A sorolla unpublished, “a penetrating and original”, that is unknown to be in the hands of a family and already provided the virtuosity of the valencian painter despite being a work of youth has come to light after their authentication by the Universitat de Lleida. The oil painting, dated 1883, represents a girl that is torn between life and death in a bed of spongy. “A key theme in the history of art which only the great artists were able to represent —and solve— in a way that is compelling, truthful, and real, away from conventions of rhetoric and positions so often very soft, and concerned.”

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adjectives and quoting are of Ximo Company, professor of Art History at the University of Lleida, and head of the Centre d’art d Modern Era (CMEA) of the institution, where the owners of the work will be conducted to verify its allocation. Company does not hide his enthusiasm in telephone conversation by the discovery. It is a work in which, “with tenderness and realism, sublime, the young Sorolla, with only 20 years, faces the difficult representanción of an innocent and pure girl” in the transition towards death, says the professor in an article that summarizes the report on the process of authentication.

“plastic Experiences of this type, are not new in the history of art; no longer were practiced, for example, in the SEVENTEENTH century by the Dutch Johannes Thopas in his Portrait of Catharina Margaretha van Valkenburg (oil on canvas, 59 x 71 cm, 1682, Mauritshuis, The Hague), by the american Charles Willson Peale in the heartbreaking Portrait of his wife Rachel Weeping at the death of his son (oil on canvas, 93’5 x 81’4 cm, 1776, Philadelphia Museum of Art, united States); or, as in the NINETEENTH century, by the spaniard Leopoldo Sánchez Díaz in his Portrait lying in the Prince of Asturias (oil on canvas, 33 x 44 cm, second half of century XIX, Museo de la Real Academia de Bellas Artes de San Fernando, Madrid), Sánchez Díaz you copied from a splendid work loss that Federico Madrazo made in 1849. It is true that in all these works he exhibits quality plastic and craft of painting, but none achieves the realism and the supreme tenderness of expression which we find in the work of Sorolla”, sostien the expert on your work.

After several months of analysis of the oil in the CMEA, since signing up to the more petty of the painting, Company, and the researcher Anna Pedret came to the unequivocal conclusion that it is a work not listed of Joaquín Sorolla (Valencia, 1863— Cercedilla, Madrid, 1923). The strokes are short and flat with a white colored lace on the hat of the girl are extremely similar to the socket of the child of the work Jaime García Banús (1892). In turn, this technique is identical to that executed in other works, such as Girl Italian with flowers or She in his desk.

“The agile way of making the strands of hair smooth and straight bangs of the small is very similar to the strokes frescoes that make up the strands wound up falling on the cheeks and forehead of the already mentioned Girl Italian with flowers, 1886, or those used to carry out the bangs of Mary in the work of Maria Sorolla or The baby,also of 1893,” says the professor

“Finally, and aware of all of the researchers of the CMEA of which represents attribute in 2019, a new work by Joaquín Sorolla, the undisputed grand master of the luminismo Spanish, we have consulted and contrasted our proposal with the greatest expert in the world in the painting of Sorolla; Blanca Pons-Sorolla, biznieta of the painter, who, after several exchanges, and after having seen the piece live, in a careful and very deep, did not hesitate to confirm our attribution,” explains Company. That was also the director of the Museum of Fine Arts of Valencia remember that there are more than 2,200 paintings of Sorolla recognized and catalogued, and Pons-Sorolla has been pointed out that there are more than 2,000 forgeries. In the CAEM of Lleida, in the last 10 years, have studied dozens of false works.

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