Null Domingo Martínez Aparici (Valencia, 1822-Madrid, 1892) and French School, 1…

Description

Domingo Martínez Aparici (Valencia, 1822-Madrid, 1892) and French School, 19th century. The Supper at Emmaus and The coin of 100 florins or Christ preaching. Pair of etchings on paper. One after the work by Titian Vecellio di Gregorio (Pieve di Cadore, Italy, 1490-Venice, Italy, 1576) in c.1530 and preserved in the National Gallery, London, UK. Another after engraving by Rembrandt Harmensz Van Rijn (Leyde, 1606-Amsterdam, 1669) in c.1646-1650, preserved in the Rijkmuseum, Amsterdam, Netherlands. 47 x 60 cm. and 31 x 42 cm.

3255

Domingo Martínez Aparici (Valencia, 1822-Madrid, 1892) and French School, 19th century. The Supper at Emmaus and The coin of 100 florins or Christ preaching. Pair of etchings on paper. One after the work by Titian Vecellio di Gregorio (Pieve di Cadore, Italy, 1490-Venice, Italy, 1576) in c.1530 and preserved in the National Gallery, London, UK. Another after engraving by Rembrandt Harmensz Van Rijn (Leyde, 1606-Amsterdam, 1669) in c.1646-1650, preserved in the Rijkmuseum, Amsterdam, Netherlands. 47 x 60 cm. and 31 x 42 cm.

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JOSÉ BENLLIURE GIL (Valencia, 1855 - 1937). "Exit of mass". Oil on panel. Signed in the lower right corner. Measurements: 68 x 57 cm; 90 x 82 cm (frame). José Benlliure began his artistic studies with Francisco Domingo in Valencia, and then continued his training in Madrid, where he settled in 1869. From an early age he enjoyed the patronage of the King of Savoy and in 1879 he moved to Rome, where he was discovered by the important art dealer Martin Colnaghi, who financed his studies in the city. In 1897 he made several trips to Tangier, Algeria and Morocco where he approached through a realistic, luminous and loose painting to the daily world of the places visited. From 1900 onwards his work depicts popular themes. He took part in the National Exhibitions of Fine Arts, obtaining third medals in the editions of 1876 and 1878 and first in the one of 1887. He belonged to the Academies of San Fernando (Madrid), San Lucas (Rome), San Carlos (Valencia), Brera (Milan) and Munich. Between 1904 and 1912 he directed the Spanish Academy in Rome. The most important part of his production is preserved in Valencia, in his House Museum and in the Museum of Fine Arts San Pío V. He is also represented in the Prado Museum, the Thyssen-Bornemisza and the Palace of Charles V in Granada, among others.

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CIRILO MARTÍNEZ NOVILLO (Madrid, 1921 - 2008). "The grandfather". Watercolor on paper. Signed in the lower right corner. Work published in "Drawings by Martínez Novillo", text by Gerardo Diego, Cuadernos de Arte nº11, Ibérico Europea de Ediciones. Measurements: 23.5 x 33 cm; 54 x 64 cm (frame). Cirilo Martínez Novillo is one of the most outstanding representatives of the so-called School of Madrid, the city where he began his training at the School of Arts and Crafts. During the Civil War he enters the Escuela Superior de Pintura and attends the workshop of Daniel Vázquez Díaz, who will become his teacher, supporting him throughout his career. In his workshop, Martínez Novillo met some of the painters linked to the Madrid School: Álvaro Delgado, Gregorio del Olmo, García Ochoa or San José. In 1946 he presents his work for the first time, in the framework of a collective exhibition held at the Bucholz gallery in Madrid. The following year he held his first individual exhibition at the same gallery. In 1948 he holds an exhibition in the prints room of the Museum of Modern Art in Madrid, the critics begin to echo his work and he is selected to participate in the exhibition "Spanish Art", held in Buenos Aires and organized by the Ministry of Education. From this moment on, he shows his work in several Spanish cities and in France, and participates in group exhibitions such as the Venice Biennial (1950) or the Salón de los Once (1951). Between 1952 and 1953 he travels three times to Paris thanks to different scholarships. His period of maturity begins with a new visit to Paris at the beginning of the sixties, to later travel to Switzerland, Germany, Holland and Belgium, obtaining several medals in the National Exhibitions of Fine Arts, as well as the Painting Prize of the Hispano-American Biennial of Cuba. Although not part of the Second School of Vallecas, Martínez Novillo's painting is aesthetically close to that of the group. His production is mainly focused on landscape painting and still lifes, although at first he also dedicated himself to the figure. The painter elaborates his landscapes by means of a direct contemplation of nature, not by copying it, because later in his studio he makes a selection of what interests him. Cirilo Martínez Novillo is represented in the Reina Sofía Museum, the Mapfre, AENA, Gaya Nuño and Santander Central Hispano Foundations, the Municipal Museum of Contemporary Art of Madrid, the Fine Arts Museums of Bilbao and Oviedo, the Argentaria, Caja España and Telefónica collections and the Valdepeñas Museum.

Estim. 900 - 1 000 EUR

JOAQUÍN SOROLLA Y BASTIDA (Valencia, 1863 - Cercedilla, Madrid, 1923). Artist's book "Sorolla's sea". Copy 627/2998 Study book and art book with 69 facsimiles and 5 folding triptychs and two plates. Publisher: Artika, in co-publication with the Sorolla Museum Foundation. Preserves box of Measurements: 35,3 x 45,8 cm (books, x2): 35,3 x 45, 8 cm (folder with plates): 41x 53 x 12,5 cm (box). This artist's book produced between the Sorolla Foundation and the specialized publishing house Artika presents a selection of works by the Valencian artist based on the theme of the sea. Joaquín Sorolla (Valencia, 1863 - Cercedilla, Madrid, 1923) showed his fondness for drawing and painting by attending drawing classes given by the sculptor Cayetano Capuz at the School of Artisans in the afternoons. 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 would 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.

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