Null DEMETRIO LÓPEZ (Lorca, c. 1886-Madrid, 1960)

"Who was a butterfly".

Wat…

Description

DEMETRIO LÓPEZ (Lorca, c. 1886-Madrid, 1960) "Who was a butterfly". Watercolor on paper. Signed and titled in the lower area. Measurements: 46 x 46 cm; 48,5 x 48,5 cm (frame). Demetrio López Vargas was a Spanish draftsman. He worked in Madrid, where he collaborated in magazines such as Muchas Gracias and Crónica. After the civil war he collaborated in Informaciones.

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DEMETRIO LÓPEZ (Lorca, c. 1886-Madrid, 1960) "Who was a butterfly". Watercolor on paper. Signed and titled in the lower area. Measurements: 46 x 46 cm; 48,5 x 48,5 cm (frame). Demetrio López Vargas was a Spanish draftsman. He worked in Madrid, where he collaborated in magazines such as Muchas Gracias and Crónica. After the civil war he collaborated in Informaciones.

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FEDERICO DE MADRAZO Y KUNTZ (Rome, 1815 - Madrid, 1894). "Portrait of the II Marquis of Viluma", 1837. Oil on canvas. It has slight damage to the frame. Signed and dated in the lower right area.provenance: Viluma and Cheste Collections, Madrid and private collection, Segovia. Measurements: 87 x 71 cm; 110 x 93 cm (frame). Work exhibited in: - Madrid, 1837, San Fernando Academy. Bibliography: - González López, Carlos; Federico de Madrazo y Kuntz, Madrid, 1981, pp. 141, cat. no. 32. - González López, Carlos; Federico de Madrazo y Kuntz. Aportaciones al catálogo, Madrid, 1995, pp. 12-13, cat. no. 32. - Díez García, José Luis; Federico de Madrazo y Kuntz (1815-1894), Madrid, Museo del Prado, 1994, p. 62. - Ochoa, Eugenio de, Galería de Españoles Célebres Contemporáneos, vol. VI, Madrid, 1841-1846. In this portrait of the II Marquis of Viluma, Madrazo shows his artistic quality and skill. In spite of being a work that belongs to an early period of the painter, it is possible to appreciate a great elegance, rotundity and sobriety in the physical and psychological capture of the protagonist. The work follows the models of the time imposed in the portrait genre. Upright and slightly turned in three quarters, the marquis directs his gaze towards the viewer showing pride, but not arrogance. As usual, the background is neutral without the presence of any element that detracts from the main figure, also both the chromatic range based on a palette of dark tones, as well as the lighting used by Madrazo provide greater aesthetic relevance to the protagonist, since the only points of light are his pink face, the collar of his shirt and slightly the sleeve and the glow of the Cross of Calatrava and the Grand Cross of Carlos III, hanging on his chest. The relationship of the protagonist with Madrazo was established through the portrayed's parents; Ángela Ceballos Olarria and Joaquín González de La Pezuela, Marquis of Viluma and Virey of Peru, who had already been portrayed by the artist a year before. Son of the painter José de Madrazo, who was also in Rome at the service of Charles IV in exile, Federico de Madrazo moved with his family to Madrid when his father was appointed painter of Fernando VII's chamber in 1819. Shortly thereafter, the Royal Museum of Paintings was inaugurated, an institution that would be a key element in the life of Federico de Madrazo. During his childhood and youth he visited it frequently with his father, who was in fact responsible for the lithographic establishment of the museum from 1826, and its director between 1838 and 1857. A precocious painter, Federico de Madrazo was admitted as an academician of merit in the Royal Academy of Fine Arts of San Fernando when he was only sixteen years old. During these years of youth he founded with his brother Pedro the magazine "El Artista", which was an important romantic novelty, and in which Federico was in charge of the illustrations. In 1832 he went to Paris to study painting with Ingres, a friend of his father. There he acquired a romantic style in the French manner. In 1840 he continued his training in Rome, where he came into contact with the Nazarenes and, in particular, with Overbeck, which strengthened his drawing skills, already important in his style thanks to what he had learned from his father and Ingres. An illustrative work about this Nazarene influence in Madrazo is "Las Marías en el sepulcro". Two years later he returned to Spain, becoming a painter of great prestige, much sought after as a portrait painter by the aristocracy of Madrid. Chamber painter to Queen Isabella II, he was the great official portraitist of the time. His portraits were characterized by the simplicity and naturalness of his models, and by a distant serenity, intimately linked to the romantic feeling. He was also director of the Prado Museum, a position he held, albeit interrupted, for thirty years until his death. He also directed the Royal Academy of Fine Arts of San Fernando. He developed a brilliant career as a history painter and, especially, as a portrait painter, achieving great prestige in the artistic circles not only in Madrid, but also in Paris and Rome. His production evolves from a painting where the purism of the line and the careful detailing predominate towards a more fluid and spontaneous technique, of greater expressive depth. Federico de Madrazo is currently represented in the Prado Museum, the National Museum of the Palace of Versailles, the Museum of Fine Arts in Bilbao, the Lázaro Galdiano Foundation and the Romantic Museum in Madrid, among others. Work exhibited in: - Madrid, 1837, San Fernando Academy. Bibliography: - González López, Carlos; Federico de Madrazo y Kuntz, Madrid, 1981, pp. 141, cat. no. 32. - González López, Carlos; Federico de Madrazo y Kuntz. Aportaciones al catálogo, Madrid, 1995, pp. 12-13, cat. no. 32. - Díez García, José Luis; Federico de Madrazo y Kuntz (1815-1894), Madrid,

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