Ignacio Zuloaga

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Self-portrait 1942
Woman in Andalusian costume 1911–1913

Ignacio Zuloaga y Zabaleta (born July 26, 1870 in Éibar , † October 31, 1945 in Madrid ) was a Spanish painter of the beginning of the twentieth century, whose early works show some features of social realism, some of impressionism , while his main work is the tradition of Spanish classical music follows and is part of the España Negra aesthetic .

Life

Ignacio Zuloaga y Zabaleta was born on July 26, 1870, the third child of Placido Maria Zuloaga y Zuloaga and Lucia Zamora Zabaleta in Eibar , Basque Country, in his parents' house. He came from an old, respected family of artisans: his great-grandfather Blas Antonio Zuloaga y Ubera was the chief royal armourer, his grandfather Eusebio Zuloaga y Gonzalez director of the royal armory. His father Placido Zuloaga had learned the art of damascus staging and swapping in Paris and later in Dresden and achieved international renown in this profession. After the occupation of Eibar during the Third Carlist War by the troops of General Lizarraga, the family lived in Saint-Jean-de-Luz , France, from 1873 to 1876 . Placido Zuloaga sent his son Ignacio to Paris in 1881 or 1882, presumably to the school of the Institute Notre-Dame de Sainte-Croix (Our Lady of the Holy Cross) in Neuilly-sur-Seine and then to the former, now secularized Jesuit College de l ' Immaculée Conception (the Immaculate Conception) in Paris-Vaugirard .

Back in the Basque Country in 1884, Ignacio attended the Dominican Business School in Bergara for two years. Despite good grades, he did not want to study engineering like his older brother Eusebio but was interested in art from childhood. The latest source research refers to the awakening experience reported by his biographers in the Prado Museum on a trip with his father to Madrid with all its decorations in the realm of legend. Rather, Ignacio Zuloaga applied to the University of Madrid in October 1886 for admission to study art, an application that he withdrew to be trained privately by a painter in Madrid. He exhibited the results of this training in Madrid in the summer of 1887, in Eibar in the fall of 1887 and in Gernika in 1888 .

In the autumn of the following year he finally accompanied his father on a trip to a business partner in London and finally arrived in Rome around Christmas for further painting training. Contrary to his original intention to stay there for 2 or 3 years, he was back in Eibar in August 1889 for the wedding of his sister Candida and did not return to Rome. Rather, he traveled to Paris at the end of 1898 or at the beginning of 1899 and enrolled there in the Académie libre de la rue Verniquet with Henri Gervex , a painter who was well connected in the art scene at the time and a founding member of the Salon de la Société Nationale des Beaux- Arts . Here he met his future brother-in-law, the painter Maxime Dethomas, who for Zuloaga opened the door to Parisian society. He soon made the acquaintance of a Basque compatriot, the painter Pablo Uranga, with whom he was to become a lifelong friend. He was able to present his painting A la forge , created in Rome, in the Paris Spring Salon in 1890 and at the same time the painting Forjador at the Exposición Nacional de Madrid . In the Boussod, Valadon & Cie. took place in April 1891 an exhibition of pictures with motifs presumably from suburbs of Paris. After a short excursion to Rome in the winter of 1891 and a first participation in an exhibition in Barcelona in May 1891 as well as the presentation of 24 works in Bilbao in September 1891, Zuloaga visited the Le Barc de Boutteville gallery for the first time in December with Paul Gauguin , Vincent van Gogh , Henri de Toulouse-Lautrec , Émile Bernard , Maurice Denis , Édouard Vuillard , Charles Cottet , Odilon Redon and Pierre Bonnard, represented in 1892 and 1893 at the Salon de la Société des Artistes Indépendents . From the Académie libre de la rue Verniquet , Zuloaga moved to Eugène Carrière at the Académie Huimbez , Boulevard de Clichy, presumably identical to the so-called Académie de la Palette . Here he met with the Paris-based group of Catalan painters around Santiago Rusiñol , Ramón Casas and Miquel Utrillo .

Zuloaga could not stay in Paris for a long time, probably the lack of financial means drove him back to Spain, where he made contact with the members of the Kurding Club in Bilbao . His Parisian addresses changed from rue des Saules 1889–1890 to rue Durantin in 1891, to Impasse Helene (in the same house with Paul Signac) and to rue Cortot in 1892. An alleged first trip to Seville in 1892 is uncertain is reported by Portillo in his book Ignacio Zuloaga en Sevilla , but is not proven. According to this, his worried father, who, on a visit to Paris in 1891, had seen his fears about his son's life in Montmartre confirmed with nightly festivals and cabarets, this life seemed to him like that of a clochard and urged him to be more lucrative and well respected Accepting employment, whereupon the secret financial support from his mother dried up, Zuloaga hired himself to a mining company (Compañía Argentífera Sevillana) as a kind of accountant through the mediation of his friends from Bilbao, with the further task of paying the workers' weekly wages as a mounted and armed messenger from Seville to the silver mine. However, he soon gave up this occupation in order to work alongside painting as a dealer of antiques, pictures and collectibles, an activity that he continued alongside painting for a long time of his life in order to finance his living and his travels. The temporary employment of Zuloaga with the mining company is documented for the period between June and October 1898 from a letter from Zuloaga to Emile Bernard. In fact, in March 1892, Zuloaga was in Paris with five pictures at the Salon de la Société des Artistes Indépendents with positive feedback in the press, then together with Pablo Uranga in Bermeo , where he devoted himself to plain-aire painting; he also painted in the summer in Olabeaga, a suburb of Bilbao, and was back in Paris on November 15, 1892, at an exhibition at the Le Barc de Boutteville gallery .

Further details of his career also need to be corrected based on the extensive documents researched by Lertxundi Galiana: From 1893, Zuloaga's participation in Paris exhibitions in March at the Salon de la Société des Artistes Indépendents and the Galerie Le Barc de Boutteville , his departure to Spain in the summer, where he worked with Pablo Uranga for 2 months on the decoration and painting of the new Bermeo casino, which opened in September, pictures that were later largely destroyed by a heavy storm. The fee for this work, 1500 real , barely covered the material costs. In November he painted the modernist picture El Amanecer for the Kurding Club of Bilbao and finally moved into a house in Paris at the end of November together with the Catalans Rusiñol and José María Jordá and his Basque friend Pablo Uranga on the Quai Bourbon on the Île Saint- Louis. From here, Rusiñol and Zuloaga set out on a trip to Italy and Switzerland in the spring of 1894. Since Zuloaga had no money for this, Rusiñol hired him as a draftsman for the illustration of the travelogue to be published by him in the magazine La Vanguardia . He gave up his intention to take part in an exhibition in Barcelona in May 1894 and at the end of June traveled to London to see the Morrison family, business friends of his father, where he portrayed the whole family and stayed with them in Fonthill House, Wiltshire for the whole summer.

In the fall of 1894, Zuloaga finally traveled to Seville, rented studio space in the Casa de los Artistas, a former aristocratic palace that had become a hostel for poor people, and painted pictures in this new, unfamiliar bohemian gitanas, dancers, flower and cigarette sellers, pictures that he in Brought to Paris January 1895. Here he prepared his first individual exhibition in the gallery Le Barc de Boutteville , which took place under the name Espagne blanche from April 9th ​​to 19th, 1895 and had a strong response in the press. However, only one painting could be sold to the American painter William Turner Dannat. He, the depressed penniless who had no money to pay for a model, took his colleague and friend Maxime Dethomas into his apartment, made his studio available to him and introduced him to his family. The portrait of his future wife Valentine Dethomas, Maxime's sister, was also created at that time. Until the summer of 1895, Zuloaga, Paco Durrio and Gauguin shared a studio in Paris after his return from Tahiti. In view of his meager successes after 5 years of work in Paris, Zuloaga left Paris again and traveled back to Seville via Eibar in order, like Gauguin, to search for the original, to forget the refinements of Paris and to "defrancise" himself, as he wrote to Maxime Dethomas. He stayed here for the whole of 1896 and sent his painting Las dos amigas to the third art exhibition in Barcelona, ​​where it was awarded a silver medal and bought for the city's museum of modern art.

Towards the end of the year Zuloaga and Emile Bernard met in Seville after his return from Egypt. The Basque got to know him during his first time in Paris, but the Basque could not remember him, but was so happy to have met a true artist that he sponsored Ignacio Zuloaga for the one he was born in February 1897 second child. From this point on, the two artists enjoyed a lifelong friendship.

In Seville, Zuloaga went a step further in his passion for bullfighting, which he had already indulged in at the La Pergolese arena in Paris . In Manuel Carmona's school for toreros at the Puerta de la Carne, he trained as a torero, a fact that he later wanted to relegate energetically to the realm of legends, but which is evidenced by letters and a preserved poster on which he was with the name El Pintor is named. He gave his first performance on April 17, 1897, but was apparently not very successful. After allegedly killing 17 bulls and possibly a serious injury, he is said to have given up this profession at the request of his mother and returned to painting.

After a stay in the summer of 1897 in the Basque Country Zuloaga worked until mid-1898 in Alcalá de Guadaira, the center of the Spanish landscape painter, where he four pictures to Maxime Dethomas for issuing the Societe Nationale des Beaux-Arts sent in February to be 3 , 02 × 2.22 m picture Vispera de la corrida sent to Barcelona. There it was awarded a first prize and prize money of 2000 pesetas. He sold the picture to Rusiñol for 500 pesetas in order to save the costs of the return transport. This painting, which brought Zuloaga's first triumph on the art scene, was soon followed by his greatest disappointment, which led him to distance himself from the official Spanish art scene for many years: Rusiñol submitted the picture for the Spanish pavilion at the Paris World Exhibition in 1900 , but the Spanish jury turned it down, to the astonishment of the French critics, among whom Zuloaga had since made a name for himself. Instead of Paris, Vispera de la corrida was exhibited in Brussels and acquired by the Belgian state for the Royal Art Museum.

After a short stay in October 1898 on the estate of the Dethomas family in Saint-Medard, where Zuloaga and Valentine Dethomas got closer, he first visited his uncle Daniel Zuloaga in Segovia, who lived and worked there as a ceramist. This ushered in a new stage in his career: Zuloaga discovered the barren Castilian landscape and began to paint in a new style. He traveled back to Paris with three of these pictures and in the following year exhibited the picture Mi tio y mis primas , which the French state acquired for the Musée du Luxembourg, in the Salon de la Société Nationale des Beaux-Arts . This marked his final breakthrough in Paris as a distinguished artist. The Belgian state bought the painting El alcalde de Ríomoros from the Ghent exhibition . And on May 18, 1899, the artist married his model from 1895, the sister of his friend Maxime, Valentine Dethomas, daughter of Jean-Albert Dethomas and Marie-Louise Thiérrée. Groomsmen were his former teacher Eugène Carrière and the composer Isaac Albéniz . A long honeymoon took the couple to Great Britain, Holland and Spain to the Fiestas de San Fermin, then to Valentine's relatives in Biarriz and to their country house in Saint-Medard-en-Jalles, in October to Lacanau, in November to Sitges Rusiñol and in December to Granada to finally settle in Segovia for a few months over the turn of the year. Saint-Medard, where the picture La Enana Doña Mercedes was taken, now became a place of frequent stays with the family, along with Paris and Segovia and Madrid, where Zuloaga set up another studio.

Gregorio el botero 1908

In the following years international exhibitions in which Zuloaga's pictures were represented increased, as early as 1900 an exhibition in the Berlin gallery Schulte and others in Düsseldorf and Cologne, which prompted the art critic Hans Rosenhagen to write: “Pictures that don't forget who she saw ”. In 1901, Zuloaga was awarded a gold medal in Dresden. Here he made the acquaintance of Rainer Maria Rilke , with whom he then exchanged letters for years and went on a trip to Spain in 1903. Exhibitions in Bordeaux, Munich, Budapest and Berlin followed in 1902. His greatest success in Germany brought 1904 exhibition in Dusseldorf, where his 18 life-size images was given his own room, an honor that only Adolph von Menzel and Auguste Rodin was proved . Dr. H. Board called it in Die Kunst für alle “a hit of the very highest order”. Extensive reviews of his paintings were given not only in French newspapers and magazines such as Le Soir, l'Autorité, l'Aurore littéraire, Artistique Sociale, La Liberté, l'Art Décoratif, Gazette des Beaux-Arts, Le Monde Moderne, Le Figaro, Le Figaro Illustré etc. z. B. by Arsène Alexandre , Paul Lafond , Charles Morice and Camille Mauclair , who also dedicated a 17-page richly illustrated article in the German magazine Die Kunst für Alle Zuloaga, but also by the Russian art critic Sergei Djagilew in the Russian / French-speaking Mir Iskusstwa , by Giulio de Frenzi in Il Giornale d'Italia , in Germany by Hans Rosenhagen and Hans Barth in Die Kunst für alle and Oskar Pollak in Zeitschrift für bildende Kunst , where Zuloaga mostly together with Anglada Camarasa (as the two most important Spanish painters) was called. In Spain, however, the response was subdued, only his friends Santiago Rusiñol, Ramiro de Maeztu and Ortega y Gasset dedicated a few articles to him in La Vanguardia , España and El Imperial .

In Paris, Zuloaga was made an associate member of the Société Nationale des Beaux-Arts (= Salon du Champ de Mars) in 1901 and a full member (sociétaire) the following year. During his stay in Bordeaux his daughter Lucia / Marie-Louise was born on May 15, 1902. Shortly before, his mother Lucia had died in Eibar. The artist traveled tirelessly: from Bordeaux to Eibar, on to Segovia, where he painted with his friend Uranga, then back to Eibar and in December to Andalusia, where he stayed for a few months. The summer of 1903 saw him again in Bordeaux, Argelés-Gazost and Saint-Jean-de-Luz, the autumn as usual in Segovia and the end of the year in Saint-Medard again. That year his paintings traveled to exhibitions in Bordeaux, Bilbao, Munich and Venice, where they were awarded a gold medal.

It continued in this way in the following years until the outbreak of the First World War: trips to Germany, Morocco, Belgium and Italy alternated with the annual autumn work stays in Segovia, where his uncle Daniel Zuloaga did the abandoned Romanesque in 1904 Church of San Juan de los Caballeros and had set up studios for both of them. Not even a year passed without a long stay in Paris, where in 1906 Zuloaga set up his apartment and studio at number 54, Rue Caulaincourt (Montmartre), which remained his final home in Paris. In addition, there were frequent stays with his wife's relatives in Bordeaux, Saint-Medard, Saint-Jean-de-Luz, Eibar, Madrid and Andalusia. On his travels accompanied him u. a. Émile Bernard, Pablo Uranga, Charles Cottet, Dario de Regoyos, Auguste Rodin, with whom he exchanged works on various occasions, Maurice Ravel , the Russian art collector Ivan Shchukin and the soprano Lucienne Bréval , whom he portrayed several times. As early as 1902 he had also acquired a Clement Bayard automobile for his travels between France and Spain and the exploration of the Castilian countryside and cities in search of motifs and inspiration. In the meantime, in addition to Paris, his works have been shown at exhibitions in Amsterdam (1912), Barcelona (1905, 1907), Berlin (1902), Bilbao (1903), Bordeaux (1902, 1903, 1908), Boston (1909), Bremen (1904 ), Brussels (1908, 1914), Buenos Aires (1910), Budapest (1902, 1912), Buffalo (1909), Dresden (1904, 1905, 1912), Frankfurt (1908), Glasgow (1904), London (1904, 1907, 1910), Mexico (1910), Moscow (1913, 1914), Munich (1902, 1903, 1912, 1913), New York (1909, 1913), Prague (1905), Rome (1904, 1911), Rotterdam ( 1905), Saint Petersburg (1913), Santiago de Chile (1910), Venice (1903, 1905, 1910, 1912) and Vienna (1912).

His son Antonio was born on January 10, 1906 in Paris. His baptism was celebrated with a large Spanish festival with guests such as Degas, Albeniz, Rilke, Aureliano de Beruete , Paco Durrio, Maxime Dethomas and Cottet, as well as his daughter's first communion on April 20, 1913. Zuloaga pursued his project of having his own house on the Basque coast as a place of retreat and relaxation until, in October 1910, shortly after his father's death, he auctioned a piece of marshland of 41,700 m² in Zumaya between a old abandoned farmhouse with the chapel of Santiago and the sea for 4,500 pesetas. On this property he had a house built, which was inaugurated on the French national holiday, July 14, 1914. He was finally able to acquire the old farmhouse with chapel in the same year and expand it as a studio and museum in the following years. This is where he housed his collection of pictures and other works of art that he had acquired during his life so far. It is still one of Zuloaga's two private museums that can be visited by visitors.

The outbreak of World War I also marked a major turning point in the life of this artist and ended an epoch of his career. The Dethomas family, like many other members of the bourgeoisie, withdrew to the south of France, the Paris salons lost their importance, and the European exhibition business came to a standstill. To compensate, Zuloaga increasingly turned to his Spanish homeland, which had previously provided him with a job and a source of inspiration, but not a relevant market for his products. But that didn't change the fact that he traveled to Paris again in 1915 and worked there when the advance of the German troops had stopped. In the winter of 1916 to 1917 he had to stay in bed for a few months because of a severe infection in Paris. Instead of working in Segovia, he now worked the rest of the year in Zumaya or Madrid, where he set up his apartment and studio on the elegant Paseo de Rosales. From Spain he campaigned for the allies of the war, on the one hand in a manifesto published by Spanish intellectuals in 1915, but also practically by donating a painting in 1915 for a raffle in favor of the war invalids of Saint-Medard, and on the other hand in 1917 by organizing a day on which all traders in Eibar were to donate their earnings for the war orphans. Together with the mayor of Eibar, he was able to hand over the 34,000 francs collected in person to the French president. In the same year he was awarded the French Legion of Honor. Zuloaga was able to send his pictures to a single exhibition during the war years: 34 paintings were brought to the USA in 1916, where they were successively enjoyed with great audiences in New York, Boston, Buffalo, Pittsburg, Cleveland, Chicago, St. Louis and Minneapolis were shown.

After the end of the war, public interest in Paris turned to the new currents of the avant-garde, which broke with all previous conventions and were hostile to Zuloaga. His clientele remained members of the upper class, especially from America, who valued his art and let him portray them in Paris and Madrid.

Participation in international art exhibitions remained rare, for example in Bilbao in 1919, where the shipowner Ramón de la Sota acquired the portrait of Condesa de Noailles for the city's museum, and in London in 1920. In 1924 his American friend and biographer Christian Brinton succeeded in persuading him to accompany 52 of his paintings to the USA. Together with Pablo Uranga, he went to New York in November, where the exhibition in the Reinhard Gallery, 5th Avenue became one of the biggest hits with the public: In 1909 the exhibition of 38 of his pictures had only 70,000 visitors, while the previous Sorollas with over 350 Images had attracted twice as many visitors, it was now 5,600 a day; due to the large number of visitors, the show was extended by a week. Selling 4 paintings on the first day earned the painter US $ 100,000. In Washington he was received by President Coolidge , accompanied by the Spanish ambassador . In February 1925, the exhibition moved to Boston, Palm Beach, Florida, and finally Havana. After his return to Spain, the artist was invited to a first exhibition of his pictures in Madrid on the occasion of the opening of the Círculo de Bellas Artes , No. 42 Calle de Alcalá, newly constructed by the star architect Antonio Palacios . This exhibition, opened by King Alfonso XIII, brought the previously outstanding public recognition of the artist in his homeland, even if his critics, as in the past, sharply condemned his image of Spain. This was followed by participation in art exhibitions in Barcelona in 1929, in London in 1939 and in Venice in 1938. The painter's previously restless life was a thing of the past, he created fewer than ten pictures a year, devoted himself more to family life and organized parties with bullfights for his French and Spanish friends. In November 1925 he acquired the half-ruined Castillo de Pedraza near Segovia, where he set up another residence with a studio and is now the artist's second private museum. The stock market crash of 1929 brought a heavy financial loss, through which he lost a large part of his assets invested in the USA and subsequently also many orders from the money nobility. He refused to be appointed director of the Museum of Modern Art in Madrid in 1931. He experienced the outbreak of the Spanish Civil War in Paris, where he was preparing an exhibition of uranium gas. He immediately traveled back to Zumaia with his family, where he arrived on August 20, 1936, miraculously alive , according to him . A month later, Zumaia was captured by insurgent troops. With a letter dated September 29th, he had to ask his American confidante Alice W. Garret for money because the Republican troops had taken all the safe deposit boxes with them to Bilbao when they withdrew from San Sebastian, and there Zuloaga had all his cash as well as a painting by El Greco Gold coins kept. Most of the time until the end of the civil war, Zuloaga again alternated between Paris and Zumaia, after which he spent the winters in Madrid and the summers in the Basque Country. Stylized by the Franco government to the icon of Spanish painting, Zuloaga received the highest honors, showed his pictures again in 1941 in Madrid and 1942 in Barcelona in large retrospective exhibitions and worked intensively in his Madrid studio, particularly on portraits of his friends. On October 23, 1945, after putting up a plaque to commemorate his friend Pablo Uranga, who died in 1935, he set out in his car on the journey to Madrid. Several flat tires eventually led him to take an uncomfortable taxi. A first attack of weakness seemed to be over, but at a dinner with friends on October 26th he felt uncomfortable again and had himself taken to his studio. His doctor diagnosed a heart attack and gave him a maximum of two weeks. The painter died on October 31, 1945 in his studio in Madrid.

The artist

“What is art? What is painting I ask myself that at 54 years old. After I painted some 500 paintings. Is it supposed to be conditioned by the time we live in? Because art always aims to create something new? Or should it be based on reality, and above all on what nature shows us? What were the concerns of the ancients? Which ones do we have today? Certainly very different. What to do: Be honest with yourself ”. This is what Zuloaga wrote in 1924, addressed to himself.

First steps

Marques de Villamarciel 1893

Zuloaga was not an autodidact, as it has been more or less explicitly shown in his biographies. He did not receive a classical academic education. His father had taught him to draw and he started painting at the age of 8. There were plenty of art objects, paintings and art magazines in the parents' house. So he practiced copying from childhood. The trip in 1887 with his father to Madrid with a visit to the Prado Museum, described by his biographers, is a legend due to Lertxundi Galiana's research work, which concealed his training by a painter who was not known by name. There is no evidence that he is said to have copied two heads of dwarves of Velazquez and a portrait of a knight from El Greco in the Prado Museum; only copies of pictures by the painters Modest Urgell and Juan Martin Cabezalero are documented by the corresponding directory of the museum. His first work, painted in Madrid, with the cumbersome title Un sacerdote rezando en una habitación antigua , he submitted to the Exposición Nacional de Bellas Artes de Madrid in 1887, where it was actually exhibited. The genre painting La fuente de Eibar (today in the Museum Zuloaga, Zumaia), which was created in the home country the following year , shows a group of people in a realistic style with clear, hard contours, whose movements seem frozen in a snapshot. Even before he left for Rome, Zuloaga described himself as a painter. In Rome he painted a few pictures in the prevailing social-realistic style, while during his visit to the Académie libre de la rue Verniquet he tried various modern painting techniques such as neo-impressionistic open-air painting , pointillism and impressionistically colored realism. The portrait of the Marquis de Villamarciel (now Museo de Bilbao) from 1892 is reminiscent of Manet, the picture Mi padre y mi hermana en Paris (now Museo Zuloaga, Zumaia) from 1891 is reminiscent of Toulouse-Lautrec. For example, the picture Las dos amigas from 1896 , which was awarded in Barcelona, and the emblematic Mujer de Alcalá de Guadaira from 1896 clearly show the influence of Degas with figures moving from the center of the picture against a background that is only slightly indicated. In 1912 Zuloaga wrote about Degas: "He is the greatest artist of our era". In a Paris with approx. 2000 painters, approx. 1600 of them foreigners, Zuloaga could not attract attention with pictures without a style that stood out from the crowd.

Sevillian era

In search of his own way, he turned to Spanish motifs. The cheerful mood of the Andalusian period with the depiction of dancers, toreros and gitanas with their elaborate, often colorful robes, veils and fans of a "España blanca" reflects the liberating effect of the southern climate on the artist. At the same time, he used a clichéd idea of ​​an exotic Spain that was widespread in the rest of Europe from the Romantic era, but with the new tendency to penetrate into the essence of those depicted with sad-looking toreros and maliciously smiling Gitanas. Neither in Seville, where people were only used to small-format, romantic genre pictures in the style of Fortuny and considered what Zuloaga painted to be nonsense, nor in Madrid, where his pictures submitted to the annual Exposición Nacional ended up in the Sala del Crimen, if at all to deter visitors one understood his work. For the first time at the exhibition of six of his pictures painted in Andalusia in April 1895 in the Parisian gallery Le Barc de Boutteville , reviews appeared in newspapers and he was able to sell one of them to an American painter.

The work Vispera de la Corrida , which won a prize in Barcelona, ​​marked the end of this phase and transition to the style of painting for which Zuloaga was to become internationally recognized and famous . The large-format painting shows the composition of two groups of women dressed in costly robes, only partially facing the viewer, who are moved to the edges of the picture and, in the middle of the picture, reveal a distant village with cattle in front of it. The bright yellow dress of one of the protagonists and the white cloak of the woman standing next to her contrast with the dark-looking picador on his horse behind it, which indicates the coming of a corrida. The composition scheme of life-size people in the foreground, shifted from the center of the picture in front of a landscape that looks like a stage background without any real perspective reference to the figures can be found in many later works by Zuloaga, such as B. in the portrait of Maurice Barrès in front of the view of Toledo from 1913. The function of the landscape is to serve as an important symbol to characterize the person depicted, their nature or their surroundings. The composition does not intend to reproduce a real scene, but instead makes use of synthesizing elements found in reality, such as the walls of Avila behind the dwarf wine merchant Gregorio el botero from 1907 and the crucifixion group El Cristo de la sangre from 1911 or the view of the Castilian town of Sepúlveda in the background the pictures Gregorio en Sepúlveda from 1908 or Mujeres de Sepúlveda from 1909.

Unlike most painters, Zuloaga usually did not draft his pictures. He painted his compositions from memory and based on written notes in the notebooks he carried with him, and later also based on photographs. In fact, on his forays into the Castilian landscape, he used a Kodak camera to capture impressions that he later intended to use in his compositions.

Segovian era

Las brujas de San Millán, 1907

With the departure of Seville in favor of Segovia, both the subject matter and the color of Zuloaga's paintings changed significantly. In place of a serene blue sky there were mostly dark clouds over a barren Castilian landscape, almost threatening in the depiction of the Picador returning from a corrida on his wounded horse La víctima de la fiesta from 1910. The palette became dark with predominantly red and green -, brown and ocher tones, silver gray and black, the subject is often gloomy, the color black a preferred stylistic device. A “España blanca” was replaced by a “España negra”, as Darío de Regoyos had sketched out in the illustrations for Emile Verhaeren's 1898 book of the same name. While in one of the first pictures of the Segovian era from 1898, Mi tio y mis primas, the sky behind the people dressed in black appears light gray-blue and thus emphasizes the black of the clothes, in the portrait of his nieces dressed up in the Sevillian style Mis primas of 1903 as in many later ones - e.g. B. that of the Gitana florista from 1909, the Familia de Daniel Zuloaga from 1910, the Bailarina from 1912, the Señora Atucha from 1917, and still the portrait of Mrs. Julia Hoyt - Julia Wainwright Robbins from 1923 (now Metropolitan Museum New York) , that of Robert Cunninghame Graham from 1935 and that of Domingo Ortega from 1945 - the sky covered with heavy gray-black clouds. This achieved an effect similar to that of Chiaroscuro , through which the depicted person is shown in the right light. For Zuloaga, the bare, parched autumnal landscape of Castile became the symbol of an original Spain still unspoilt by the cosmopolitan currents of modern times (today one would say: globalization), as it was in the vision of the Siglo de Oro , the so-called. golden age appeared. “A landscape must always be monochrome ... The trees are black; the buildings ocher and green-gray; the green of the first level is dark green. Ultimately, less from this Impressionist kitchen, where all sauces are made of blue ”.

Reaction in Spain

Anita Ramírez de negro, 1916

This new way of painting, which quickly established Zuloaga's international fame and made him the “painter of Spain”, met with sharp opposition from the Spanish public, especially from urban civil society and the press. It was not the painting technique that was discussed, but the choice of material. For his critics, the depicted subjects conveyed a distorted, anti-Spanish image in the sense of the black legend ( Leyenda negra ), of a rough, backward Spain at the same time bigoted and shaped by superstition. The so-called "cuestion Zuloaga" was born. In contrast, art critics from abroad, but also Spanish intellectuals, recognized this view of Spain, which was not glorified by romanticism, as an authentic representation of the timeless Spanish soul. The German art critic Hans Rosenhagen described Zuloaga as a great psychologist, who shows the real Spain and differs from the old masters like Goya and Velazquez only in the novelty of his coloristic combinations. Camille Mauclair called him the greatest living Spanish artist in the tradition of Velazquez, Greco and Goya, whose merit it is to have shaped a world that is drowning in the desolate pursuit of uniformity. Christian Brinton saw the entire development of Spanish society since Ribera symbolized by Zuloaga's art. In the preface to the 1916 exhibition catalog, the American painter John Singer Sargent called it an honor to announce this genius to the American public. And Dyagilev asked as early as 1901: “Who can come after that? If he already seems to have said everything ”.

In Spain it was only the members of what Azorin later called the group of intellectuals of the Generación del 98 who saw their thoughts represented by Zuoaga's art. While Azorin had initially argued that the Spain reproduced by Zuloaga was neither real nor authentic, he later wrote that, in his opinion, Zuloaga understood how to reproduce authentic Spain. He wrote: “You cannot see Zuloaga's Spain ... until you have lived outside Spain for a few years. I myself, who described Spanish villages and types, did not see them until I lived in Paris for three years .... When I returned to Spain, the truth of Zuloaga's painting suddenly struck me like a blow ”. In the same sense, Miguel de Unamuno wrote : “Spain has yet to be discovered, and only Europeanized Spaniards will be able to discover it”, describing Zuloaga as the “discoverer of what is deeply specific and differentiating in today's Spain”, as the “painter of the Spanish soul”. In a description of the picture Gregorio el Botero, the philosopher José Ortega y Gasset interpreted this dwarf as a symbol of the Spanish “race” and its fate, “if you want a Spanish myth”. In contrast, the other, modern European nations would have sold their souls like Faust. The nostalgic transfiguration of the rural past was the founding myth of the cultural nationalism promoted by these intellectuals. What the writers of the Generación of 98 proclaimed in their essays, novels and poems, Zuloaga captured in his pictures as a painterly message. "... it was the problem of Spain".

This is exactly what the artist sought to express. In 1908 he first showed a visitor to his studio in the old church in Segovia the painting Los Flagellantes . It depicts the old tradition, which has survived in some Spanish regions, that during parades during Holy Week men with covered heads and bare chests scourge themselves under the crucified Christ until their blood runs down them. To the right and left of this painting, like a triptych , the painter placed the pictures of a torero and a cheerfully looking Manola and explained to the amazed visitor: “In Spain there is nothing more than toreros and religious fanatics who torment animals and their own with equal cruelty Shred meat ”.

Bullfight

Torerillos de pueblo, 1906

Zuloaga was by no means an opponent of bullfighting. Contrary to most of the Generación del 98 , who rejected bullfighting as barbaric, it was not only a great passion for him, but also formed an essential part of his Œvre. Probably more than 1/10 of the approx. 880 pictures listed by Lafuente Ferrari in his catalog had this topic as their subject. In contrast to Goya's Tauromaquia , however, only a few address the corrida itself, but rather its surroundings: women who dress up for this festival ( Antes de la fiesta , 1903) or visit the bulls the evening before ( Vispera de la corrida , 1898) Watching tiers or balconies ( Palco en la corrida de toros , 1901; El palco , 1917; El palco de las presidentas , 1945) and toreros, from beginners ( Torerillos de Pueblo , 1906; Torerillos de Turégano , 1913) to their families ( Gallito y su familia = La familia del torero gitano , 1903) to portraits in full gear ( El Matador "Corcito" , 1909; Belmonte en plata , 1924; Torero Rafael Albaicín , 1941; Domingo Ortega , 1945). In the picture Mis amigos (now Museo Zuloaga, Zumaia) that got stuck in the design , next to the Duke of Alba, his painter friend Pablo Uranga, his doctor Gregorio Marañon, the writers Ortega y Gasset, Ramón María del Valle Inclán, Azorin and Ramiro de Maeztu appear also the torero Juan Belmonte. To the art historian Cossío he said: "The most important thing is to know how to fight a bull". On October 31, 1945, three of his friends from the arts and bullfighting carried his coffin in equal parts.

Aesthetic direction

Countess Mathieu de Noailles 1913
Principessa Sveva Colonna, 1938

According to Zuloaga's view, paintings should have a message, not just naturalistically tell an anecdote or express a mood or even be purely decorative objects. He was not interested in the representation of atmosphere and light; “I open the window to breathe air,” he often said. There are cameras for images, he said several times. His aim was to interpret reality, to penetrate the essence of things, in particular the people represented, as Emile Bernard and Maurice Denis put it.

In the many portraits he was increasingly concerned with from 1908 and predominantly after the end of the First World War, he was concerned with working out the personality, the physical and mental nature of the person depicted, using symbolist techniques . The picture of the French nationalist politician Maurice Barrès against the background of Toledo with his book about this city can be seen as a prime example . In accordance with old tradition, Zuloaga often depicted personalities with particularly expressive utensils, such as the painters Pablo Uranga and Balenciaga with a palette, the sculptor Julio Beobide with a hammer and chisel, his doctor Dr. Gregorio Marañon standing in front of a microscope, the Conde de Arest standing next to a pile of books, Ortega y Gasset with a book on his lap, looking inquiringly at the viewer, the thinker Ramón María del Valle Inclán sitting on a chair with folded arms pensive. With women, on the other hand, he - all Spaniards of his time - placed the main focus on their attractiveness; he was less interested in her personality. He transformed his models, whether they were rich American women or professional models, into creatures of a magical world with imaginative Spanish robes, a large collection of which he had already acquired since his time in Andalusia. Only the direction of their gaze and their body language, the movement of the hips or the introduction of a foot served to express their vitality or coquetry. From the large number of such paintings, the various pictures of his nieces Candida and Esperanza , his models Lola and Marcelle Souty and the portraits of Mrs. Julia Hoyt , Señora Concuera , Señora Garay , the Duquesa de Alba or Doña Micaela de Aramburu y Picardo should be pointed out . An outstanding exception is the portrait of Condesa Mathieu de Noailles from 1913 (now Museo de Bilbao), who is clad in a delicate French-style negligee with many wrinkles, resting on a divan and gazing at the viewer dreamily. A flower vase with roses on a table at the edge of the picture with several books symbolizes the poetry and competence of the protagonist, who ran a salon in Paris that was a meeting place for many artists and writers.

El Greco

In order to correctly interpret the soul of the country, Zuloaga sought inspiration in the artistic tradition of Spain. He particularly admired the art of El Greco and Goya, with whom he felt a deep connection since his first contact with their paintings in the Prado Museum. While the references to Velasquez in the thematic area of ​​deformed people, such as the dwarf Gregorio or the Dõna Mercedes, emphasized by foreign art critics, appear to be superficial, Zuloaga's references to El Greco and Goya are based on his strong personal affinity for the pictures of these masters. Reproductions of the Majas by Goya and the Olimpia by Manet hung in his studio in Madrid.

El Cristo de la Sangre, 1911

It was the Basque who in 1894 persuaded the Catalan Rusiñol to buy the two paintings by El Greco offered by the Catalan painter Laureano Barrau Buñol in Paris because he could not afford the 1,000 francs himself. His trip to Toledo, reported by Rusiñol, with the sole purpose of being able to see the painting El entierro del conde de Orgaz is legendary . Whenever he could afford it, he collected paintings of the Cretan himself and is said to have brought it to a collection of 12 Grecos, including the painting of the Apocalypse , which he acquired on his trip to Andalusia with Rodin in 1905 against his advice for 1000 pesetas , which was considered important Source for Picasso's Les Demoiselles d'Avignon and can be seen as the background of the picture Mis amigos . He also bought and sold Grecos for collectors whenever he could get hold of them. At least 14 passed through his hands, often in collaboration with his uncle Daniel Zuloaga, with whom he shared the profits of such deals. Rilke also came to Greco via the Basque, while Zuloaga failed to convince Rodin. He was known in the art world as a Greco expert who didn't mind occasionally declaring a heavily restored painting to be real. Zuloaga called El Greco the greatest painter who ever existed, the god of painting. He, like the Lorraine Barrès, the Greco biographer Manuel Bartolomé Cossío and also Pio Baroja, Azorin, Unamuno and the other members of the Generación del 98 , the Cretans were considered the most Spanish of all painters, because he represented the essence of this people, their soul, best captured and represented in his works. Meier-Graefe himself recognized this in his trend-setting art diary Spanish Journey . According to Pio Baroja, the bare landscape of Castile with its gray tones before sunset and the melancholy calm that dominates its small towns shaped the spirit of Greco, a landscape similar to that of Zuloaga. Aesthetic echoes of the Mannerist figures of Greco can be found in Zuloaga z. E.g. in Tipo de Segovia from 1906, the monk Monje en extasis from 1907, San Francisco de Asís from 1942 or in El Cristo de la sangre from 1911. Zuloaga's painting El Cardenal from 1912 brings to mind Greco's portrait of the Grand Inquisitor .

Goya

Doña Rosita Gutierrez

Zuloaga publicly expressed his admiration for Goya in 1907 when he had a marble slab attached to the (supposedly) last home of Goya in Bordeaux at his own expense. In 1913 he donated to the erection of a monument in Fuendetodos, the birthplace of the Aragonese, in order to finally acquire the house where he was born in 1915. He also had a school built in 1917, published a children's book about Goya the following year, and finally erected a bust in memory of the painter next to the local parish church. He bought his first Goya, a portrait of Condesa de Baena , in 1900 when he came to Madrid for the major retrospective exhibition. He later added other works by Goya to his collection and was soon considered an expert who could identify a Goya better than some scholars at a glance. In 1930 the Bilbao Museum commissioned him to restore a painting by Queen Maria Luisa de Parma von Goya, which was later painted over with the head of Amalia de Sajonia, the wife of King Ferdinand VII. Little known stage images that Zuloaga for 1919 listed in Paris Opera Goyescas of Granados had designed. There is a draft of the stage set for the second act, which depicts a landscape entirely in Goya's early style with quotations from his tapestry drafts, e.g. B. identifies the jumping jack and figures from the meadow of Saint Isidro. When it was considered to entrust his competitor Sorolla with the decoration of Goya's burial chapel, a newspaper protested: "Zuloaga is the one who knows the most about Goya, he is the Goya of our day" [Lorente Lorente p. 180]. Due to the outbreak of the Spanish Civil War, the order was made to restore the original mausoleum of Cayetana, Duchess of Alba, in Madrid, which Goya had painted in grisaille , in its original style.

It is no coincidence that Zuloaga's style of painting was darkening precisely at the time when he moved his workplace from Seville to Segovia, set up another studio in Madrid and studied Goya's work there. Goya quotes can be found in many of his paintings. Zuloaga portrayed some women based on the model of the Condesa de Baena , lying sideways on a divan, propped up her elbows and holding her head in her hand ( Marcelle Souty echada con vestido de volantes , 1915; Señora de Escardó , 1927). Among his standing portraits of women, several can be identified as homage to Goya's famous painting of the Duchess of Alba, in particular the portrait of Duquesa de Arion from 1918 and Duquesa de Alba , but also z. As the Portrait of Señora Concuera of 1918 and the Señora Garay in 1938. But that's not all: The Portraits of disguised as a Spanish Manolas with shawl, plug comb and subjects Argentine Doña Rosita Gutiérrez of 1915 and the German-Italian Marquesa de Casati of In 1923 he made the joke of decorating her fan with Goya's Maja desnuda . Following the example of this famous painting, he also designed various female nudes , such as Desnudo del clavel from 1915 and Desnudo rojo from 1922 (both Museu Nacional d'Art de Catalunya), as well as La Italiana from 1931.

From traditionalist to nationalist

Zuloaga's painting in the first decade of the twentieth century was an expression of what the intellectuals and writers of the Generación del 98 felt and propagated, so that he is described as their artistic representative, despite his friendship with their most important representatives, but not as a member of this group can. It is not known that he took part in her tertulias in the Café Levante, nor was he active as a writer such as B. the painters Ricardo Baroja and José Gutiérrez Solana. Zuloaga was an artist, a painter, not an intellectual and never commented on politics of the day. Undoubtedly, however, he shared her idea of ​​a renewal of Spain from its traditions, from the "quiet life of the people", its "inner history", as Unamuno called it. The ruling liberal-conservative establishment saw him as unpatriotic. Nationalism and modernity were not opposites in the first half of the twentieth century, as the examples of the nationalist composer Manuel de Falla, who was friends with Zuloaga, and the symbolist Maurice Denis show. At a meeting with Ramiro de Maeztu in 1913, accompanied by Maurice Ravel and French intellectuals who shared Barre's views of a new organic nationalism, he said that Parisian sophistication only meant calculation, numbers and decadence, while in the traditional rural one Spain find strength, passion and vitality. The extent to which Zuloaga agreed with Barre's xenophobic and anti-Jewish nationalism is not known. His 1913 portrait, however, was an homage to Barrès and his attitude towards the common idea of ​​Spain.

Zuloaga had expressly welcomed the overthrow of the monarchy in 1931 and the republic and hoped that everything would return to normal; However, when the left Popular Front narrowly triumphed after the 1936 election, he feared the coming of a Soviet system. When the intellectuals of the Generación del 98 Unamuno was forced out of his position as rector of the University of Salamanca by the fascists and Pio Baroja went into exile in France, while Ramiro de Maeztu , who founded the ultra-nationalist Accion Espanola in 1931 , right at the beginning of the civil war Having been executed by Republicans, Zuloaga first tried to abstain from taking sides. After the events of the first months of the war and after his son Antonio joined Franco's troops and he himself had seen the complete destruction of Eibar (only the facade of his parents' house was left), Zuloaga succumbed to the propaganda of the nationalists, according to which this destruction, like the Gernikas, was carried out the Red's account went. In an interview with the correspondent Artieri of the Italian La Stampa, in his moving concern about the national heritage, which he saw endangered by the removal of the works of art from the museums of Madrid by the Republicans, he joined the petition of more than 350 artists and intellectuals of March 22, 1937 to the League of Nations to forbid the sale of looted art, and in an appeal to the world on November 19, 1937 in the Diario de Cordoba with a warning of the destruction of Spanish art by “Moscow and its Spanish Slaves ”expressly on Franco's side. The latter had already misused his international reputation for propaganda purposes on August 20, 1936 for their crusade by spreading a false report about his alleged execution by the Republican side on the radio and a telegram to the New York Times. This was intended to divert attention from the fascists' murder of Garcia Lorca two days earlier . In March 1937, the New York Times, Washington Post and Los Angeles Times again sent hoaxes that Zuloaga had been sentenced to death by the Popular Front government in Bilbao. While Picasso's work Guernika , which was commissioned by the Republican government for the World Exhibition in Paris, met with great sympathy, the 1938 Venice Biennale received 37 paintings from Zuloaga, including the siege of the Alcázar of Toledo , as a propagandistic representation of their view of Spain; Zuloaga was awarded the Premio Mussolini. In July 1939, the Spanish ambassador in Berlin presented Adolf Hitler with three paintings by Zuloaga as a personal gift from Franco, which was reported not only by the Volkischer Beobachter but also by the New York Times. In the same year, however, Zuloaga himself protested expressly against the invasion of the German troops in France. In October 1939 Franco visited the Museo Zuloaga in Zumaia and in the Zuloaga exhibition in Madrid in 1941, the portrait of Franco, which was probably made in 1940 and is no longer publicly accessible by Azorin, was presented, legs apart, with a blue Falange shirt and a red Carlist cap standing in a bare landscape, one hand on the hip, the other holding a Spanish flag, exhibited. To say goodbye to the US Ambassador to Spain, Dr. Carlton JH Hayes received a portrait commissioned from Zuloaga in January 1945 to express the appreciation of the regime's services for the rapprochement between Spain and the USA. In the last years of his life, the painter had become an important propaganda element of the Franco regime, his picture appeared on postage stamps for foreign countries as well as a 500 pesetas banknote.

The interaction of this own positioning and its propagandistic exploitation with a straight-line art-historical paradigm prepared by Meier-Graefe in the twentieth century and developed by Alfred Barr , which only recognized modern art as such, which was detached from national traditions, led to an internationally recognized art during his lifetime and esteemed artist is largely unknown outside of Spain today. With a large retrospective exhibition with 105,000 visitors, the Museo Bilbao commemorated one of the great Spanish painters in 2019.

Awards

  • 1896 silver medal for dos Amigas : III. Exposición de Bellas Artes e Industrias Artisticas, Barcelona
  • 1898 gold medal for Vispera de la Corrida : IV. Exposición de Bellas Artes e Industrias Artisticas, Barcelona
  • 1901 gold medal: International art exhibition in Dresden
  • 1903 gold medal at the 5th Venice Biennale
  • 1907 King's Prize and Honorary Diploma: Exposición de Bellas Artes e Industrias Artisticas, Barcelona
  • 1911 1st prize (shared with 9 other artists) at the International Art Exhibition in Rome
  • 1912 Honorary Diploma from the Amsterdam International Art Exhibition
  • 1917 great honorary diploma from the Exposición Hispano-Francesa of Zaragoza
  • 1938 Gran premio Mussolini at the Venice Biennale .

Contemporary literature

New literature

Web links

Commons : Ignacio Zuloaga  - collection of images, videos and audio files

Notes and individual references

  1. ↑ Milhou p. 20
  2. ↑ Lertxundi Galiana p. 17
  3. ↑ Lertxundi Galiana p. 17 shows these data by means of corresponding certificates, in contrast to Milhou
  4. ↑ Lertxundi Galiana p. 17
  5. ↑ According to a letter of October 31, 1906 to Miguel Utrillo, his parents wanted him to become a businessman or an architect, see Lertxundi Galiana p. 20
  6. ↑ Lertxundi Galiana p. 17f
  7. ↑ Lertxundi Galiana p. 18
  8. ↑ Lertxundi Galiana p. 21 fn 44
  9. ↑ Lafuente Ferrari p. 55
  10. ↑ Milhou, p. 63, citing information from Carrière's son
  11. ↑ Lafuente Ferrari p. 56; Lertxundi Galiana p. 32
  12. ↑ Milhou p. 67
  13. ↑ Portillo p. 38
  14. ↑ Portillo p. 39
  15. ↑ Portillo p. 36; in detail Marías pp. 330–335
  16. ↑ Lertxundi Galiana p. 45 and fn. 213
  17. ↑ Lafuente Ferrari p. 243
  18. ↑ Lertxundi Galiana p. 30
  19. ↑ Lertxundi Galiana p. 32
  20. ↑ Lertxundi Galiana p. 38
  21. ↑ contrary to the dating in Lafuente Ferrari today undisputed, Milhou p. 84 f; Lertxundi Galiana p. 200
  22. ↑ Milhou p. 111
  23. ↑ Portillo p. 57
  24. ^ Arsène Alexandre: Ignacio Zuloaga . In: Utrillo p. 35
  25. ↑ The model was the French woman Mlle.Bouey from Saint-Medard, see Milhou p. 28
  26. ↑ Lafuente Ferrari p. 97
  27. ↑ Novo Gonzalez 2019 p. 122
  28. ↑ Novo Gonzalez 2019 p. 130
  29. ↑ Lafuente Ferrari p. 207
  30. ↑ Lertxundi Galiana p. 18
  31. ↑ Milhou p. 60
  32. ↑ Milhou p. 71
  33. ↑ Bonnaffoux; according to loc. 30-40%, Crosson p. 47
  34. ↑ Portillo p. 55
  35. ↑ Portillo p. 41
  36. ↑ after Arsène Alexandre: Ignacio Zuloaga . In: Utrillo p. 40 and Portillo p. 78 it is said to be Alcalá de Guadaira
  37. ↑ Crosson p. 65 fn. 125
  38. ↑ Zuloaga's statement, quoted in Lorente Lorente p. 176 in fn 24
  39. ↑ Lafuente Ferrari, p. 308 f, points out that many other Spanish painters have treated the same and similar motifs, but only anecdotally and not with such persuasiveness as Zuloaga
  40. ↑ Zuloaga said: “I have often been criticized by my compatriots. By most, because they claim that my paintings ridicule Spain; others because I am not copying nature faithfully, that is, as it is; others because they have never seen and never will see Spain and claim that I neither see it; and others because they assure me that I see it through the eyes of a foreigner ”. Crosson p. 108
  41. ↑ Lafuente Ferrari p. 304 ff
  42. ↑ Hans Rosenhagen in: The art for everyone 1900–1901 p. 99
  43. ^ Brinton 1916, p. 110
  44. ↑ Mir Iskusstwa 1901, quoted in in En el Paris p. 257
  45. ↑ Lertxundi Galiana and Novo Gonzalez p. 75
  46. ^ Valdivieso Rodrigo p. 60
  47. ^ Valdivieso Rodrigo p. 60
  48. ↑ Valdivieso Rodrigo p. 122
  49. ↑ Valdivieso Rodrigo p. 62
  50. ↑ Valdivieso Rodrigo p. 125
  51. ↑ Crosson p. 109
  52. ↑ Crosson p. 68 ff
  53. ↑ Lafuente Ferrari p. 127; see also Arnáiz pp. 143–155
  54. ↑ It was probably El matador Pepillo and a picture of his niece Candida , which he presented to his guests Rodin, Alexandre, Cottet, Laparra, Breval and Maizeroi on New Year's Day 1909 in Paris together with Los Flagelantes and Gregorio en Sepulveda . En el Paris p. 248
  55. ↑ Padre M. Gil: En el estudio de Zuloaga . In: Utrillo p. 94 ff
  56. ↑ Valdivieso Rodrigo p. 86 ff
  57. ↑ Portillo p. 68. Valdivieso Rodrigo p. 96 speaks of only about 50 paintings
  58. ↑ Portillo, p. 68
  59. ↑ Portillo, p. 69
  60. ↑ for example Valdivieso Rodrigo p. 139
  61. ↑ Storm 2013 p. 6
  62. ↑ Crosson p. 32 ff
  63. ↑ For Barrès as for Zuloaga, Toledo was a living symbol of the uninterrupted cultural tradition of Spain. Lafuente Ferrari p. 110; Storm 2013 p. 10; Crosson p. 96
  64. ↑ Lafuente Ferrari, photo on p. 174
  65. ↑ Lafuente Ferrari p. 66
  66. ↑ Lafuente Ferrari p. 49
  67. ↑ Crosson p. 45
  68. ↑ Marías p. 332 ff
  69. ↑ Lafuente Ferrari p. 93 fn. 131; Marías p. 320
  70. ↑ Marías p. 328 ff
  71. ↑ Marías p. 345
  72. ↑ Lafuente Ferrari p. 209, Storm 2014 p. 7
  73. ↑ Börner p. 279
  74. ↑ Storm 2014 p. 8
  75. ↑ Lorente Lorente p. 178
  76. ↑ Lorente Lorente p. 178
  77. ↑ In recognition of its commitment, the place named the road to Zuloaga leading to today's Goya Museum
  78. ↑ There this picture had been rejected as a forgery, he thought it was real and bought it cheaply. Experts later confirmed the authenticity of the picture. Lorente Lorente p. 181
  79. ↑ Lorente Lorente p. 180
  80. ↑ Lorente Lorente p. 177
  81. ↑ illustrated by Lorente Lorente p. 170
  82. ↑ The audience is said to have risen to standing applause when the curtain rose on the second act. Lorente Lorente p. 169
  83. ↑ Lorente Lorente p. 177
  84. ↑ Lorente Lorente p. 175
  85. ↑ Lafuente Ferrari p. 305
  86. ↑ Storm 2013 p. 11
  87. ↑ Valdivieso Rodrigo p. 115 ff; Storm 2013 p. 10
  88. ↑ Novo González p. 234. It preferred academic painting or the cheerful, positive, light-flooded pictures of its greatest rival Joaquín Sorolla. see Storm 2013 p. 8
  89. ↑ Crosson p. 89 f; Along with Barrès, Maurice Denis was a member of the leadership of the proto-fascist L'Independence . Crosson p. 99
  90. ^ Letter of April 14, 1931 to Gregorio Maranon, see Novo González 2019, p. 122
  91. ↑ Crosson p. 122
  92. ↑ Novo González 2019 p. 127
  93. ↑ Novo González 2019 p. 130
  94. ↑ This version was also distributed in The Catholic Herald by the British war correspondent Claude Kinnoult, who was a friend of Zuloaga , see Novo González 2019 p. 133
  95. ↑ Novo González 2019, pp. 135f
  96. ↑ Novo González 2019 p. 136
  97. ↑ Storm 2013 p. 11, printed by Novo González 2019 p. 137
  98. ↑ Novo González 2006 p. 234 ff
  99. ↑ Novo González 2006 p. 238
  100. ↑ Crosson p. 154
  101. ↑ ABC of November 26, 2018 https://www.abc.es/cultura/abci-francisco-franco-retrato-mas-problematico-inaccesible-ignacio-zuloaga-201811230815_noticia.html
  102. ↑ illustrated by Novo González 2019 p. 153
  103. ↑ Crosson p. 22; 90; Villalonga Cabeza p. 26 ff
  104. ↑ https://www.museobilbao.com/exposiciones/ignacio-zuloaga-1870-1945-273
  105. ↑ 105,000 visits to sintieron a Zuloaga. El Diario Vasco, accessed January 17, 2020 (Spanish).
personal data
SURNAME Zuloaga, Ignacio
ALTERNATIVE NAMES Zuloaga y Zabaleta, Ignacio (full name)
BRIEF DESCRIPTION Spanish painter
DATE OF BIRTH July 26, 1870
PLACE OF BIRTH Éibar
DATE OF DEATH October 31, 1945
Place of death Madrid