Sorolla Comes to Provence

"Pescadoras valencianas"
Oil on Canvas, 120 x 150 cm
Joaquim Sorolla

Twice a year, the Hôtel de Caumont in Aix-en-Provence mounts a special exhibit, featuring an artist of note. I start checking their website in January, eagerly awaiting news of what the summer show will be. Imagine my delight when the 2020 show was finally announced: "Joaquin Sorolla: Spanish Lights". Yay!!

"Pescadora valenciana"
Oil on Canvas, 47 x 37 cm
Joaquin Sorolla, 1916

I first wrote about Sorolla over six years ago. (Yes, I've been writing this blog for that long!). Sorolla is the proverbial "painter's painter", and is known for the luminous light he captures in his canvases. I was excited to read that the exhibit in Aix will focus on Sorolla's creative process, and will feature a number of his small drawings and oil "sketches". 

"Le retour de pêche"
Oil on Canvas, 45 x 74.3 cm
Joaquin Sorolla, 1904

I love Sorolla's oil sketches! Even though they are small in scale, they are works of art in their own right, hardly deserving of the dismissive label "sketches". These "sketches" also seem to hold the key to unlocking insights into the way that Sorolla saw the world, and how he created his compositions. I've never seen any of them in person--just reproductions in books. I can't wait to see them up close and personal! 

"Levantine Landscape"
Oil, 4.75 x 8.74 inches
Joaquin Sorolla, 1888

The curators say that this exhibit, and the sketches and drawings in particular, will shed light on Sorolla's creative process and his approach to painting. It's always a treat to get inside the mind of a great painter--and I hope that this show will facilitate that. 

"Tejados de Madrid"
Joaquin Sorolla, 1882-84

I'm illustrating this post with images of paintings that will be shown in Aix, and also some of my favorite "sketches". If you can't get to Provence this summer, don't despair! You can see some of Sorolla's greatest masterworks right here in the USA at the Hispanic Society of America in New York. And the catalog of the exhibit will be available on Amazon in April. Enjoy!

Sorolla Fans Rejoice!

"Maria dressed as Valencian Peasant Girl" (detail)
(c) Sorolla 1906

Faithful readers know that I am a huge fan of the Spanish painter Sorolla (or Joaquin Sorolla y Bastida, if you must know the full name!). Sorolla is perhaps one of the least well know of the great Impressionists these days. He achieved great recognition during his lifetime (1863-1923), but has faded into relative obscurity, especially outside of Europe.

"Women Walking on the Beach"
Sorolla, 1909

But there is good news for all Sorolla fans: The National Gallery in London has mounted a major Sorolla exhibition that is hanging right now. It runs until July 7, 2019. This is the first major exhibit of his work in England in over a century. Entitled "Sorolla: Spanish Master of Light", this exhibit should prove to be a giant step in bringing his work back into the forefront.

"Sewing the Sail"
Sorolla, 1896

The London exhibit includes over sixty works. One third of them are from private collections all over the world--I love to see paintings from private collections, because it is such a pleasure to confront new work that has not been featured time and time again in books and magazines. I especially like to see the miracles that Sorolla could work with whites. The two paintings immediately above are like a master class in seeing and painting white!

"Garden Grotto, Alcazar de Seville"
(c) Sorolla, 1910

Sorolla painted all sorts of subjects with equal ease and élan. From landscapes to portraits, from peasants to aristocracy, it seems as if he could do anything. And like all greats, he made it look so effortless! But we know from his studies (many of which will be included in the exhibit) that much behind the scenes work was done to lay the ground for the bravura strokes that would make the finished painting.

"Alahanbra, Granada"
Sorolla, 1910

For those of us who can't make the journey to London, there's a beautiful four minute video showing the exhibition, which you can see here. Or if you are in New York, don't miss his fantastic cycle of paintings at the Hispanic Society--learn about it here. Enjoy!

"A Street in Granada"
(c) Sorolla, 1910

Working Space

Table in Cezanne's studio, Aix-en-Provence

Paul Cezanne, Still Life with Fruit Dish

I am always fascinated by painter's studios. It's especially intriguing to visit "preserved" studios of some of the great masters in the history of art. If you know an artist's body of work, seeing his or her studio often brings a shock of the familiar. What art lover could possibly visit the studio of Cezanne in Aix-en-Provence (seen in this post), and not recognize some of the objects that feature so prominently in his wonderful still lifes? Not to be missed, not if you love Cezanne, not if you love those apples!

Paul Cezanne, "Still Life with Plaster Cupid"

And of course Cezanne's huge north-facing window makes my heart go pitter-patter. That exposure provides ideal light for painting. I noticed that he had curtains specially arranged

Sorolla Writ Large

Yes, that's me pictured above. Proof positive that the Sorolla murals at the Hispanic Society  of America are larger than life! I was recently in New York, and visited this hidden treasure of a museum. 

Readers know that I am a huge fan of Joaquin Sorolla, so it is no surprise that this museum was a top priority on my trip. I had read about Sorolla's painting cycle, "Vision of Spain", and seen photographs, but nothing prepared me for the real thing. The first shock was the staggering scale of these works. The canvases are about 12 feet tall, and extend a total of almost 227 feet, covering the entire (huge) room. Walking into the space, there is a veritable explosion of color and light, impossible to capture in photos. 

Despite the mammoth size of these paintings, Sorolla painted all but one of them en plein air, traveling to the provinces of Spain to work on location. Amazing! You can see one of the paintings, "Galicia", in process on the right of the photo above. I cannot even imagine working this large on location. Note the wooden stairs to Sorolla's right--he must have needed these to reach the top of the canvas.  Here is the painting today, as installed at the Hispanic Society:

On location, Sorolla also used models dressed in traditional local costumes. His contract required him to return the costumes to the Hispanic Society--I wonder if they are ever on display?

I was astounded at the way the paintings worked at so many different levels. Each panel contained portraits as well as landscapes; intimate moments as well as sweeping vistas. Some passages were worked in great detail, others less so. The way Sorolla rendered whites was amazing and gorgeous. I wish I could find a photo that did justice to the brilliant sailor's uniforms above. And the paint application showed such joy! Just seeing those loose, gestural brushstrokes made me want to grab a brush and start swinging some paint around.

These paintings were commissioned in 1911, and were painted by Sorolla between 1913 and 1919. They represent the different regions of Sorolla's beloved homeland. The cycle was a monumental undertaking, and one of the last of Sorolla's life. The year after finishing them, Sorolla suffered a stroke, and he died in 1923. Sadly, he never realized his dream of seeing the paintings installed in New York. But on a brighter note, the paintings were sent to Spain and exhibited there between 2007 and 2010. They drew more than two million visitors, and broke attendance records at every venue. I think that Sorolla's heart would be full to know that his tribute to Spain was so well received by the people whose homeland he so grandly depicted.

Seen from Above

Betrand de Miollis, on a rooftop in Paris

During the hot summer months, I have been looking out my studio window at the activity nearby. I have wanted to paint the view from my window--partly because it is an interesting view, and partly (I must admit) because I want to work in the comfort of air-conditioning. But I have been afraid to tackle it. I have been unsure that I could make the third floor point of view, looking down, successful.

"The Census at Bethlehem"
Pieter Bruegel the Elder, 1566

Well. A little trot through art history has almost convinced me to set my fears aside and give it a go. I read that as long ago as the 1500's, artists would climb church steeples in order to get an ariel view of their villages! Just above is a 16th century painting by Pieter Bruegel the Elder, very convincing from an elevated point of view. And If Bertrand de Mollis can take the vantage point shown in the top photo,

The Sorolla Museum

Sorolla Museum
All Photos (c) Meredith Lincoln, 2015

A friend of mine just visited Madrid, and spent some time at the Sorolla Museum. If you have been reading my blog for a while, you know that I am a great admirer of  the Spanish Impressionist painter Joaquin Sorolla. I have long wanted to visit the museum that was once his home, and I was thrilled with the photos my friend sent me from her visit. I immediately wanted to share them with you! You can tell from the images that my friend, Meredith Lincoln, is an accomplished photographer with a wonderful eye. The top photo shows Sorolla's studio--can you imagine working in such a wonderful space? And yet Sorolla painted primarily outdoors on location. I remember that Sorolla said

Sorolla: Small is Beautiful

"Beach at Valencia"
5.25 x 10.5 inches, oil on wood panel
J. Sorolla, 1898

I have been reading the catalog from the Sorolla exhibit that opened in Dallas a few months ago. I was especially thrilled to find the chapter entitled "Looking Is Painting: Jottings, Splashes, and Color Notes of Joaquin Sorolla", by Maria Lopez Fernandez. I posted earlier about my admiration of Sorolla's small paintings. They are often called "apuntes", meaning "notes" or "jottings" in Spanish. My new reading has given me even more reason to be inspired by these wonderful little paintings. The most compelling concept is that the truthfulness and vigor of these small format paintings often eclipses that of the large format masterworks. In other words, small can be grand!

""The Beach, Valencia (Fisherwives)"
3.5 x 4.75 inches, Oil on cardboard
J. Sorolla, 1908

The apuntes are quite small oil paintings--usually less than 8 x 12 inches. They were typically painted in less than an hour. Since the brief painting session did not allow time for the artist to over-think, or to hesitate, or to re-work, the resulting paintings were said to reflect his true and unedited temperament. Some would even say that they are a glimpse into his soul. These tiny works reveal the "prima idea", or first artistic impulse of the painter.  

"A Sketch (Garden)"
7.125 x 9.5 inches, Oil on canvas mounted on cardboard
J. Sorolla, 1909

Many of Sorolla's apuntes were painted to explore the effect of changing light and color. Often they were done for the pure pleasure of painting. Sorolla never seemed to stop jotting down his color notes. In fact, he was often seen on the beach, working on his portable sketch box, searching and observing "with the eyes of a seafarer or an explorer". He was not happy if he was not painting, and he sometimes painted up to four studies a day. So it's no wonder that he left us almost 2,000 of these apuntes. They show such spontaneity and freshness!

"William E. B. Starkweather Fishing, Javea"
9.5 x 9.5 inches, Oil on composition board
J. Sorolla, 1905

In Sorolla's time, the small sketches of great artists were just starting to be considered works of art, standing on their own. Even though the large scale paintings were the ones that brought in the prestige and the money, Sorolla exhibited his small apuntes in major exhibitions, right alongside his large format canvases. Here's an example from the Art Institute of Chicago in 1911. I love the vertical columns of the small pieces by the doors.

For Sorolla fans, the exhibit "Sorolla and America" opens May 30 at the San Diego Museum of Art. It's not too late to see these works while they are assembled here in the US...

Sorolla's Sketches

"Italian Landscape"
(c) Sorolla, 1884 (4.5 x 9 inches)

I recently wrote about Joaquin Sorolla y Bastida (Sorolla), whom I called "the greatest Impressionist you've never head of". The post was so popular that I was inspired to write more.

"Italian Street"
(c) Sorolla, 1885 (5.5 x 3.5 inches)

I have been reading opinions of the critics who were reviewing Sorolla's work in the early 1900's. One consistent comment that really struck a chord with me concerns Sorolla's "sketches". By "sketches", I refer not to drawings, but rather to small, rapidly executed oil paintings. My tattered old book on Sorolla calls them "apuntes" ("small oil sketches"). Sometimes Sorolla referred to them simply as his "colour-notes".

"Levantine Landscape"
(c) Sorolla, 1888 (4.75 x 8 .5 inches)

I am a fan of small paintings, and I have always loved Sorolla's "apuntes". I was glad to read that I am not alone. One critic wrote in 1907 that Sorolla's little paintings that were "dashed off casually" were his most interesting. This critic thought that when Sorolla painted industriously and accurately, his work was "very respectable", but lost its special beauty. I sometimes feel the same way about my own paintings--it is hard to preserve the spontaneity and truth of a small plein air work when translating it into a large painting in the studio. (Not that I would dare compare myself to Sorolla, but it is comforting to think that others may have struggled with the same issues I do). Come to think of it, perhaps painting inside the studio is the root of my problem---Sorolla would have frowned on working in the studio, preferring at all times to paint outdoors in touch with the truth of nature.

"Street with Awnings in Valencia"
 (c) Sorolla, 1884 (5.25 x 3.75 inches)

Another critic called Sorolla's oil sketches "delightful little pictures--unsurpassably fresh".  But make no mistake--the fact that they were executed quickly does not mean that they were sloppy or poorly thought-out. To the contrary, the same critic noted that they "contained no touch that is not laid with science and feeling." It was Sorolla's wonderful technical and manual skill, plus his genius of color, that allowed him to capture such truthful impressions of the world around us. Enjoy!

PS: All quotes are from "Sorolla and his Critics" by Carmen Gracia, in The Painter Joaquin Sorolla y Bastida by Edmund Peel, (c) 1989.

Sorolla

"Maria dressed as Valencian Peasant Girl" (detail)
(c) Sorolla 1906

Meet the greatest Impressionist painter you have never heard of---Joaquin Sorolla y Bastida. Sorolla, for short.

"Bathtime, Valencia"
(c) Sorolla, 1909

Sorolla was born in Spain in 1863. His talent was evident early on, and by age 30 his paintings had been in international exhibitions in Madrid, Paris, Venice, Munich, Berlin and Chicago. He won a medal of honor at the Paris Universal Exposition of 1900, and was nominated as Knight of the Legion of Honor. Interestingly, though he achieved such great recognition during his lifetime, he is largely lost in obscurity today. I hope that exhiibts such as the current one described below will change that.

The Meadows Museum at Southern Methodist University in Dallas has mounted a large exhibition of Sorolla's paintings, on view until April. (After that it will travel to San Diego, then to Madrid, Spain). How I wish I could see these paintings! Not only does the show feature a number of Sorolla's masterpieces, it also includes his studies for some of the larger paintings. Now this is what a fellow painter really wants to see--the process behind the masterworks! I quote Rick Bettell, art critic for the Dallas News:

Another canvas, from 1908, Running Along the Beach, is shown alone in a small gallery surrounded by six preparatory drawings, which show how Sorolla rehearsed his gestures and poses before commencing to paint them with such confident élan. These drawings are as fine as any figure drawings of the late 19th century and add a new dimension to our understanding of the artist.

"Running Along the Beach"

(c) Sorolla 1908

Sorolla may be what we call "a painter's painter". If you thumb through any recent issue of Plein Air Magazine, you are likely to find several of today's featured painters who cite Sorolla among their key influences. Such talents as Kevin Macpherson, Richard Oversmith, West Fraser and Marc Hanson all name Sorolla as an influence.

"Garden Grotto, Alcazar de Seville"
(c) Sorolla, 1910

I love the fact that Sorolla painted all sorts of subjects with equal ease and élan. From landscapes to portraits, from peasants to aristocracy, it seems as if he could do anything. And like all greats, he made it look so effortless! But we know from his studies (see above) that much behind the scenes work was done to lay the ground for the bravura strokes that would make the finished painting.

"The Old Man of the Cigarette"
(c) Sorolla 

Perhaps one reason Sorolla has influenced so many of today's plein air painters is his insistence on painting outdoors, from life. I will leave you with a Sorolla quote: "As far as outdoor work is concerned, a studio is only a garage; a place in which to store paintings and repair them, never a place in which to paint them."

"A Street in Granada"
(c) Sorolla, 1910