RAMÓN MARTÍ ALSINA (1826-1894). "FISHING".
Oil on canvas.
Signed.
32 x 24 cm; 46…

Description

RAMÓN MARTÍ ALSINA (1826-1894). "FISHING". Oil on canvas. Signed. 32 x 24 cm; 46.5 x 38 cm (frame).

598

RAMÓN MARTÍ ALSINA (1826-1894). "FISHING". Oil on canvas. Signed. 32 x 24 cm; 46.5 x 38 cm (frame).

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Starting price 20 EUR

Ramon DILLEY (born 1932). The Paris Deauville Rally. Color lithograph on paper. Signed lower right. Numbered 32/150 lower left. 58 x 46 cm.

Estim. 8 000 - 10 000 EUR

ELISEO MEIFRÈN ROIG (Barcelona, 1859 - 1940). "Cadaqués". Oil on panel. Signed in the lower right corner. Measurements: 53 x 62 cm; 71 x 80 cm (frame). Painter of landscapes and seascapes, Eliseo Meifrèn is considered one of the first introducers of the impressionist movement in Catalonia. He began his artistic training at the School of Fine Arts in Barcelona, where he was a disciple of Antonio Caba and Ramón Martí Alsina, with whom he began to create romantic landscapes of academic style. After finishing his studies, in 1878, he moved to Paris in order to broaden his artistic knowledge, and there he got to know first hand the painting "à plen air", which would influence him powerfully in his Parisian landscapes of those years. Likewise, in Paris he coincided with the public beginning of impressionism. A year later he made a trip to Italy, during which he visited Naples, Florence, Venice and Rome; there he made contact with the circle of Catalan artists formed by Ramón Tusquets, Arcadio Mas i Fondevila, Enrique Serra, Antonio Fabrés and Joan Llimona, among others. That same year, 1879, he participated in the Regional Exhibition of Valencia, and won a gold medal. Once back in Barcelona, in 1880 he made his individual debut in the Sala Parés in Barcelona, where he continued to exhibit regularly since then. During these years he was part of the modernist group, and frequented Els Quatre Gats. In 1883 he returned to Paris, where he made numerous drawings and watercolors with views of the city and its cafés, which earned him a warm welcome from French critics and the French public. At the end of the eighties he returned to Barcelona and continued to show his work at the Sala Parés, as well as at the Centro de Acuarelistas. Also, in 1888 he was a member of the jury of the Universal Exhibition held in Barcelona. In 1890 he returned for the third time to the French capital, where he participated in the Salon des Beaux-Arts and in the Salon des Indépendants of 1892, together with Ramon Casas and Santiago Rusiñol, artists with whom he had formed the Sitges pictorial group a year earlier. In the following years Meifrèn would send his works to numerous official exhibitions and competitions, among them the National Exhibitions of Madrid and Barcelona, and was awarded the third medal at the Paris Universal of 1889 and 1899, silver medal at the Brussels Universal of 1910, grand prize at the Buenos Aires Universal of the same year, medal of honor at the San Francisco International of 1915 and grand prize at the San Diego International of the following year. He also won the Nonell Prize of Barcelona in 1935. In 1952, the Barcelona City Council dedicated a retrospective exhibition to him, held at the Palacio de la Virreina. His initial landscapes, characterized by an academic and romantic concept, would later evolve towards an impressionist language; abandoning the Roman preciosism, his would be a technique of loose brushstrokes and clear palette, in which the luminous conception approaches symbolist budgets, within the orbit of Modesto Urgell. He is currently represented in the Prado Museum, the National Art Museum of Catalonia, the MACBA in Barcelona and the Thyssen-Bornemisza, among many others.

Estim. 900 - 1 000 EUR

MODEST URGELL INGLADA (Barcelona, 1839 - 1919). "Resting in the countryside". Oil on canvas adhered to board. Signed in the lower right corner. Measurements: 24 x 31 cm; 34 x 41 cm (frame). Modest Urgell began his career as a theatrical actor, but the family prohibition to follow that path led him to devote himself to painting. He studied at the Escuela de La Lonja in Barcelona, where he was a disciple of Ramón Martí Alsina, and later spent some time in Paris, where he met Gustave Courbet and became attached to realism. During the sixties, his works were rejected in the official exhibitions of Madrid and Barcelona. In 1870 he moved to Olot, where he became acquainted with Joaquín Vayreda, creator of the local landscape school. From then on, Urgell decided to devote himself fully to landscape painting. His work will focus on solitary natures and seascapes, often starring hermitages and cemeteries, marked by a twilight, desolate and mysterious atmosphere. From 1896 he taught landscape painting at the School of Fine Arts of Sant Jordi in Barcelona, being appointed academician in 1902. He was also founder of the Artistic and Literary Society of Catalonia, as well as of the Artistic and Archaeological Museum of Girona. He took part in all the editions of the National Exhibition of Fine Arts, in Madrid, from 1864 until a year before his death, and was awarded the second medal in 1876 and 1892. He also sent his paintings to the exhibitions of Barcelona, as well as to the Universal Exhibition of Paris and the International Exhibitions of Munich, Brussels, Berlin, Philadelphia and Chicago. In 1892 he was awarded in all the contests in which he participated, among them the one in Brussels, in which he was the only Spanish winner. He also devoted himself to literature, with a special interest in theater. The sum of his two passions, art and literature, are expressed in his album "Catalunya" (1905), made up of more than one hundred drawings accompanied by texts written by himself. His landscapes have an atmosphere, a color and themes that deny the stereotype of the Mediterranean landscape, based on warm and friendly natures, of brilliant chromatism, like open windows to the southern sensuality. His paintings, on the contrary, speak of melancholy and loneliness, and time and again recreate a desolate and sad Catalonia to which, years later, the poet Salvador Espriu would also be sensitive. His language rejects any fanciful or picturesque theme, picking up current issues without trying to ennoble or idealize them, but seeking to provoke moods in the viewer through twilight lights that dissolve, for brief moments, in harmony of reds, or his desolate cemeteries and severe seascapes, naked and stripped. Urgell is represented in the Prado Museum, the National Art Museum of Catalonia, the Maritime Museum of Barcelona, the Kunsthalle of Hamburg, the Víctor Balaguer Museum of Vilanova i la Geltrú, the Art Funds of the Caixa Sabadell and the Caixa d'Estalvis de Terrassa, the Dalí Museum in Figueras and the Provincial Museums of Girona, Palma de Mallorca and Lugo, among many other centers and institutions.

Estim. 800 - 900 EUR

ELISEO MEIFRÈN ROIG (Barcelona, 1857 - 1940). "Marina". Oil on panel. Signed and dated in the lower right corner. The frame in gilded wood has slight flaws. Measurements: 32 x 26 cm; 52 x 42 cm (frame). We see in this panel a peaceful scene starring the swell of an active sea, absolutely protagonist, which seems an echo of the ominous sky full of clouds. The composition is simple, avoiding anecdotal details that could break the atmosphere and the narrative, and the natural elements -the sea and the sky- are the absolute protagonists. A painter of landscapes and seascapes, Eliseo Meifrèn is considered one of the first introducers of the Impressionist movement in Catalonia. He began his artistic training at the School of Fine Arts in Barcelona, where he was a disciple of Antonio Caba and Ramón Martí Alsina, with whom he began to create romantic landscapes of academic style. After finishing his studies, in 1878, he moved to Paris in order to broaden his artistic knowledge, and there he got to know first hand the "plen air" painting, which would influence him powerfully in his Parisian landscapes of those years. Likewise, in Paris he coincided with the public beginning of impressionism. A year later he made a trip to Italy, during which he visited Naples, Florence, Venice and Rome; there he made contact with the circle of Catalan artists formed by Ramón Tusquets, Arcadio Mas i Fondevila, Enrique Serra, Antonio Fabrés and Joan Llimona, among others. That same year, 1879, he participated in the Regional Exhibition of Valencia, and won a gold medal. Once back in Barcelona, in 1880 he made his individual debut in the Sala Parés in Barcelona, where he continued to exhibit regularly since then. During these years he was part of the modernist group, and frequented Els Quatre Gats. In 1883 he returned to Paris, where he made numerous drawings and watercolors with views of the city and its cafés, which earned him a warm welcome from French critics and the French public. At the end of the eighties he returned to Barcelona and continued to show his work at the Sala Parés, as well as at the Centro de Acuarelistas. Also, in 1888 he was a member of the jury of the Universal Exhibition held in Barcelona. In 1890 he returned for the third time to the French capital, where he participated in the Salon des Beaux-Arts and in the Salon des Indépendants of 1892, together with Ramon Casas and Santiago Rusiñol, artists with whom he had formed the pictorial group of Sitges a year earlier. In the following years Meifrèn would send his works to numerous official exhibitions and competitions, among them the National Exhibitions of Madrid and Barcelona, and was awarded the third medal at the Paris Universal of 1889 and 1899, silver medal at the Brussels Universal of 1910, grand prize at the Buenos Aires Universal of the same year, medal of honor at the San Francisco International of 1915 and grand prize at the San Diego International of the following year. He also won the Nonell Prize of Barcelona in 1935. In 1952, the Barcelona City Council dedicated a retrospective exhibition to him, held at the Palacio de la Virreina. His initial landscapes, characterized by an academic and romantic concept, would later evolve towards an impressionist language; abandoning the Roman preciosism, his would be a technique of loose brushstrokes and clear palette, in which the luminous conception approaches symbolist budgets, within the orbit of Modesto Urgell. He is currently represented in the Prado Museum, the National Art Museum of Catalonia, the MACBA in Barcelona and the Thyssen-Bornemisza, among many others.

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