International studio (81.1925)

mceRnACioriAL

SEGOVIA II

BY IGNACIO ZULOAGA

When he paints the portraits of toreadors, as lie painting. In sentiment, however, the}- vary con-
has done thrice in the present exhibition with siderably, as also in execution. Zuloaga's rather
Juan Belmonte, it is witli limited range of half tones

tends here toward monot-
ony; in his portraits the

a first-hand knowledge of
all that this fearsome pas-
time and profession im-
plies, for he has assumed
the same role in the arena
on many occasions. The
three canvases are vivid
souvenirs of this popular
figure, dressed now in gold,
now in silver, and in black.
The last is done with all
the gory incidentals of the
calling, and is far too elo-
quent of the savage sport
oi Spain for un-Latin eyes;
in design and character,
however, it is the best of
the three. In the four
nudes, Zuloaga has sent
reticence to the winds and
has given four very frank
pictures of dark-eyed
women variously reclining
on couches in more or less
the traditional way of the
Spanish school. In a gen-
eral way these canvases
are all handsomely ar-
ranged and are filled with
many passages of fine

flesh tones are confined to
a limited area, seldom
more than a large accent
of focal spot in the compo-
sition, but in the nudes
there is a marked inability
to keep a lively flow of
color quality running
through the larger areas.
The finest of his genre
paintings is the "Castilian
Shepherd," a rugged type
of peasant in leathern
breeches and gray jacket,
sloping hat tied under his
weatherbeaten face, full
nut-brown cloak falling
from his broad shoulders.
He stands leaning upon his
crooked staff among the
rock-strewn summit of a
little hill, a broad mass of
deep russet tones thrown
into bold relief by the gray
sky piling thunderously up

THE BASQUE PEASANT
BY IGNACIO ZULOAGA

APRIL I925

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