DOI Heft:
No. 85 (April, 1900)
DOI Artikel:Arteaga y Pereira, Fernando de: A Spanish painter - Alijandro de Riquer
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19784#0194
A Spanish Painter
copper or a piece of silver he laid it out in picture
books and broadsheet fairy tales, but school work he
abhorred. As he would not learn at home he was
sent to the Ecole Chretienne at Beziers, and
there he first learnt the use of colours from Frere
Samuel. When he came back to Barcelona he
joined the art classes ot the " Lonja," the city art
school, but to little purpose, and he was not con-
tented till he got his father's leave to go back to
France. Here he studied by himself in the
Museum at Toulouse in 1875 an(l 1£>76, and his
father, seeing his evident capacity and bent,
now consented to give him a free hand, and
definitely agreed to his taking up the artist's career.
In 1877 he worked at Paris at the Louvre and
Cluny Museums, and in 1879 in North Italy,
visiting Rome, Florence, Pisa, Genoa, Milan,
Verona, and Venice. The three Italians that then
profoundly impressed him " with the same feelings
of wonder and awe that had passed over him when
he first saw the sea," were Botticelli, Filipino, and
Crivelli, and for the last his enthusiasm and
admiration has only increased with time. When
he came home to Catalonia in 1880 he was a
stalwart Pre-Raphaelite, and though he was " not
even aware that England possessed such a man as
Dante Gabriel Rossetti," his own early works,
The Divine Shepherdess, The Annunciation, The
Virgin and Child, belonged both in subject and
execution to the school that followed the lead of
the " Primitifs." In 1881 he went back to Italy, a
" real journey for study," and came back with a
full portfolio and a brain seething with " the joy of
what he had learnt and seen," to be met with a
great sorrow. His mother had passed away but a
few hours before he reached his father's house.
And now, under the influence of his great grief
for his loss and his great passion for his art, the
young artist's real life-struggle began. It was in
his tiny studio in the Petritad that he designed six
tapestries for Sefiora Vilaro di Torres from the
famous Catalan ballad Los Estudiantes de Tolosa.
These were finished in 1884-5, and the cartoons
published in book form 1886. The illustrations
for Maria y Maria in Professor Domenech y
Montaner's series Artiy Lelras show the effect of
181
copper or a piece of silver he laid it out in picture
books and broadsheet fairy tales, but school work he
abhorred. As he would not learn at home he was
sent to the Ecole Chretienne at Beziers, and
there he first learnt the use of colours from Frere
Samuel. When he came back to Barcelona he
joined the art classes ot the " Lonja," the city art
school, but to little purpose, and he was not con-
tented till he got his father's leave to go back to
France. Here he studied by himself in the
Museum at Toulouse in 1875 an(l 1£>76, and his
father, seeing his evident capacity and bent,
now consented to give him a free hand, and
definitely agreed to his taking up the artist's career.
In 1877 he worked at Paris at the Louvre and
Cluny Museums, and in 1879 in North Italy,
visiting Rome, Florence, Pisa, Genoa, Milan,
Verona, and Venice. The three Italians that then
profoundly impressed him " with the same feelings
of wonder and awe that had passed over him when
he first saw the sea," were Botticelli, Filipino, and
Crivelli, and for the last his enthusiasm and
admiration has only increased with time. When
he came home to Catalonia in 1880 he was a
stalwart Pre-Raphaelite, and though he was " not
even aware that England possessed such a man as
Dante Gabriel Rossetti," his own early works,
The Divine Shepherdess, The Annunciation, The
Virgin and Child, belonged both in subject and
execution to the school that followed the lead of
the " Primitifs." In 1881 he went back to Italy, a
" real journey for study," and came back with a
full portfolio and a brain seething with " the joy of
what he had learnt and seen," to be met with a
great sorrow. His mother had passed away but a
few hours before he reached his father's house.
And now, under the influence of his great grief
for his loss and his great passion for his art, the
young artist's real life-struggle began. It was in
his tiny studio in the Petritad that he designed six
tapestries for Sefiora Vilaro di Torres from the
famous Catalan ballad Los Estudiantes de Tolosa.
These were finished in 1884-5, and the cartoons
published in book form 1886. The illustrations
for Maria y Maria in Professor Domenech y
Montaner's series Artiy Lelras show the effect of
181