1 / 7

Description

JUAN PADILLA Y LARA (Jerez de la Frontera, 1906 - 1980). "Couple of vases", c. 1900. Oil on boards (x2). They have frames of the nineteenth century. One of them has a signature in the lower left corner. Measurements: 55 x 72 cm; 75 x 91 cm (frame). In this pair of canvases we see a still life open to landscape, following a composition inspired by the baroque models, although the arrangement of the flowers, regular and geometric, remains faithful to the most static and rigorous models. Nevertheless, the opening to the landscape indicates that we are dealing with works of an advanced date. In this pair of canvases we see a still life open to landscape on one side, following a composition typical of the full baroque, although the arrangement of flowers, regular and geometric, remains faithful to the most static and rigorous models of the first half of the seventeenth century. Nevertheless, not only the opening to landscape but also the presence of architectural elements located in the last plane of each of the compositions, indicate that we are before works of an already advanced date. Juan Padilla y Lara was a painter who combined his artistic work with teaching at the School of Applied Arts and Crafts in his hometown, where he himself had begun his pictorial training. From 1955 onwards, he extended his studies at the Escuela Superior de Bellas Artes de Santa Isabel de Hungría (Seville), obtaining the title of Professor of Drawing in 1960. He stood out, above all, for his still lifes and still lifes (in which the grape, shown with an almost photographic precision, and the works of the field related to this fruit, had a frequent protagonism). His son, Juan Padilla Pardo, is another outstanding artist, who continues the family saga and became director of the same School of Applied Arts and Crafts.

27 
Go to lot
<
>

JUAN PADILLA Y LARA (Jerez de la Frontera, 1906 - 1980). "Couple of vases", c. 1900. Oil on boards (x2). They have frames of the nineteenth century. One of them has a signature in the lower left corner. Measurements: 55 x 72 cm; 75 x 91 cm (frame). In this pair of canvases we see a still life open to landscape, following a composition inspired by the baroque models, although the arrangement of the flowers, regular and geometric, remains faithful to the most static and rigorous models. Nevertheless, the opening to the landscape indicates that we are dealing with works of an advanced date. In this pair of canvases we see a still life open to landscape on one side, following a composition typical of the full baroque, although the arrangement of flowers, regular and geometric, remains faithful to the most static and rigorous models of the first half of the seventeenth century. Nevertheless, not only the opening to landscape but also the presence of architectural elements located in the last plane of each of the compositions, indicate that we are before works of an already advanced date. Juan Padilla y Lara was a painter who combined his artistic work with teaching at the School of Applied Arts and Crafts in his hometown, where he himself had begun his pictorial training. From 1955 onwards, he extended his studies at the Escuela Superior de Bellas Artes de Santa Isabel de Hungría (Seville), obtaining the title of Professor of Drawing in 1960. He stood out, above all, for his still lifes and still lifes (in which the grape, shown with an almost photographic precision, and the works of the field related to this fruit, had a frequent protagonism). His son, Juan Padilla Pardo, is another outstanding artist, who continues the family saga and became director of the same School of Applied Arts and Crafts.

Estimate 2 500 - 3 000 EUR
Starting price 1 500 EUR

* Not including buyer’s premium.
Please read the conditions of sale for more information.

Sale fees: 24 %
Leave bid
Register

For sale on Thursday 12 Sep : 14:45 (CEST)
, pays.null
Setdart.com
+34932463241
Browse the catalogue Sales terms Sale info

Delivery to
Change delivery address
Delivery is not mandatory.
You may use the carrier of your choice.
The indicated price does not include the price of the lot or the auction house's fees.

You may also like

JOSE MONTENEGRO CAPELL (Cadiz, 1865 - Jerez de la Frontera, Cadiz, 1929). "View of the Giralda from the courtyard of the orange trees", 1890. Oil on canvas. It has a frame of the nineteenth century with faults. Signed and dated in the lower right corner. Measurements: 72.5 x 51 cm; 98.5 x 77 cm (frame). Jose Montenegro was born in Cadiz, being a mystery his formation, the contacts maintained with other artists or the exact year in which he arrived to Jerez. His life is surrounded by a halo of legend, and in fact the people have invented a thousand stories around his figure, considering him a new Velázquez. He focused his production on the Andalusian costumbrista landscape, with special attention to the Hispano-Muslim architectures, taking his models mainly from Cadiz, Jerez and Seville. His style shows a certain influence of the so-called School of Rome, although with a marked regionalist accent. Montenegro arrived in Jerez attracted by the work possibilities that were open to him in a prosperous place full of bourgeoisie enriched by the wine trade. However, he would soon become a true exponent of local bohemia at the beginning of the 20th century. Eternally drunk and dressed in black, he sold paintings at very low prices in order to buy alcohol and some food. He finally died in the Santa Isabel Hospital in Cadiz in 1929, due to a liver problem. Montenegro is currently represented in numerous private collections, mainly in Jerez de la Frontera, where he is still highly appreciated today. It has a 19th century frame with faults.

JOSÉ MONTENEGRO CAPELL (Cádiz, 1865 - Jerez de la Frontera, Cádiz, 1929). "Patio de Comares, Alhambra. Oil on panel. It has granadino frame. Signed and located in the lower right corner. Measurements: 21.5 x 14 cm; 34 x 26.5 cm (frame). The orientalism was born in the XIX century as a consequence of the romantic spirit of escape in time and space. The first orientalists sought to reflect the lost, the unattainable, in a dramatic journey destined from the beginning to failure. Like Flaubert in "Salambo", painters painted detailed portraits of the Orient and imagined pasts, recreated to the millimeter but ultimately unknown and idealized. During the second half of the 19th century, however, many of the painters who traveled to the Middle East in search of this invented reality discovered a different and new country, which stood out with its peculiarities above the clichés and prejudices of Europeans. Thus, this new orientalist school leaves behind the beautiful odalisques, the harems and the slave markets to paint nothing but what they see, the real Orient in all its daily dimension. Along with the change of vision comes a technical and formal change; since it is no longer a question of recreating an imagined world in all its details, the brushstroke acquires impressionist fluency, and the artists focus not so much on the depiction of the types and customs as on the faithful reflection of the atmosphere of the place, of the very identity of the North African populations. José Montenegro was born in Cádiz, and his training, his contacts with other artists and the exact year he arrived in Jerez remain a mystery. His life is surrounded by a halo of legend, and in fact the people have invented a thousand stories around his figure, considering him a new Velázquez. He focused his production on the Andalusian costumbrista landscape, with special attention to the Hispano-Muslim architectures, taking his models mainly from Cadiz, Jerez and Seville. His style shows a certain influence of the so-called School of Rome, although with a marked regionalist accent. Montenegro arrived in Jerez attracted by the work possibilities that were open to him in a prosperous place full of bourgeoisie enriched by the wine trade. However, he would soon become a true exponent of local bohemia at the beginning of the 20th century. Eternally drunk and dressed in black, he sold paintings at very low prices in order to buy alcohol and some food. He finally died in the Santa Isabel Hospital in Cadiz in 1929, due to a liver problem. Montenegro is currently represented in numerous private collections, mainly in Jerez de la Frontera, where he is still highly appreciated today.