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JOAQUÍN SOROLLA Y BASTIDA (Valencia, 1863 - Cercedilla, Madrid, 1923). "Paisaje de sierra", c. 1887-1889. Oil on panel. We thank Blanca Pons Sorolla for her help in the expertise of the work. Soon the work will be included in the catalog raisonné of the artist (No. BPS-3860). Measurements: 14 x 11 cm; 47 x 43 cm (frame). This painting belongs to a seminal period of Sorolla's production, specifically to the period in which he resided in Rome, a key period for his formation. We can appreciate in this masterfully resolved intimate landscape where the artist is already defining a loose and vibrant brushstroke that will lead him to the full and fair recognition of his unmistakable technique. The expressiveness is maximum thanks to the skillful touches combining quick and broken strokes with a palette of ochers and browns in wise contrast with the light flesh tones and draped whites. Already in his school days, Joaquín Sorolla showed his fondness for drawing and painting, attending in the afternoons the drawing classes given by the sculptor Cayetano Capuz at the School of Artisans. Awarded upon finishing his preliminary studies at the Escuela Normal Superior, he entered the prestigious Escuela de Bellas Artes de San Carlos in Valencia in 1879. Also, during his visits to Madrid in 1881 and 1882, he copied paintings by Velázquez, Ribera and El Greco at the Prado Museum. Two years later he obtained a great success at the National Exhibition of Fine Arts with a history painting, which stimulated him to apply for a scholarship to study at the Spanish Academy of Fine Arts in Rome. Having achieved his goal, in 1885 Sorolla left for Rome, staying in Paris for several months before arriving. In the French capital he was impressed by the paintings of the realists and the painters who worked outdoors. At the end of his years in Rome he returned to Valencia in 1889, settling in Madrid the following year. In 1892 Sorolla showed a new concern in his art, becoming interested in social problems by depicting the sad scene of "¡Otra Margarita!", awarded a first class medal at the National, and the following year at the International in Chicago. This sensitivity will remain in his work until the end of the decade, in his performances on the Valencian coast. Gradually, however, the Valencian master will abandon the themes of unhappy children that we see in "Triste herencia", which had been awarded a prize at the Universal Exhibition in Paris in 1900 and at the National in Madrid a year later. Encouraged by the success of his resplendent images of the Mediterranean, and stimulated by his love of the light and life of its sunny beaches, he focused on these scenes in his works, more cheerful and pleasant, with which he would achieve international fame. In 1906 he held his first individual exhibition at the George Petit Gallery in Paris, where he also demonstrated his skills as a portraitist. In 1908 the American Archer Milton Huntington, impressed by the artist's exhibition at the Grafton Gallery in London, sought to acquire two of his works for his Hispanic Society. A year later he himself invited Sorolla to exhibit at his institution, resulting in an exhibition in 1909 that was a huge success. The relationship between Huntington and Sorolla led to the most important commission of the painter's life: the creation of the immense canvases destined to illustrate, on the walls of the Hispanic Society, the regions of Spain. Trying to capture the essence of the lands and people of his country, Sorolla traveled throughout Spain between 1911 and 1919, while continuing to hold exhibitions. Incapacitated by an attack of hemiplegia in 1921, Sorolla died two years later, without seeing his great "Vision of Spain", which would not be installed until 1926. He is currently represented in the Prado Museum and the one that bears his name in Madrid, the Metropolitan Museum in New York, the Orsay Museum in Paris, the J. Paul Getty Museum in Los Angeles, the Fine Arts Museums of Bilbao and Valencia, the National Portrait Gallery in London and many others. We would like to thank Blanca Pons Sorolla for her help in the expert analysis of the work. The work will soon be included in the catalog raisonné of the artist (No. BPS-3860).

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JOAQUÍN SOROLLA Y BASTIDA (Valencia, 1863 - Cercedilla, Madrid, 1923). "Paisaje de sierra", c. 1887-1889. Oil on panel. We thank Blanca Pons Sorolla for her help in the expertise of the work. Soon the work will be included in the catalog raisonné of the artist (No. BPS-3860). Measurements: 14 x 11 cm; 47 x 43 cm (frame). This painting belongs to a seminal period of Sorolla's production, specifically to the period in which he resided in Rome, a key period for his formation. We can appreciate in this masterfully resolved intimate landscape where the artist is already defining a loose and vibrant brushstroke that will lead him to the full and fair recognition of his unmistakable technique. The expressiveness is maximum thanks to the skillful touches combining quick and broken strokes with a palette of ochers and browns in wise contrast with the light flesh tones and draped whites. Already in his school days, Joaquín Sorolla showed his fondness for drawing and painting, attending in the afternoons the drawing classes given by the sculptor Cayetano Capuz at the School of Artisans. Awarded upon finishing his preliminary studies at the Escuela Normal Superior, he entered the prestigious Escuela de Bellas Artes de San Carlos in Valencia in 1879. Also, during his visits to Madrid in 1881 and 1882, he copied paintings by Velázquez, Ribera and El Greco at the Prado Museum. Two years later he obtained a great success at the National Exhibition of Fine Arts with a history painting, which stimulated him to apply for a scholarship to study at the Spanish Academy of Fine Arts in Rome. Having achieved his goal, in 1885 Sorolla left for Rome, staying in Paris for several months before arriving. In the French capital he was impressed by the paintings of the realists and the painters who worked outdoors. At the end of his years in Rome he returned to Valencia in 1889, settling in Madrid the following year. In 1892 Sorolla showed a new concern in his art, becoming interested in social problems by depicting the sad scene of "¡Otra Margarita!", awarded a first class medal at the National, and the following year at the International in Chicago. This sensitivity will remain in his work until the end of the decade, in his performances on the Valencian coast. Gradually, however, the Valencian master will abandon the themes of unhappy children that we see in "Triste herencia", which had been awarded a prize at the Universal Exhibition in Paris in 1900 and at the National in Madrid a year later. Encouraged by the success of his resplendent images of the Mediterranean, and stimulated by his love of the light and life of its sunny beaches, he focused on these scenes in his works, more cheerful and pleasant, with which he would achieve international fame. In 1906 he held his first individual exhibition at the George Petit Gallery in Paris, where he also demonstrated his skills as a portraitist. In 1908 the American Archer Milton Huntington, impressed by the artist's exhibition at the Grafton Gallery in London, sought to acquire two of his works for his Hispanic Society. A year later he himself invited Sorolla to exhibit at his institution, resulting in an exhibition in 1909 that was a huge success. The relationship between Huntington and Sorolla led to the most important commission of the painter's life: the creation of the immense canvases destined to illustrate, on the walls of the Hispanic Society, the regions of Spain. Trying to capture the essence of the lands and people of his country, Sorolla traveled throughout Spain between 1911 and 1919, while continuing to hold exhibitions. Incapacitated by an attack of hemiplegia in 1921, Sorolla died two years later, without seeing his great "Vision of Spain", which would not be installed until 1926. He is currently represented in the Prado Museum and the one that bears his name in Madrid, the Metropolitan Museum in New York, the Orsay Museum in Paris, the J. Paul Getty Museum in Los Angeles, the Fine Arts Museums of Bilbao and Valencia, the National Portrait Gallery in London and many others. We would like to thank Blanca Pons Sorolla for her help in the expert analysis of the work. The work will soon be included in the catalog raisonné of the artist (No. BPS-3860).

Estimate 20 000 - 25 000 EUR
Starting price 18 000 EUR

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MANUEL BENEDITO Y VIVES (Valencia, 1875 - Madrid, 1963). "Grapes", 1916. Oil on canvas. Attached certificate of authenticity issued by the Manuel Benedito Foundation. Signed in the lower left corner. Measurements: 65 x 160 cm. Following the words of the Foundation about this piece; "Since he painted "The Childhood of Bacchus" during his stay at the Academy in Rome, grapes have always been a motif that Benedito was interested in. In this case, with a vegetal background of branches and vine leaves that allow a glimpse of a fully blue sky, the varieties of fruit, their different state of ripeness and the light reflected on the spherical surface of the grapes, compose a joyful frieze of color full of nuances. Painted in one of Benedito's best periods, it is a preparatory study for a painting he did not make". Benedito y Vives began his training at the San Carlos School of Fine Arts in Valencia in 1888, where he studied under the direction of Salvá y Vilá, and in 1894 he entered the workshop of Joaquín Sorolla, who would be his main teacher. Two years later he travels with him to Madrid, where he makes illustrations for "La revista moderna" and "Blanco y Negro". He obtained a pension in Rome in 1900 and, after spending four years there, he traveled through France, Belgium and Holland, taking up residence in Volendam in 1909. He cultivated the portrait, the still life, the local types and the landscape, and among his individual exhibitions stand out those celebrated in the room Amaré in 1907, and in the salons of "Black and White" in 1910. In 1918 he was appointed artistic advisor to the Royal Tapestry Factory, and in 1923 academic of the Royal Academies of Fine Arts of San Fernando (Madrid) and of Noble Arts of San Carlos (Valencia). He worked as a professor at the School of Fine Arts of San Carlos, and later of color and composition at the San Fernando School, replacing his teacher Sorolla. Later he was appointed director of the School of Fine Arts in Madrid. In 1925 he was appointed corresponding member of the Hispanic Society of America, corresponding member of the National Academy of Fine Arts of Lisbon, and in 1941 president of the board of trustees of the Sorolla Museum. After his death in 1963 the Casa-Museo Benedito was founded in Madrid. In his maturity he turned to portraiture; Alfonso XIII and Concha Piqué, among other prominent personalities of the time, posed for him. Among his awards are the first medals obtained in the National Exhibitions of Fine Arts of 1904 and 1906; and the gold medals in the Hispano-French of 1908, and in the International Exhibitions of Munich (1909), Brussels (1910), Buenos Aires (1910) and Barcelona (1911). Works by Manuel Benedito are kept in the Prado Museum, the Fine Arts Museums of Valencia, Santander, Asturias, Havana and Buenos Aires and the Hispanic Society of America (New York), among others, and in outstanding private collections such as the Jr. Sackar of Sydney. Certificate of authenticity issued by the Manuel Benedito Foundation is attached.