FRANCISCO PRADILLA ORTIZ (Villanueva de Gállego, Zaragoza, 1848 - Madrid, 1921).…
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FRANCISCO PRADILLA ORTIZ (Villanueva de Gállego, Zaragoza, 1848 - Madrid, 1921). "The jewelers of St. Mark's Square in Venice, at dusk", 1877. Oil on cardboard. Signed in the lower right corner. Signed, dated and titled on the back. Measurements: 17 x 27 cm; 36 x 46 cm (frame). Francisco Pradilla begins his formation as apprentice of Mariano Pescador, and in the School of Fine Arts of San Luis de Zaragoza. In 1868 he continued his studies at the San Fernando School of Fine Arts in Madrid, where he was a disciple of Federico de Madrazo and Carlos de Haes. In 1874 he won the Drawing Prize of the "Spanish and American Enlightenment", and obtained a scholarship to study in Rome, where he lived for twenty-three years, until his appointment as director of the Prado in 1897. In 1878, he took part in the National Exhibition in Madrid and won the Medal of Honor, the same distinction he won that same year at the Universal Exhibition in Paris. As a result of these successes he received numerous commissions not only from Spain and France, but also from America and other European countries. He travels around Spain and is interested in capturing scenes of local customs full of grace and color. His works were part of exhibitions and competitions in cities around the world, such as London, Paris, Berlin, Sao Paulo and Buenos Aires. He was director of the Spanish Academy in Rome, and a member of the Royal Academies of San Fernando and San Luis, the French Academy and the Hispanic Society of New York. He was awarded, among other decorations, the Cross of Isabella the Catholic and the Legion of Honor. Francisco Pradilla's work is present in the Prado Museum, the Fine Arts Museums of Bilbao, Buenos Aires, Havana and São Paulo, the MACBA in Barcelona, the Christchurch Art Gallery in New Zealand and the Romantic Museum in Madrid, among others.

FRANCISCO PRADILLA ORTIZ (Villanueva de Gállego, Zaragoza, 1

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JOSÉ MASRIERA MANOVENS (Barcelona, 1841 - 1912). "Landscape. Oil on cardboard. Signed in the lower right corner. Measurements: 22 x 27 cm; 27 x 32 cm (frame). The one we now bid is the sketch for the 1909 work published in "100 years of painting in Spain and Portugal", pp. 354-355. José Masriera offers us a spring landscape, starring a lush vegetation of great tonal richness and subtlety in the chromatic treatment. Formally, the scene is structured around a central path that emerges from the very edge of the painting, guiding our gaze towards the forest that occupies the right side. On its sides is the figure of a donkey that carefully observes a young lady who, with her back to the viewer, directs her hands to her head, taking off the scarf that has accompanied her during the long day. The painter rigorously organizes the composition, clearly separating the foreground from the background. Thus, we find in the foreground the road. In its center, the space develops in depth, being closed in the background by the mountains. Painter and silversmith, he began his artistic training in the workshop of his father, Josep Masriera Vidal. He then entered the School of Fine Arts of La Lonja in Barcelona, where he was influenced by the landscape painter Luis Rigalt, to finally complete his studies in Paris. As a painter he dedicated himself to detailed landscapes, usually inspired by the surroundings of San Andrés de Llavaneras, in the province of Barcelona. He participated in exhibitions in Barcelona, Madrid, Zaragoza, Munich, Berlin and many other cities. His successive trips to Paris brought him into contact with the different tendencies of French landscape painting, and he soon achieved success thanks to the works he presented at the International Exhibition in Paris (third medal) and at the National Fine Arts Exhibitions in Madrid (third medal in 1878 and 1897) and in Barcelona (first medal in 1909). He was an academician of Sciences and Arts (1873) and of the Fine Arts of Sant Jordi, and presided over the Artistic Circle. He published biographies of Catalan artists of the generation before his own, such as Luis Rigalt, Claudio Lorenzale and Francisco Miquel, as well as works on aesthetics such as "Influencia del estilo japonés en las artes europeas" (1885). He is represented in the Museo Nacional de Arte de Cataluña and the Museo del Prado among others, as well as in important international private collections.

LEOPOLDO ROMANACH (Sierra Morena, Villa Clara, 1862 - Havana, 1951). "Blessing the table". Oil on canvas. Signed in the lower right corner. It presents visible restorations on the back. Measurements: 91 x 61 cm. Leopoldo Romanach was a Cuban painter, considered one of the great Cuban masters of the plastic arts of the 19th century. Although at the age of five he was orphaned and was taken to live in Spain, since then, his love for the Cuban landscape is clearly represented in his attempts to capture it on paper, contrary to the wishes of his father, who wanted to direct him in the world of commerce. He returns to Cuba at the age of 14 and is then sent to study in the United States to study English and commerce, but due to his artistic hobby he abandons his studies and returns to Cuba without great achievements. Then he convinces the teacher Miguel Melero, director of the San Alejandro Academy of Fine Arts to allow him to enter the Academy to take coloring classes. Upon his return to Caibarién, Francisco Ducassi encourages him to follow his vocation and gets him a scholarship at the School of Fine Arts in Rome, Italy, where he has as teachers Enrique Serra, Francisco Pradilla and Filippo Prosperi, director of the school. After graduating and returning to Cuba, he gets the position of professor of the Coloring Chair of the Academy of Fine Arts and then travels to Paris to study the new pictorial theories of impressionism, with which he changes the traditional schemes of teaching in the academy. The first stage of his work shows a marked tendency towards a pathetic conception influenced by the historical-social moment in which he develops and includes works such as: Nido de miseria, La convaleciente, La abandonada and others. In the second period, the new advances in pictorial technique, trichromy and impressionism are more marked. For his artistic work Romañach achieved numerous awards, for example, bronze medal at the "Universal Exposition of Paris", 1900; gold medal at the Exposition of St. Louis, Missouri in 1904; silver medal at the Exposition of Buffalo, 1904; gold medal in Charleston; first prize in Cuba, 1912; in Panama, 1915 and Seville in 1929. Due to all these results he was conferred the title of Member of the International Artistic Circle of Rome, member of Number of the National Academy of Arts and Letters of Cuba, the medal of Honor of the Circle of Fine Arts and the Cross of the Order of Carlos Manuel de Céspedes. For his achievements he was named Professor Emeritus of his Chair and Honorary Director of the San Alejandro National School of Fine Arts and its Annex.

VICENTE LÓPEZ PORTAÑA (Valencia, 1772 - Madrid, 1850) "Portrait of a Lady. Oil on canvas. It presents faults on the pictorial surface. Bibliography: Díez, José Luis, Catalogue, Vicente López (1772-1850). Catalogue raisonné. Volume II. Madrid, Fundación de Apoyo a la Historia del Arte Hispánico, 1999, pp.188 (P-735) and 758. It has a 20th-century frame following antique models. Measurements: 46 x 35 cm; 64.5 x 50.5 cm (frame). This work shows features inherited from the painting of López Portaña, influences which can be seen in the objective treatment of the sitter, without any hint of idealisation. It follows a realistic style, influenced by the naturalist tradition. In addition, in the work, we can see the artist's interest in portraying the fabrics and the different qualities that make up the lady's clothing, something very much to Vicente López's taste. Vicente López began his training as a disciple of Antonio de Villanueva at the San Carlos Academy in Valencia, where he was awarded the first-class prize in 1786 and 1789, obtaining a pension to study in Madrid. Once at court, the following year he won first place in the competition at the San Fernando Academy. There he learnt the baroque and colourful sense of composition and a taste for precise and analytical drawing. The Baroque lavishness of the frescoes of Luca Giordano and Corrado Giaquinto also had a decisive influence on his language. Now an established artist, he returned to his native city in 1792. There he received important public and private commissions, including portraits of Ferdinand VII and Marshal Soult. In his portraits López shows his Valencian heritage, the weight of the naturalism of Ribera and Ribalta, as well as his mastery in the reproduction of details and qualities. His quality in the field of portraiture led Ferdinand VII to summon him back to court in 1814, appointing him the following year as his first court painter. From then on he became the most sought-after painter by Spanish high society, alternating his work at court with teaching, official posts and private commissions. In 1823 he took over the artistic direction of the Royal Museum of Paintings, for which he painted a superb portrait of Francisco de Goya, now in the Prado. Works by Vicente López are kept in the Museo del Prado, the Museo de Bellas Artes de Valencia San Pío V, the Academia de San Fernando, the Museo Municipal de Játiva, the Museo Nacional de Arte de Cataluña, the New York Historical Society, the Indianapolis Museum of Art, the J. Paul Getty Museum in Los Angeles, the National Gallery of Modern and Contemporary Art in Rome and the Fundación Lázaro Galdiano in Madrid.