School of IGNACIO PINAZO CAMARLENCH (Valencia, 1849 - Godella, Valencia, 1916) 
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School of IGNACIO PINAZO CAMARLENCH (Valencia, 1849 - Godella, Valencia, 1916)

School of IGNACIO PINAZO CAMARLENCH (Valencia, 1849 - Godella, Valencia, 1916) "Portrait of a girl, 1895. Oil on canvas. With dedication and traces of signature. Size: 45 x 31 cm; 53 x 40 cm (frame). The representation of children was a common theme in Pinazo's painting, who from 1876, coinciding with his second stay in Rome, made children the protagonists of many of his works. In this particular work we can see the almost sketchy portrait of a girl, notable for her spontaneous gestures. This characteristic was highly valued by the Valencian artist in the conception of his works that reflected the world of children. Born into a humble family, Pinazo was obliged from an early age to contribute to the upkeep of his home through various occupations. He had only completed the eighth year at school when his mother died of cholera, so he was soon employed in various trades, including silversmith, tile decorator, baker, gilder and fan painter. After his father's death he moved in with his grandfather and in 1864 he entered the San Carlos Academy of Fine Arts, where he was a pupil of José Fernández Olmos. During this period he earned his living as a milliner. He began his artistic training at the age of twenty-one, achieving his first success three years later in Barcelona. In 1871 he took part for the first time in the National Exhibition of Fine Arts. He was in Rome twice, the first time thanks to the sale of a painting in 1873, and the second time on a scholarship between 1876 and 1881. It was there that he began his major historical productions, far removed from the conventions of the genre. In his first period he developed an academicist style, but from 1874 he began to paint in a more intimate, impressionistic style. When he returned to Valencia he abandoned historical themes and instead began to paint family subjects, nudes and scenes from everyday life. He is now considered a precursor, in both subject matter and style, of Joaquín Sorolla and Francisco Domingo. In 1884 Pinazo left Valencia temporarily due to a cholera epidemic, moving into the house that the banker José Jaumandreu owned in Bétera. From his return that same year until 1886 he taught at the Valencia School of Fine Arts. During these years he received numerous commissions from the Valencian aristocracy, and his clients included prominent figures such as the Marchioness of Benicarló. Pinazo exhibited his works at the National Exhibitions of Fine Arts in Madrid, winning a silver medal in 1881 and 1885 and a gold medal in 1897 and 1899. In 1896 he was appointed a member of the Academy of San Carlos, and in 1906 he became a member of the Academy of San Fernando in Madrid. In 1900 he was involved in the decoration of the staircase of the palace of Don José Ayora, together with Antonio Fillol, Peris Brell, Ricardo Verde and Luis Beüt. During these years he was awarded a royal medal and in 1912 the city of Valencia dedicated a street to him. After his death in 1916, a series of commemorative events were held to commemorate his life and work. Pinazo is currently represented in the Prado Museum, the MACBA in Barcelona, the Museum and Circle of Fine Arts in Valencia, his House-Museum in Godella and the Valencian Provincial Council, as well as in various important private collections.

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School of IGNACIO PINAZO CAMARLENCH (Valencia, 1849 - Godella, Valencia, 1916)

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IGNACIO PINAZO CAMARLENCH (Valencia, 1849 - Godella, Valencia, 1916). "Young man in profile. Oil on canvas. Signed in the lower left corner. Measurements: 66 x 51 cm; 97 x 71 cm (frame). Born into a humble family, Pinazo was forced from a very young age to contribute with different occupations to the support of his home. He had only completed the eighth grade at school when his mother died of cholera, so he soon had to be employed in various trades, including silversmith, tile decorator, baker, gilder and painter of fans. After the death of his father he went to live with his grandfather, and in 1864 he entered the San Carlos Academy of Fine Arts, where he was a disciple of José Fernández Olmos. During this period he earned his living as a milliner. He began his artistic training at the age of twenty-one, achieving his first success three years later, in Barcelona. In 1871 he entered the National Exhibition of Fine Arts for the first time. He was in Rome twice, the first time thanks to the sale of a painting, in 1873, and the second time with a scholarship, between 1876 and 1881. There he began his great productions of history, far from the conventions of the genre. In his first period he developed an academicist style, but from 1874 he began a more intimate and impressionist pictorial line. When he returned to Valencia he abandoned historical themes, and instead began to paint family subjects, nudes and scenes of everyday life. Thus, he is now considered a precursor, both in themes and style, of Joaquín Sorolla and Francisco Domingo. In 1884 Pinazo left Valencia temporarily due to a cholera epidemic, settling in the house that the banker José Jaumandreu owned in Bétera. From his return that same year until 1886, he taught at the School of Fine Arts in Valencia. During these years he received numerous commissions from the Valencian aristocracy, counting among his clients prominent figures such as the Marquise of Benicarló. Pinazo showed his works at the National Exhibitions of Fine Arts in Madrid, winning the silver medal in 1881 and 1885, and the gold medal in 1897 and 1899. In 1896 he was named academician of San Carlos, and in 1906 he will also be named academician of San Fernando, in Madrid. In 1900 he was involved in the decoration of the staircase of the palace of Don José Ayora, together with Antonio Fillol, Peris Brell, Ricardo Verde and Luis Beüt. For these years he received a royal medal and, in 1912, the city of Valencia dedicated a street to him. At his death, in 1916, the commemorative acts of his life and work will follow. Pinazo is currently represented in the Prado Museum, the MACBA in Barcelona, the Museum and Circle of Fine Arts in Valencia, his House-Museum in Godella and the Valencian Provincial Council, as well as in several important private collections.

IGNACIO PINAZO CAMARLENCH (Valencia, 1849 - Godella, Valencia, 1916). "Portrait of Luis de Góngora. Oil on canvas. Preserves the original canvas. Presents restorations. Provenance: Collection of the Viscount of Casa Aguilar Don Florestán Aguilar y Rodríguez 1872-1934, in his property the palace Fuentepizarro de Villalba (Madrid) until 2020. Signed in the lower left corner. Measurements: 42 x 34 cm; 49 x 41 cm (frame). Pinazo's renovating aesthetics finds its sources in the great Spanish geniuses as he defines in this quote: "Today painters have many pretensions because they paint in the open air, without thinking that Goya and Velázquez did everything better". Undoubtedly, the modernity of the Sevillian master played a fundamental role in the style of Pinazo as can be seen from works as early and relevant as Desembarco de Francisco I en el puerto de Valencia, 1876 (Museo Provincial de Valencia) whose clear inspiration was The Surrender of Breda. The work we present here is of fundamental importance for understanding both Pinazo's sources and the development of his painting. In the case of this canvas, he does not act as a mere copyist, faithfully reproducing the image, but goes beyond the Velázquez model, contributing his own personal stamp. In this way the model seems almost taken from nature and not from a Golden Century canvas. The painting that must have served as a model for this canvas is probably the one preserved in the Prado Museum (P001223) from the Royal collection and exhibited in a fairly accessible way until 1900. Currently this work is considered an early copy of Velázquez and the original model in the Boston Museum around 1622 during his first stay at the court. There is another example in the Lázaro Galdiano collection (also an old copy) but it is more reasonable to assume that it was the one in the Prado since José Lázaro acquired it in 1912, too late and with less ease for copying as it was a private collection. Although the model with which it is found presents us with the style of the young Velázquez still close to his father-in-law Pacheco, Pizano reinterprets the character with a more advanced technique: a loose brushstroke, impastoed and with direct and firm strokes. It is reminiscent in part of a mature Velázquez and at the same time of the modern and free stamp of painting at the end of the 19th century. Preserves the original canvas. Presents restorations.