitation of the Generalidad of Catalonia initially took refuge with his wife and daughter in the monastery of Montserrat . From there, at the beginning of 1939, after Barcelona had fallen, the family went into exile in France, where they were temporarily accepted by Carlos Baca-Flor in Neuilly-sur-Seine, and finally settled in Pougues-les-Eaux. During this time, the family suffered great hardship, so Anglada did not have the money to buy paint to complete his paintings, and was dependent on support from friends. In 1948, Anglada succeeded in getting his property "El Pinaret" in Port de Pollença, located in Port de Pollença, back, the return of his pictures from the custody of a bank and a return to his adopted home. Because of his poor health, Anglada could only paint a little, but repeatedly exhibited the works that had remained in his possession in Barcelona and Madrid. Anglada died in Pollença in 1959. In line with his wish that his works should not be scattered around the world, his house was rededicated in 1967 by his widow, daughter and son-in-law Alfonso Pizarro. In 1989 his estate was acquired by the cultural foundation of the Catalan credit institution La Caixa and is currently on permanent display in Palma in the former Gran Hotel; The curator is his granddaughter Silvia Pizarro. Further exhibitions since the mid-1990s, in particular in various branches of the Caixa and in the Museo Carmen Thyssen Malage, made the artist, who had largely been forgotten both internationally and in his home country, well known in Spain. The artist was first mentioned in the Spanish encyclopedia “Summa Artis” in 1991, 10 years after the publication of the monograph by Fontbona / Miralles.

plant

"Paisatge amb pont" 1890
Paisatge amb pont 1890

Time of training

His first works from around 1885 to 1897 are counted from the Catalan era of Anglada. During this time he painted and drew a number of portraits in great detail and, especially during his stay in Arbúcies, a large number of landscapes in small to medium formats (about 20 cm to a little more than 100 cm larger side length). His accuracy earned him the nickname "branqueta", d. H. "Zweiglein" a. Even during his first years in Paris he showed no interest in the currents of the avant-garde, but chose classical academic personalities as teachers in the academies he attended. It was not until 1899, after meeting the established Catalan painter Santiago Rusiñol in Paris , that there was a stylistic U-turn.

First Parisian Era (1897–1904)

Le paon blanc 1904
Baile Gitano 1914-1936

According to the theory represented in the manifesto of October 1900, a large number of images were created that dissolve the graphic form with strong contrasts between the observed subject and the environment, with impasto-mottled cold colors and contourless, flowing transitions. Topics were primarily scenes of Parisian nightlife, demi-mundane women under the diffuse electric lighting, which was new at the time, “fragile beings, appearing almost disembodied, apathetic women without a face, transformed into symbols of the night, a fleeting moment, lonely beings, as if they only had one day to spread their wings ”. Inspired by a poem by Baudelaire , Anglada named one of these pictures “Fleurs du mal” , a title that could stand for most of these paintings. The role of women as seductress, the “eternally feminine” recurs in his entire vre. Men can only be seen in the background, as customers of the courtesans or, in the second important topic of Anglada's work of this era, as musicians for gitanas who move wildly in dance. Such scenarios also kept recurring until the last epoch of Anglada. Before making these paintings, Anglada made a large number of pencil sketches with which he recorded the movement. A special award for Anglada was the sale of the painting “Danza Espanola” to the important Russian art collector Ivan Morozow in 1902. Another topic of the first Parisian era was the representation of horses. His large paintings "Caballos en la lluvia" (Horses in the Rain) from 1902 prepared a series of drafts (first in 1902 together with a large number of his Paris paintings in Berlin by Ed. Schulte and then in 1904 in the exhibition of the Vienna Secession and in Munich Kunstverein) and “Caballo y gallo” (horse and rooster), which the Galleria d'Arte Moderna acquired from the Venice exhibition in 1905.

While the paintings shown in exhibitions had formats of up to 115 × 146 cm, there are a large number of small-format pictures of 10 × 12 to 26 × 35 cm that represent spontaneous notes of scenes from Paris nightlife that were quickly realized on site, and the were not intended for sale, were only occasionally used as gifts and largely remained in the possession of Angladas. As a rule, they are not dated and have only been signed afterwards.

Jovenes de Brurriana, 1908

Second Paris Era (1905–1914)

Valencian dresses that the artist bought as templates for his paintings.

During a summer stay in Valencia in 1904, Anglada discovered the colorful folk costumes still preserved there, which had their origins in the 18th century. From 1905 onwards this completely changed his motifs and painting technique. Motifs of Parisian nightlife, including the technique of contourless nebulous portrayal of people, were completely abandoned in favor of a series in which Spanish rural people are shown in brightly colored robes in clear light, without shadows and perspective, decorative scenes set in the studio that do not depict the real, but the imagination of the artist. He used this subject as a suitable medium for a firework of colors. As a template, he acquired a large collection of such robes, with which he dressed his models in the studio, some of which can be seen in the permanent exhibition in the former Gran Hotel in Palma.

Anglada produced a series of large-format pictures of women representing the Spanish landscapes for a palace furnishing project that was not implemented later. The main works of this project were the giant paintings “Valencia” and “El tango de la corona” , exhibited in Rome in 1911 , both of which are permanently on display in the CaixaForum Palma. In addition, there were more portraits of the women and girlfriends of his friends as well as society ladies in a highly decorative style reminiscent of women portraits by Klimt . Examples are the portrait of his student Georgette Leroy, known under the name “la gata rosa” , which was first exhibited in Buenos Aires in 1916 and was later acquired by the museum in Toledo , Ohio, and the one now in the Museo Nacional Centro de Arte Reina Sofía exhibited portrait of "Sonia de Klamery (echada)" , the wife of the Spanish diplomat Daniel Carballo y Prat, Conde de Pradere. In these paintings, the artist often presented the sitter in front of a lavishly decorated, often fantastic floral background, the motifs of which were repeated in the robes and the magnificent mantons de manila, creating a decorative unity of person and ambience. The protagonist's face, which is fixed on the viewer, is accentuated from this. These are not portraits that reveal the psyche of the person depicted through facial expressions or gestures, but rather have a sensual effect of femininity on the viewer.

The change in subject matter and execution of the works of this epoch compared to the previous one is also followed by a change in formats. The little tablets were gone. Processes from real life were no longer used as templates, but scenes and photographs set in the studio. The Valencian group pictures are at least 150 cm wide, the portraits usually life-size. They were mostly intended for the palace interior project pursued by Anglada or for the prestigious participation in major international art exhibitions. The largest achieved dimensions of 184 × 422 cm (Los enamorados de Jaca), 360 × 512 cm (El tango de la corona) and 580 × 612 cm (Valencia).

Mallorca and Exile (1914–1959)

The works of this time are usually divided into a first Majorcan epoch up to 1936, the period of exile up to 1947 and the second Majorcan epoch. Because of their stylistic uniformity, however, this section can be shown together.

Anglada's move to Mallorca ushered in a new era in painting style and subject. In portraying the wives of his friends and admirers, he took the decorativism developed in Paris to the extreme. The portraits of Marieta Ayerza de González Garaño from 1928 and Adelina del Carril de Güiraldes from approx. 1920–1922 are prime examples. Figure and background form a decorative unit like a carpet - Sorolla called Anglada the "Persian" - not without reason. The former emerges from an environment of huge sunflowers and lush Brugmansias and the colors of the flowers are repeated in its garb. Similar in the portrait of his great niece Maria Teresa Huelin Rocamora from approx. 1929–1930. And the portrait of the wife of his friend, the Argentine poet Ricardo Güiraldes , Adelina del Carril de Güiraldes, with the pose leaning against a tree trunk, is reminiscent of the portrait of Sonia de Klamery. But in this the change of his focus is already clear. The background was now a Mallorcan landscape. This was now his main focus. However, he did not create naturalistic landscape pictures as he did in his apprenticeship with Modest Urgell, but trees, mountains, rocks and fish in wild expressionistic colors. Tree trunks in blue and purple, mountains reddish orange or blue, depending on his perception. In particular, he designed pine and fig trees with their branches curved like arabesques. Cloud formations pile up like rocks in some pictures. Nature now served as a stimulus and template for designing new color compositions. It was this landscape that cast a spell over him, according to him, "with the rhythms of its forms, the arabesques in which their forms are connected, the balance of their proportions". He shaped his mountains according to his rebellious spirit against all formalism. With a glass bottom boat he observed the sea bed with its variety of colored fish and reproduced his observations in colorful oil paintings.

Just as the subject of his painting changed, so did his painting technique. He applied paints as they came from the tube in great thickness, so that the canvases were given considerable weight. As a contemporary witness, the Catalan painter Alfons Borell, who observed him painting, reported that he painted from one corner to the other without a charcoal sketch on the canvas.

In addition, Anglada remained true to the subject of the Gitanas in some of his pictures: on the one hand, of mothers with their child on their backs, on the other hand, dance scenes in front of a fantasy backdrop. After he had declared around 1935 that he wanted to give up painting altogether in favor of gardening, he finally turned increasingly to a completely new topic: flower still life in the academically classic manner, not without giving up his ideal of lush colors. In the pictures taken in exile in Montserrat and Pougues-les-Eaux, the motifs of Mallorca returned, only now the mountains of Montserrat instead of the Tramuntana and memories of earlier times served as models.

As in the second period in Paris, Anglada partly served photographs as a template, even only for partial aspects of his pictures. However, he also made sketches from nature in smaller formats, albeit larger than in the Parisian pubs, where it would have been difficult to use larger canvases for notes. In nature the artist could use his easel, so that the dimensions of these pictures again approximated those created in the studio. The dimensions of the objects painted in nature are generally between 22 × 27 cm and 30 × 50 cm, while the studio pictures measure up to 130 × 210 cm and the portraits remain life-size. In their execution, however, the quickly painted ones differ significantly from the meticulously worked out landscapes in the studio, which rarely corresponded to reality. On Montserrat and in exile, only medium-sized formats were created, just like in recent years on Mallorca.

Honourings and prices

Anglada has been awarded membership in the following associations:

  • 1902 associate member, from 1903 full member of the Salon de la Société Nationale de Paris,
  • 1905 Member of the International Society of Sculptors, Painters and Engravers, London,
  • 1905 correspondence member of the artists' association "Secession", Munich; “Maestro” of the Biennale de Venecia; Correspondence member of the artists' association "Secession", Berlin,
  • 1911 Delegate of Russia at the Exposició Internacional de Belles Arts, Barcelona,
  • 1912 honorary member of the Accademia di belle arti di Brera, Milano,
  • 1915 Correspondence Member, 1917 Full Member of the Hispanic Society of America, New York,
  • 1916 Honorary Member of the Círculo de Bellas Artes, Madrid,
  • 1918 honorary member of the Associació d'Amics de les Arts, Barcelona,
  • 1932 academic correspondent of the Real Acadèmia Catalana de Belles Arts de Sant Jordi, Barcelona,
  • 1954 honorary member of the Real Academia de Bellas Artes de San Fernando, Madrid; Honorary member of the Asociación de Escritores y Artistas Españoles, Madrid,
  • 1955 Grand Cross of the Order of Alfonso X el Sabio; Honorary President of the Real Cercle Artístic, Barcelona,
  • 1956 Juan March de Bellas Artes Prize,
  • 1957 full member of the Acadèmia de Belles Arts de San Sebastia de Palma.

Anglada won the following prizes at exhibitions:

Dissemination and reception

In contrast to most of the painters of his time, Anglada had no gallery owner or dealer to whom he tied himself, but instead offered his pictures directly to collectors or museums for sale at relatively high prices, with no willingness to trade. They were often only sold after they had been shown in several exhibitions and discussed in specialist journals. His high price expectations were aimed at preventing his art from being marginalized, but not infrequently prevented museums from buying the works he exhibited. His customers initially included artist colleagues such as his Peruvian friend and colleague Carlos Baca-Flor, the Welsh lithographer Conde Albert de Belleroche and the pianist Enric Montoriol Tarres, later mainly Russian art collectors e.g. B. Ivan Morozov and Serge Diaghilew, the industrialist Ernest Thiel, the doctors Dr. Oscar Almoeder y Valdes and Dr. Pierre Delbet, bankers and nobles such as Henri de Rothschild, the brothers René and Carlos de Castéra, the Prince Alexandre de Wagram, and the Conde de Pradere.

It is uncertain to what extent Anglada, in addition to the paintings that were repeatedly shown in exhibitions and created for this purpose, made commissioned works that are unknown today. In any case, there is a contract model in two different versions from his estate, according to which half of the agreed price was to be paid in advance, the painter was granted complete freedom in technical execution, color, form and composition, the exhibition of the work during his lifetime only His written consent was allowed and the validity of Spanish law and the place of jurisdiction of Barcelona were determined.

Anglada enjoyed particular popularity in Russia and among the large Russian community in Paris due to the review of his pictures by the art critic and co-editor of the Russian and French-language magazine Mir Iskusstva (i.e. the world of art) Sergei Diaghilev in 14 issues between 1901 and 1904. This mediated also the contact with Vsevolod Meyerhold , who visited Anglada in Paris in May 1913, after he had staged a pantomime to the music of Claude Debussy in St. Petersburg together with Alexander Golowin after his painting Los enamorados de Jaca in 1912 . Also Maxim Gorky was one of his admirers; The anecdote has been handed down that at the International Art Exhibition in Rome on April 26, 1911, he was able to visit the room with Anglada's pictures before the opening of the exhibition pavilion. Besides Italy, Anglada was also popular in Germany, where its exhibition contributions were discussed in at least 15 articles in the German journals “Kunstchronik Kunstmarkt” , “Kunst für alle” and “Kunst und Künstler” . Anglada's influence on Kandinsky is contested: as early as 1902, the art critic Hans Rosenhagen wrote: "Wassily Kandinsky is not unlucky to imitate the Spaniard Anglada"; in the meantime this influence can be regarded as proven.

Currently - apart from the more than 100 oil paintings acquired by the Caixa Foundation from the artist's estate and those remaining in the possession of the heirs - most of Anglada's paintings are privately owned. In museums are

  • in the Palau de la Generalidad, Barcelona: "Baile" , "Los enamorados de Jaca" (1910), "Ramona" (1930), "Gertrude Lawrence" (1931-1935), "Parral de la fruta" (1940-1945) ,
  • in the Museu Nacional d'Art de Catalunya: “Nocturno de Paris” (1900), “Le bal blanc” (1900), “La llotja” (1901–1902), “Retrat de Magda Jocelyn” (1904), “Mariposa nocturna " (1913), " Granadina " (1914), " Els lledoners de Boquer " (1918), " Naturaleza muerta bajo un emparrado " (1934), " Florero " (1935),
  • in the Museo Nacional Centro de Arte Reina Sofia, Madrid: “Paisaje” (1889), “Demarche Gitane” (1902), “La gitana de los granadas” (1904), “La novia de Benimamet” (1906), “Sonia de Klamery (echada) ” (1913), “ Sonia de Klamery (de pie) ” (1913), “ Leticia Bosch-Labrús y Blat, Duquesa de Durcal ” (1922), “ Llegada de la romeria del arroz ” (1940–1945 ),
  • in the Real Academia de Bellas Artes de San Fernando (Madrid): "Estrecho de Boquer despues de la lluvia" (1948–1950),
  • in the Museu d'Art Modern (Barcelona): "Magda Jocelyn" (1904?), "Florero" (1935), "Florero y frutas" (1940-1947), "Gitana con nino" (1940-1947),
  • in the Museo d'Art (Sabadell): "Paisaje" (1929),
  • in the Biblioteca-Museu Balaguer (Vilanova i la Geltru): “Paisaje con puente” (1890), “Boceto” (1900–1901), “Estudiode caballos” (1900–1901),
  • in the Museo de Bellas Artes (Bilbao): " Desnudo baja la parra" (1909),
  • in the Museo de Pontevedra (Pontevedra): "Puesta de sol. Acantilados de Boquer" ,
  • in the Museo de Vilafranca del Penedes: “Paisaje con arboles” (1889–1890), “Camino” (1889–1890), “Arboles junto al rio” (1889–1890),
  • in the Museo Saridakis (Palma); "Casa de campo de Pollença" ,
  • in the Museo del archiduque Luis Salvador de Austria (Son Marroig, Mallorca): "Almendros" ,
  • in the Museo Nacional de Bellas Artes (Buenos Aires): "Chica inglesa" (1904), "Los opalos" (1904), "Gitana con dos niños" (1907), "La espera" (1909),
  • in the Museo Nacional de Arte Decorativo (Buenos Aires): "Condesa de Cuevas de Vaca" (1920),
  • in the Museo Nacional (Havana): "Paisaje con penas" (-1894), "Cabeza" (1897),
  • in the Hermitage Museum (St. Petersburg): "Danza Espanola" (1901),
  • in Thielska Galleriet (Stockholm): "Ver luisant" (1905),
  • in the Galleria d 'Arte Moderna (Venezia): "Caballo y gallo" (before 1905),
  • in the Musée Goya (Castres): "Jovenes de Alcira" (1906),
  • in the Hispanic Society of America (New York): "Jovenes de Burriana" (1908).

literature

  • Vittorio Pica; Hermen Anglada y Camarasa. In: Die Kunst für alle , Vol. XXVII 1911, pp. 196–204 ( [3] ) accessed on June 29, 2018 at 6:20 pm.
  • Wallace Thompson: The Art of the Spaniard Anglada . In: Fine Arts Journal , Vol. 31, No. 3 1914, pp. 421–432 ( [4] ), accessed on June 29, 2018 at 6:20 pm, each cited as: “Thompson”.
  • S. Hutchinson Harris: The art od H. Anglada-Camarasa, a study in modern art. The Leicester Galleries, London 1929, each cited as: "Hutchinson Harris".
  • Francesc Fontbona, Francesc Miralles: Anglada-Camarasa . Polígrafa, Barcelona 1981, ISBN 978-84-343-0335-5 , each cited as: “Fontbona / Miralles”.
  • Fundació “la Caixa”: Anglada-Camarasa al Gran Hotel, Redescobrir una epoca, exhibition catalog, Barcelona 1993, ISBN 84-7664-415-9 , each cited as: “la Caixa: al Gran Hotel”.
  • Fundació "la Caixa": El món d'Anglada-Camarasa . Exhibition catalog, Barcelona-Palma 2006, ISBN 978-84-7664-918-3 .
  • Museo CarmenThyssen Málaga: Anglada-Camarasa, Arabesco y seducción . Exhibition catalog, Fundación Palacio De Villalón 2012, ISBN 978-84-938977-5-8 , with contributions by: Francesc Fontbona: Anglada-Camarasa retratista de mujeres . Pp. 16-35; Lourdes Moreno: Anglada-Camarasa, Poéticas de seducción. Pp. 36-59 ; Silvia Pizarro: La danza como pretexto. Pp. 60-71; María Sanz: Notas biográficas. Pp. 143–155 each cited as: “Author in: Arabesco y seducci ó n, S.”.
  • Francesc Fontbona: Desnudo bajo la parra . Special print from: Museo de Bellas Artes de Bilbao, Bilbao (Ed.) Buletina No. 6, 2012 pp. 175–196 [5] , accessed on June 29, 2018 6:22 pm, each cited as: “Fontbona: Desnudo baja la parra ".
  • Maria Villalonga Cabeza de Vaca, Anglada-Camarasa, Desde el Simbolismo a la Abstracción. Iberoamericana / Vervuert, Madrid / Frankfurt am Main 2015, ISBN 978-84-8489-789-7 or ISBN 978-3-95487-336-4 , each cited as: "Villalonga Cabeza".

Web links

Commons : Hermenegildo Anglada Camarasa  - Collection of images, videos and audio files

Individual evidence

  1. ↑ Villalonga Cabeza pp. 49-95; cristarod pp. 38-42
  2. ↑ Fontbona / Miralles p. 14 f
  3. ↑ Isabellariver's Chapter 1, Paragraph 2
  4. ↑ Sanz in: Arabesco seducción y , p 144
  5. ↑ Fontbona / Miralles p. 24 f
  6. ↑ Ribot Baye: De Barcelona a Paris page 73 footnote 82;. Ribot-Bayé: La reprentació de la dona p. 91 fn. 188
  7. ↑ Ribot Baye: De Barcelona a Paris p.87 Fn 117th
  8. ↑ a b Fontbona / Miralles p. 30; Press reviews printed in Ribot-Bayé: De Barcelona a Paris pp. 128–137
  9. ↑ la Caixa: Al Gran Hotel p. 161
  10. ↑ Moreno in: Arabesco y seducción , p. 48; Fontbona: Desnudo baja la parra p. 7; Karl Eugen Schmidt in: Kunstchronik NF 15 1904, issue 26 v. May 27, 1904 pp. 417, 421; Hans Rosenhagen in: The art for everyone, vol. 21 1905, issue 19 v. July 1, 1906 pp. 433, 445
  11. ↑ a b Fontbona / Miralles p. 62; Fontbona: Desnudo baja la parra p. 5
  12. ^ Oskar Pollak: The International Art Exhibition in Rome 1911 in a magazine for the fine arts , Verlag EA Seemann Leipzig Vol. 23 1911/12 pp. 273-296
  13. ↑ Fontbona / Miralles p. 122
  14. ↑ a b Fontbona / Miralles p. 80
  15. ↑ Ribot Baye: De Barcelona a París S. 98
  16. ↑ Fontbona / Miralles p. 90
  17. ↑ a b Ribot Baye: La representacio de la dona S. 724
  18. ↑ Fontbona: Desnudo baja la parra p. 9
  19. ↑ Fontbona: Desnudo baja la parra p. 10
  20. ↑ Sanz: Arabesco y seducción S. 149
  21. ↑ Fontbona / Miralles p. 138
  22. ↑ Fontbona / Miralles p. 140 ff
  23. ↑ Fontbona: Desnudo baja la parra p. 13 f
  24. ↑ Fontbona / Miralles p. 173
  25. ↑ Sanz: Arabesco y seducción S. 151
  26. ↑ Sanz in: Arabesco y seducción p.198 f
  27. ↑ a b Sanz in: Arabesco y seducción p. 153
  28. ↑ Fontbona / Miralles p. 188
  29. ↑ Fontbona / Miralles p. 196 and footnote 196; cristarod p. 8
  30. ↑ Fontbona / Miralles p. 194
  31. ↑ Fontbona / Miralles p. 196
  32. ↑ Fontbona / Miralles p. 198
  33. ↑ Interview with his daughter, in: Diario de Mallorca July 18, 2009, [1] , accessed on June 29, 2018 6:13 pm
  34. ↑ Villalonga Cabeza p. 17 fn. 1
  35. ↑ cristarod p. 10
  36. ↑ Sanz in: Arabesco y seducción S. 144
  37. ↑ Moreno in: Arabesco y seducción S. 45
  38. ↑ Moreno in: Arabesco y seducción S. 46
  39. ↑ Moreno in: Arabesco y seducción S. 64
  40. ↑ Isabellarivers
  41. ^ Hans Rosenhagen: From exhibitions and collections. In: Die Kunst für alle 18. Volume 1902–1903 Issue 10. Fritz Schwarz (Ed.) Publishing House F. Bruckmann, Munich, February 15, 1903, accessed on June 6, 2018 .
  42. ^ Ludwig Hevesi: Letter from Vienna. In: Art Chronicle XVI. Year 1904/1905. Verlag EA Seemann Leipzig, December 30, 1904, accessed on June 6, 2018 .
  43. ↑ Fontbona / Miralles pp. 61 f, 112
  44. ↑ Fontbona / Miralles p. 118
  45. ↑ Pizarro in: Arabesco y seducción p. 67
  46. ↑ Moreno in: Arabesco y seducción p.48
  47. ↑ Ribot Baye: La representació de la dona S. 593 and passim; Moreno in: Arabesco y seducción p. 51
  48. ↑ Fontbona / Miralles p. 112
  49. ↑ Fontbona / Miralles p. 118
  50. ↑ Fontbona: Desnudo baja la parra p. 9
  51. ↑ a b Ribot Baye in: La representacion de la dona S. 602
  52. ↑ Fontbona / Miralles p. 184
  53. ↑ cristarod p. 25 fn. 18
  54. ↑ Fontbona / Miralles p. 181
  55. ↑ Fontbona / Miralles p. 184
  56. ↑ Fontbona / Miralles p. 184
  57. ↑ la Caixa: Al Gran Hotel p. 162
  58. ↑ Moreno in: Arabesco y seducción p.48
  59. ↑ Fontbona / Miralles p. 94
  60. ↑ Kunstchronik: Wochenschrift für Kunst und Kunstgewerbe NF 23, 1912 p. 110 online ; Hutchinson Harris p. 20; Fontbona / Miralles p. 108; Moreno in: Arabesco y seducción p. 55 with further references under fn. 23
  61. ↑ Sanz in: Arabesco y seducción S. 152
  62. ↑ Villalonga Cabeza p. 177 ff
  63. ↑ a b Fontbona: Desnudo baja la parra p. 5
  64. ↑ Thompson p. 425; Villalonga Cabeza p. 185; Fontbona / Miralles pp. 90, 108, 112
  65. ↑ Francesc Fontbona: La clientela internacional de Anglada-Camarasa , lecture at the Seminario de investigacion of the Real Academia de Bellas Artes de San Fernando, Madrid: Desamortizaciones, colecciones, exposiciones y mercato del arte en los siglos XIX y XX, 10 y 11 de junio de 2011
  66. ↑ Fontbona / Miralles p. 118
  67. ↑ in the affirmative Villalonga Cabeza p. 185; rather doubtful Fontbona in: Arabesco y seducción p. 29
  68. ↑ Fontbona / Miralles fn. 183
  69. ↑ a b Tom Birchenough: Alexander Golovin and Spain in: The Tretyakov Gallery Magazine 2015 p. 49 [2]
  70. ↑ Fontbona / Miralles p. 102; Fontbona: Desnudo baja la parra p. 9
  71. ↑ z. B. The art for everyone , publishing house F. Bruckmann AG, Munich, vol. 17 1901–1902 , issue 4 v. November 15, 1901 p. 94.95; Issue 10 v. February 15, 1902 pp. 239,240; Vol. 18 1902–1903 issue 20 v. July 15, 1902 p. 468; Vol. 19 1903-1904 issue 13 v. April 1, 1904 p. 310; Vol. 20 1904-1905 BC December 15, 1904 p. 142; Issue 22 v. July 15, 1905 pp. 465,471; Vol. 21 1905–1906 issue 19 v. July 1, 1906 pp. 433,445; Kunstchronik, weekly publications for connoisseurs and collectors, CGBoerner, Leipzig vol. NF 15 1903–1904 issue 18 p. 302; Issue 26 p. 421; Vol. NF 16 1904–1905 issue 10 v. December 30, 1904 pp. 145,147; Kunst und Künstler, Illustrated monthly for fine arts and applied arts, published by Bruno Cassirer, Berlin Vol. 2 1903–1904 p. 337; Vol. 3 1905 p. 442
  72. ↑ Hans Rosenhagen: The fifth exhibition of the Berlin Secession in: The art for all XVII 1901-1902 issue 19 v. July 1, 1902 pp. 433,443
  73. ↑ Villalonga Cabeza pp. 211-287
  74. ↑ Fontbona / Miralles, Catálogo pp. 233-304
personal data
SURNAME Anglada Camarasa, Hermenegildo
ALTERNATIVE NAMES Anglada i Camarasa, Hermen (Catalan); Anglada-Camarasa, Hermen
BRIEF DESCRIPTION Catalan-Spanish painter of post-impressionism and art nouveau
DATE OF BIRTH September 11, 1871
PLACE OF BIRTH Barcelona
DATE OF DEATH 17th July 1959
Place of death Pollença , Mallorca