Jumping rope. La Granja
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| Jumping rope. La Granja |
|---|
| Joaquín Sorolla , 1907 |
| Oil on canvas |
| 105 × 166 cm |
| Museo Sorolla , Madrid |
Jumping rope. La Granja (Spanish: Saltando a la comba, La Granja ) is the title of a painting by the Spanish painter Joaquín Sorolla . The picture, painted in oil on canvas, has a height of 105 cm and a width of 166 cm. Sorolla's daughter Elena can be seen jumping rope with other children in the park of the royal residence La Granja de San Ildefonso . The painter created the picture in the summer of 1907 in the style of Spanish impressionism . It belongs to the collection of the Museo Sorolla in Madrid .
Image description
In the painting Sorolla shows a summer scene in the park of the royal residence of La Granja. He has arranged four children evenly around a round fountain, who can be seen jumping rope. The fountain takes up large parts of the upper half of the picture and extends from the left edge of the picture to far to the right. In front of the fountain to the right of the center of the picture is the 12-year-old Elena Sorolla, the painter's youngest daughter. The face appears shadowy with a bright point of light and only the silhouette reveals the sitter. Her brown hair is tied back in a braid and adorned with red bows. She wears a knee-length dress with long sleeves in a blue and white pattern and a white collar. In addition, she has put on long dark stockings. Sorolla portrayed his daughter jumping from the side, at a moment when both feet are not touching the earth and Elena is apparently floating weightlessly above the ground. The skipping rope held with both hands falls in an arc behind your back. On the floor in front of her, the short shadow of her body can be seen with clearly visible limbs. The other three children are smaller and certainly younger than Sorolla's daughter. The identity of these children - they are probably also girls - is not known. All three wear white clothes, but their presentation differs in small details. The child in front of the fountain on the left has a blue bow in her hair and a wide bow of the same color adorns the stomach area of her dress. She is the only child wearing a short-sleeved dress. A child with dark stockings can also be seen on the left edge behind the fountain, while another child with a straw hat appears in the middle behind the fountain. While a skipping rope can be seen in the front left of the child, such ropes can only be guessed at with the children behind the fountain. What all children have in common is movement in children's play. Sorolla recorded her movements in the picture like a photographic snapshot.
The hustle and bustle of the playing children contrasts with the calm components of the fountain and the park's vegetation. In the middle of the fountain - it is possibly one of the two Fuentes de las Caracolas not far from the palace - there is a small figure from which a little water rises. The surroundings are reflected on the surface of the water with its light waves running in concentric circles. A tree trunk protrudes from the earth in front of the fountain and extends to the upper edge of the picture without any of its treetop being visible. It is the same with a number of tree trunks in the background. No branches or leaves appear on any of these trees, only the lower part of the trees can be seen. Behind a hedge, however, red-blooming flowers and baroque garden vases can be made out in the distance. Looking down and into the distance, the image section appears like an inclined plane. A clear demarcation between the foreground and background remains unclear, as the acting figures use large parts of the picture as a play area. Sorolla attaches great importance to the effects of light in the painting. While no sky can be seen, most of the light falls through the leaves of the trees onto the scene. There are correspondingly large shaded areas on the park paths. Only the jumping Elena is highlighted in front of the bright, light floor. Overall, the painting is done with a loose brushstroke, especially on the left side of the front, striking brushstrokes are visible. In the lower left corner is the picture with the signature “J. Sorolla B. ”and dated the year“ 1907 ”.
Sorolla in La Granja
The topic of jumping rope appeared in Sorolla's work even before his stay in La Granja in 1907. There is, for example, a charcoal drawing from around 1896 that shows children jumping rope. Here, however, a longer rope is vibrated by one person while another person is about to jump. In 1903, during a stay in the Netherlands, he made the oil sketch jumping rope , in which two children in local clothes jump next to each other with a rope. These two works are not preparatory work on jumping rope. La Granja from 1907, however, show that Sorolla had observed children playing years before and that the motif was worthy of a picture.
Joaquín Sorolla: Jumping rope (children's study) ,
around 1896
Joaquín Sorolla: Jump rope ,
1903
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Sorolla had earned a reputation among his contemporaries primarily as a portrait painter. There were also maritime motifs that were created near his home town of Valencia . In the first years of the 20th century he began to paint gardens as pictorial motifs. These played a larger role in his later work and he created colorful views of the gardens of the Alcázar of Seville , the Alhambra in Granada and, from 1912, views of his own garden in front of Sorolla's house in Madrid. One of the early pictures in which he combined portraiture with a view of a garden was the portrait of his artist friend Raimundo de Madrazo from 1906 , which he shows against the backdrop of a Parisian garden. The visit to La Granja in 1907 also went back to a commission for a portrait. Sorolla had received the order from the Spanish court, King Alfonso XIII. and to portray Queen Victoria Eugénie . Only one oil sketch of the queen was made on site, because as a young mother she found it difficult to sit portraits. The painter, on the other hand, was able to create the life-size portrait of King Alfonso XIII. execute in hussar uniform to completion. The painting was created in the gardens of La Granja, right in the open air.
However, there were also private reasons for Sorolla's stay in La Granja. His older daughter María had to recover from the effects of tuberculosis and the family used the visit for a holiday together. The family members were also available as models for Sorolla in La Granja for various portraits. These include the painting of his wife Clothilde in the gardens of La Granja and the portrait of the convalescent María in the gardens of La Granja . In both pictures, a fountain in the park can also be seen in the background, possibly identical to the fountain in the painting Jump Rope. La Granja with the daughter Elena Sorolla.
Joaquín Sorolla: The painter Raimondo de Madrazo. , 1906
Joaquín Sorolla: Clothilde in the gardens of La Granja. , 1907
Joaquín Sorolla: María in the gardens of La Granja. , 1907
Provenance
The painting jumping rope. La Granja was owned by the painter until Sorolla's death in 1923. His widow Clotilde Garcia des Castillo decreed in a will in 1925 that the family home and the works of Sorolla contained therein should go to the Spanish state as a foundation. After her death in 1929, the house was converted into today's Museo Sorolla , whose collection also includes the painting jumping rope. La Granja heard.
literature
- Begoña Torres González: Sorolla, la magia de la luz . Libsa, Madrid 2009, ISBN 978-84-662-1040-9 .
- Roger Diederen, María López Fernández, Blanca Pons-Sorolla: Joaquín Sorolla - Spain's master of light . Catalog for the exhibition in the art hall of the Hypo-Kulturstiftung. Hirmer, Munich 2016, ISBN 978-3-7774-2563-4 .
Web links
Individual evidence
- ↑ The German title in exactly this spelling with the point as punctuation can be found in Roger Diederen, María López Fernández, Blanca Pons-Sorolla: Joaquín Sorolla - Spain's Master of Light. 2016, p. 239.
- ↑ Name of the painting Saltando a la comba, La Granja on the website of the Museo Sorolla (Spanish)
- Jump up ↑ Begoña Torres González: Sorolla, la magia de la luz. 2009, pp. 308-309.
- Jump up ↑ Begoña Torres González: Sorolla, la magia de la luz. 2009, pp. 308-309.
- ^ Roger Diederen, María López Fernández, Blanca Pons-Sorolla: Joaquín Sorolla - Spain's master of light. 2016, p. 239.
- ↑ Information on the two works with children jumping rope in the museum database http://ceres.mcu.es/
- Jump up ↑ Begoña Torres González: Sorolla, la magia de la luz. 2009, pp. 308-309.
- ^ Roger Diederen, María López Fernández, Blanca Pons-Sorolla: Joaquín Sorolla - Spain's master of light. 2016, p. 42.
- ↑ Inventory number 797 of the Museo Sorolla, see Roger Diederen, María López Fernández, Blanca Pons-Sorolla: Joaquín Sorolla - Spain's Master of Light. 2016, p. 239.