EVENING 1882
Self
. 1863. Oil on canvas. 115 x 85.5 cm. Montserrat Abbey
portrait painter Ramón Tusquets. 1865. Oil on canvas. 124 x 74.5 cm. Montserrat Abbey
Niña pitcher. Romantic Museum in Madrid
Girona oil painting is a large (496 x 1082 cm) and performed by Ramon Marti Alsina. It is evidence of the date on which he painted the work, but experts place it between 1863 and 1864. It is the biggest piece of easel painting in the history of Catalan. Part of the collection of the National Art Museum of Catalonia and is now exhibited in deposit at the headquarters of the Generalitat of Catalonia Girona, Hospital of the ancient church of Santa Caterina.
As for the spectacular size of the work, scholars suggest that it could be a way to compete against The battle of Tetuan by Mariano Fortuny, the result of the commission that he had received from the Provincial Barcelona to portray the war in Africa.
In 1938, during the English Civil War, the panel was the victim of a bombing while he was exposed to the Palace of Fine Arts. Once the war and waiting for a restoration, the painting was rolled up and stored in one of the rooms reservation MNAC, where he stayed about 70 years awaiting restoration, carried out between 2009 and 2010.
pointed biographies.
Ramon Marti i Alsina (Barcelona, \u200b\u200b1826 - 1894). Catalan realist painter, considered the most important figure in artistic realism of Spain, to the extent that Martí i Alsina is part of the latest European trends and groundbreaking at the time.
Ramon Martí i Alsina revolutionized the stale English art of the nineteenth century. Was the true creator of the Catalan landscape school and pioneer of modern painting in Spain, advocating, well before even Carlos de Haes-study, observation and natural reproduction. He was also master of an entire generation of writers, including names of both relief and Modest Urgell Simó Gómez, Joaquim Vayreda, Baldomero Galofré, José Luis Pellicer, Lluís Armet and Francesc Torrescassana.
Born into a poor family, lost his father at age eight, from this age under the authority of his godfather, who from the outset opposed the development of artistic ideas of the young Ramon. On the advice of his godfather, he studied philosophy, but at the same time he enrolled in night classes at the Escola de Belles Arts de Barcelona Llotja.
His first steps as a painter and illustrator gave the town of Mataró, where the family was originally from his mother. There he began to carve out a reputation as a portraitist between the local bourgeoisie, defined the first stage of a naturalistic objectivism and alien to the official dogmas.
By this time, is fixed in nature as a direct inspiration, going to paint the holidays in the mountains and coasts of the Maresme region, seeking subjects for his landscapes and seascapes. Martí i Alsina shown in this way as a copyright holder of an artistic flair and fresh from his early years manifested corsets opposed to the prevailing official.
In 1848 he traveled to Paris, where he visited the Louvre, where he became familiar with the works of authors such as Horace Vernet and Eugene Delacroix. Later know the work of Gustave Courbet the major international exponent of realism and the work of the Barbizon School.
In 1850 he married Charlotte Aguilo, after which time further his career as an artist takes hold. In 1852 the chair of design at the Escola de Belles Arts de la Llotja of Barcelona, \u200b\u200band two years later would provide figure drawing. It is dedicated to teaching preaching realism and capturing natural, especially in the landscape. Repeatedly travels to Paris and Holland. Attracted by the thought
positivist and progressive currents, republican and anticlerical, identified with the revolutionary ideals of 1868. During the reign of Amadeo resigned in their teaching at the Ecole de la Llotja for political reasons. However, with the arrival of the First English Republic and under the leadership of President Francesc Pi i Maragall, was reinstated in office.
The first major exhibition in which Martí i Alsina participated was the General Exhibition of Fine Arts in Barcelona in 1851. Since that time, participate in various exhibitions in Barcelona and Madrid or Paris, several of which were awarded. He was even invited to the 1889 Universal Exposition in Paris.
In the seventies, and while his work through one of his best, his life begins to suffer various disasters at personal. In 1872 children die almost simultaneously Camilo and Charlotte, and in 1878 lost his wife. At the same time, significantly indebted, to the point he had to multiply its production and work in different workshops (got to have open seven at the same time), almost industrial. Remarried Francisca Chillida, but economic difficulties and will acuciarían until his death.
However, he spent much of his life obsessed with ending the cycle of the War of Independence and the making of Gerona to begin around 1865 with paintings like The tocsin of the Bruch, the Society of Santa Barbara and the siege of Gerona of 1809 (Museu d'Art de Girona, Barcelona) the last of which, unfinished, is by itself one of the most accomplished historical paintings of the nineteenth-century English painting.
His works reflect the basic premise of portraying realistic reality thoroughly, without idealization or unnecessary embellishments. His work can be divided into three stages: from 1850 to 1870 in its initial period, from 1870 to 1880 full intermediate stage, and from 1880 until his death in 1894, with his most prolific and less careful.
Among the topics are many landscapes and seascapes, cityscapes (particularly Barcelona), portraits and human figures (the siesta, 1884, Museu Nacional d'Art de Catalunya, Barcelona, \u200b\u200bis perhaps his most known), genre scenes, nudes temperament (are much more scarce and even male children, as the boy from behind Naked, private collection, Barcelona) and history paintings and biblical scenes (like David and Abigail, and Rebecca and Eliezer Both in the Museu Nacional d'Art de Catalunya, Barcelona). Rarely is devoted to still life, but also painted some of them.
Eventually Martí Alsina was adapted to the new currents of Impressionism, as seen, for example, in the view of Boulevard Clichy. That's why some critics consider it an eclectic artist that can not be ascribed to any pictorial trend concrete.
Despite the importance of his work, this is still poorly studied and a painter whose work has still to be valued in all its dimensions.
(Information obtained from Wikipedia)
Sources for tables: The City of Painting, Wikipedia, and Orozco Xerbar Forum. Sources
texts: Wikipedia.
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