DOI Heft:
Nr. 335 (April 1925)
DOI Artikel:Flint, Ralph: Zuloaga and his hour
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19985#0003
ZULOAQA AND HIS HOUR
A ll the world knows Coming at the crest of the Greco to the allurements of
<%] its Spain, at least to wave 0f a popular Spanish the dance haI1 and the rin&
A 1 some degree. In art, fahiotl, his American tour Vs ^ a£atter' aSf
literature, music, the rhyth- J, / „ „ „ .„ _ / p . . the French would say, of
mic touch of this tawny ^ W unusual SUCCeSS puttbg water b yQur win£_
land below the Pyrenees RALPH FLINT In mapping out the van-
has always had a distinct
ous contributions which
hold on the popular imagination. If it is in Europe has made to American art, it is worth
nothing more significant than a brightly broidered noting that of the three peninsulas that break the
shawl, an upstanding shell comb, or some tempting blue reaches of the Mediterranean, Spain has been
tango tune, the Spanish lure is a firmly fixed quan- the last to make its gifts. Greece, of course, came
tity, with an appeal that over in the Mayflower with
is practically ubiquitous. ,.JUAN BELMONTE (lN GOtDy. the other English inheri-
Not for nothing has tradi- by ignacio zuloaga tances. 1 hen along toward
tion set man to building
his castles in Spain. For
centuries the colorful tale
of Spain with its pictur-
esqueness and- pageantry,
its princes and peasants,
its dark eyed senoritas and
its fearless toreadors has
been in the telling. How-
ever it may come, whether
in the authentic and in-
spired version of a Cer-
vantes or a Velasquez, or
in the trivial balladry of
some foreign minstrel, the
story is unmistakably hall-
marked. There is no sepa-
rating the twanging gui-
tar, the clicking castanets,
the flowing mantilla, the
fringed shawl from the
land of their birth. Here
is the undubitable Spanish
touch, and while you may
prefer your Goya and
the last quarter of the
nineteenth century when
things were getting com-
fortably shaped and an
American art of conse-
quence was starting up,
the Italian epoch set in,
and by the end of the cen-
tury Italy had made her
very valuable donation to
the new world. The lovely
refinements of Italian
painting, sculpture and
architecture waxed popu-
lar in the studios during
the peaceful years. leading
up to 1914, but while the
collectors and dealers were
were making their last
great drive on Italian art,
a slackening of the popular
taste for things Italianate
was already to be seen.
It was plain that the
artistic needs of the new
APRIL 1925
three
A ll the world knows Coming at the crest of the Greco to the allurements of
<%] its Spain, at least to wave 0f a popular Spanish the dance haI1 and the rin&
A 1 some degree. In art, fahiotl, his American tour Vs ^ a£atter' aSf
literature, music, the rhyth- J, / „ „ „ .„ _ / p . . the French would say, of
mic touch of this tawny ^ W unusual SUCCeSS puttbg water b yQur win£_
land below the Pyrenees RALPH FLINT In mapping out the van-
has always had a distinct
ous contributions which
hold on the popular imagination. If it is in Europe has made to American art, it is worth
nothing more significant than a brightly broidered noting that of the three peninsulas that break the
shawl, an upstanding shell comb, or some tempting blue reaches of the Mediterranean, Spain has been
tango tune, the Spanish lure is a firmly fixed quan- the last to make its gifts. Greece, of course, came
tity, with an appeal that over in the Mayflower with
is practically ubiquitous. ,.JUAN BELMONTE (lN GOtDy. the other English inheri-
Not for nothing has tradi- by ignacio zuloaga tances. 1 hen along toward
tion set man to building
his castles in Spain. For
centuries the colorful tale
of Spain with its pictur-
esqueness and- pageantry,
its princes and peasants,
its dark eyed senoritas and
its fearless toreadors has
been in the telling. How-
ever it may come, whether
in the authentic and in-
spired version of a Cer-
vantes or a Velasquez, or
in the trivial balladry of
some foreign minstrel, the
story is unmistakably hall-
marked. There is no sepa-
rating the twanging gui-
tar, the clicking castanets,
the flowing mantilla, the
fringed shawl from the
land of their birth. Here
is the undubitable Spanish
touch, and while you may
prefer your Goya and
the last quarter of the
nineteenth century when
things were getting com-
fortably shaped and an
American art of conse-
quence was starting up,
the Italian epoch set in,
and by the end of the cen-
tury Italy had made her
very valuable donation to
the new world. The lovely
refinements of Italian
painting, sculpture and
architecture waxed popu-
lar in the studios during
the peaceful years. leading
up to 1914, but while the
collectors and dealers were
were making their last
great drive on Italian art,
a slackening of the popular
taste for things Italianate
was already to be seen.
It was plain that the
artistic needs of the new
APRIL 1925
three