Null MANUEL RODRIGUEZ DE GUZMAN Seville (1818) / Madrid (1867) "The work of the …
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MANUEL RODRIGUEZ DE GUZMAN Seville (1818) / Madrid (1867) "The work of the picador" Oil on canvas Signed in the lower left part Measurements: 59 x 87 cm

760 

MANUEL RODRIGUEZ DE GUZMAN Seville (1818) / Madrid (1867) "The work of the picador" Oil on canvas Signed in the lower left part Measurements: 59 x 87 cm

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MANUEL GARCÍA RODRÍGUEZ (Seville, 1863 - 1925). "Convent of Capuchins of Sanlúcar de Barrameda", 1921. Oil on canvas. It has a frame from the early twentieth century. Signed, dated and located in the lower left area. Measurements: 70 x 111 cm; 87 x 131 cm (frame). Manuel García Rodríguez began his training in the Seminary of Seville, although shortly after he decided to dedicate himself to painting, starting in this art by the hand of José de la Vega Marrugal. Shortly after, he entered the School of Fine Arts, where he had Eduardo Cano and Manuel Wssel as teachers. Influenced by Sánchez Perrier, from 1885 he dedicated his work to landscape, a discipline in which he specialized, achieving multiple successes. He was awarded a third medal at the National Exhibition of Fine Arts in 1897 and at the Regional Exhibition of Malaga; a bronze medal at the International Exhibition of Barcelona in 1888 and at the International Exhibition of Alicante in 1894; and a second medal at the National Exhibitions of 1890 and 1895 and at the International Exhibition of Barcelona. His works were in demand from Munich, Prague, Hamburg, Stockholm, London, St. Petersburg and especially South America, and in 1899 he was appointed corresponding member of the Royal Academy of Fine Arts of San Fernando. From 1900 until his death he participated regularly in the Spring Exhibitions of Seville (except in 1907 and 1908) and in all the National Exhibitions (except 1917 and 1920). He was an active member of the Fine Arts Center between 1902 and 1903, and of the Monuments Commission in 1919.

LUIS JIMÉNEZ ARANDA (Seville, 1845 - Pontoise, France, 1928). "Gentleman. Oil on panel. Signed in the lower right area. Measurements: 20 x 13 cm; 43 x 25 cm (frame). José Jiménez Aranda, brother of Luis and Manuel Jiménez Aranda, was a Spanish painter and illustrator who began his training with Manuel Cabral and Eduardo Cano de la Peña. His talent for drawing helped him to gain admission to the Santa Isabel de Hungría Royal Academy of Fine Arts in Seville in 1851. In 1868 he was in Madrid, where he learned in the Prado Museum from the best masters, feeling a special predilection for Goya and Velázquez. In 1867 he was in Jerez de la Frontera working as a restorer and designer of stained-glass windows and, four years later, he managed to go to Rome, where he met Mariano Fortuny. He returned four years later. Between 1881 and 1890 he lived in Paris, where he produced a series of works, most notably those set in the 18th century, which were greatly influenced by Fortuny, due to the success they brought him. When he returned to Madrid, he devoted himself to works with everyday themes but with a more costumbrist air. In 1892 he returned to Seville, where he taught at the Academy of Fine Arts until his death, in turn teaching leading figures such as Eugenio Hermoso, Manuel González Santos, etc., and frequenting the so-called "landscape circle of Alcalá de Guadaira" towards the end of the 19th century. Although his best-known works are the scenes inspired by 17th-century art, he also dealt with religious themes and landscapes. His work received numerous awards during his lifetime (Honourable Mention at the National Fine Arts Exhibitions of 1864 and 1866; First Medal at the 1890 Exhibition, Medal of Honour at the Munich International Exhibition of 1883...), and is held in important private collections and institutions such as the Museo Carmen Thyssen in Malaga, the Museo de Bellas Artes in Seville, the Museo del Prado in Madrid, etc.

MANUEL GARCÍA Y RODRIGUEZ (Seville, 1863 - 1925). La carreta" ("The Cart"), 1901. Oil on canvas. With restorations. Signed and dated in the lower right corner. Measurements: 50 x 90 cm: 58 x 105 (frame). Manuel García y Rodríguez executes this work with a wide and doughy brushstroke, applying spots of colour. The treatment of the figures and the contrast between the shaded and sunny areas stand out. He uses a palette rich in polychromy, in which greens predominate in all their shades. García y Rodríguez began his training with José de la Vega Marrugal and then moved on to the Seville School of Fine Arts, where he was a pupil of Eduardo Cano and Manuel Wssel. At first he devoted himself to the figure, but certain circumstances, including the influence and fascination exerted by Marín Rico and Fortuny on young Sevillian artists and the commercial successes of Sánchez Perrier's first trips abroad, led him to turn his attention to landscape painting, which became practically his only subject from that time onwards. He regularly took part in the National Exhibitions of Fine Arts, winning a third medal in 1887 for his work "Orillas del Guadalquivir" ("Shores of the Guadalquivir"). He also won second medals in 1890 for "La tarde" and in 1895 for "Tarde de otoño". He also took part in the Fine Arts Exhibitions in Seville from 1921 until his death. In 1888 he took part in the Universal Exhibition in Barcelona, and the following year in the Universal Exhibition in Paris. In 1891 his work "Entrance to an Orchard in Seville" was acquired by the Barcelona Museum at the 1st General Exhibition of Fine Arts; that same year the State of Prussia acquired his work "Seville" at the Berlin International Exhibition. During the following years he also showed his works at exhibitions in Chicago and Munich. Around 1893 he made a visit to Morocco, recently visited by other Sevillians such as Sánchez Perrier and Gonzalo Bilbao, where he returned in 1904. In 1889 he was appointed a member of the San Fernando Academy in Madrid, and between 1902 and 1903 he was an active member of the Fine Arts Centre of the Seville Athenaeum. He was an illustrator as well as a painter, and in this discipline he collaborated with the weekly magazine "Blanco y Negro" and also with "La Ilustración Artística". García y Rodríguez is currently represented in the Prado Museum (his work is on deposit at the Municipal Museum of Málaga), the National Museum of Havana, the Fine Arts Museum of Seville and the Thyssen-Bornemisza Museum, among others.

CARMEN LAFFÓN DE LA ESCOSURA (Seville, 1934). "Vase with daisy". Pastel on paper. Signed in the lower right corner. Framed with museum glass, floating effect, with wooden frame. Size: 34 x 24,5 cm; 58 x 48 cm (frame). Still life in which the artist has used a palette of very clear and bright colours that recreate a brilliant atmosphere. A small glass vase contains a delicate vessel of white flowers, which have been arranged as a pictorial nexus by using a subdued treatment of the tones that blend together creating a powdery and lyrical finish. Carmen Laffón is a figurative painter and sculptor who has received numerous awards for her work (National Prize for Plastic Arts in 1982, academician of the Royal Academy of Fine Arts of San Fernando in Madrid...). He began his training in painting with Manuel González Santos, a painter who was a friend of the family, and this was extended when he entered the School of Fine Arts in Seville. In 1954 she made a study trip to Paris, where she discovered and was impressed by the work of Marc Chagall; a year later she went to Rome on a scholarship, also travelling to Vienna and Holland, and on her return to Seville in 1956, her house opposite the Coto de Doñana would become the centre of her artistic production, beginning to exhibit her work two years later (Madrid, Seville). Between 1960 and 1962 he went to Madrid, where he met Juana Mordó (who offered him a contract with the Biosca Gallery and later another when she set up her own gallery). He returned to Seville and set up the El Taller school with Teresa Duclós and José Soto, beginning his career in art teaching. Her work has been shown in numerous exhibitions, most of them of a national nature, including the exhibition held in 1992 at the Reina Sofía Museum and Art Centre in Madrid, which hosted a retrospective of the artist's complete oeuvre, including works in different formats that reflected the concerns of the artist's entire artistic career. Her works are preserved in private collections as well as in prominent institutions such as the Museo Nacional, the Centro de Arte Reina Sofía in Madrid, the Museo de Arte Abstracto in Cuenca, the Meadows Museum in Dallas (USA), the Museo Colecciones ICO in Madrid, the Fundación Casa de la Moneda in Madrid, etc.