DOI issue:
No. 125 (August, 1903)
DOI article:Frantz, Henri: A modern Spanish painter: Ignacio Zuloaga
DOI Page / Citation link:https://doi.org/10.11588/diglit.19879#0181
The Work of Zuloaga
bitterest difficulties, and was almost reduced to Luxembourg, and enthusiastic critics of newspapers
absolute destitution ; but he struggled with all his and magazines spread abroad the fame of the young
force, undertaking the hardest tasks, yet resolutely artist in whom had been revived the great tra-
refusing to let the dealers, who would gladly have dition of Spanish art. " M. Zuloaga," wrote
relieved him of his canvases, have them for "a M. Gustave Geffroy, dealing with the Salon of 1899,
mere song." During his stay in Paris Zuloaga " has the ruggedness, the wild grace of Goya. He
never lost sight of Spain; and, whether he found has failed to bring into pleasing harmony his back-
models among his own countrymen, or whether he ground and his figures ; but these figures—this
made use of sketches made when at home, at any solemn man, these two dark, laughing women,
rate he continued to paint Spanish types. He garnished with yellow roses — are quite unfor-
made his first appearance at the Salon of 1898 with gettable—the sombre, cavalierly pride, the sen-
ilis Portrait de la Grand'mere de I'Artiste and that suous ingenuousness, the lively grace of form,
of Dofi Pedro, the dwarf. Then came sudden the eyes sparkling with mischievous promise, the
fame, when he sent to the Salon du Champ de happy mouth of the woman who has retained the
Mars a canvas representing some Spanish women animal joyousness of childhood—all these things
with a dog. Within a few days Zuloaga became are there, breathing and living, in M. Zuloaga's
by universal consent one of the masters of con- terse and lofty painting."
temporary art. His picture was bought for the Although in 1900, as we have seen, M. Zuloaga
GITANE ET ANDALOUSE BY I. ZULOAGA
l66
bitterest difficulties, and was almost reduced to Luxembourg, and enthusiastic critics of newspapers
absolute destitution ; but he struggled with all his and magazines spread abroad the fame of the young
force, undertaking the hardest tasks, yet resolutely artist in whom had been revived the great tra-
refusing to let the dealers, who would gladly have dition of Spanish art. " M. Zuloaga," wrote
relieved him of his canvases, have them for "a M. Gustave Geffroy, dealing with the Salon of 1899,
mere song." During his stay in Paris Zuloaga " has the ruggedness, the wild grace of Goya. He
never lost sight of Spain; and, whether he found has failed to bring into pleasing harmony his back-
models among his own countrymen, or whether he ground and his figures ; but these figures—this
made use of sketches made when at home, at any solemn man, these two dark, laughing women,
rate he continued to paint Spanish types. He garnished with yellow roses — are quite unfor-
made his first appearance at the Salon of 1898 with gettable—the sombre, cavalierly pride, the sen-
ilis Portrait de la Grand'mere de I'Artiste and that suous ingenuousness, the lively grace of form,
of Dofi Pedro, the dwarf. Then came sudden the eyes sparkling with mischievous promise, the
fame, when he sent to the Salon du Champ de happy mouth of the woman who has retained the
Mars a canvas representing some Spanish women animal joyousness of childhood—all these things
with a dog. Within a few days Zuloaga became are there, breathing and living, in M. Zuloaga's
by universal consent one of the masters of con- terse and lofty painting."
temporary art. His picture was bought for the Although in 1900, as we have seen, M. Zuloaga
GITANE ET ANDALOUSE BY I. ZULOAGA
l66