Open main menu
Home
Random
Recent changes
Special pages
Community portal
Preferences
About Wikipedia
Disclaimers
Incubator escapee wiki
Search
User menu
Talk
Dark mode
Contributions
Create account
Log in
Editing
Ignacio Zuloaga
Warning:
You are not logged in. Your IP address will be publicly visible if you make any edits. If you
log in
or
create an account
, your edits will be attributed to your username, along with other benefits.
Anti-spam check. Do
not
fill this in!
{{Short description|Spanish painter (1870–1945)}} {{family name hatnote|Zuloaga|Zabaleta|lang=Spanish}} {{Infobox artist | name = Ignacio Zuloaga | image = Ignacio Zuloaga cph.3a44376.jpg | alt = | caption = Ignacio Zuloaga in 1909 | birth_name = Ignacio Zuloaga y Zabaleta | birth_date = {{birth date |1870|7|26}} | birth_place = [[Eibar]], Spain | death_date = {{death date and age |1945|10|31|1870|7|26}} | death_place = [[Madrid]], Spain | resting_place = | resting_place_coordinates = | nationality = <!-- use only when necessary per [[WP:INFONAT]] --> | field = [[Painting]] | training = | movement = | works = | patrons = | influenced by = | influenced = | awards = | signature = | signature_alt = |relatives = [[Plácido Zuloaga]] (father), [[Eusebio Zuloaga]] (grandfather), [[Daniel Zuloaga]] (uncle) }} '''Ignacio Zuloaga y Zabaleta''' (July 26, 1870{{spaced ndash}}October 31, 1945) was a Spanish painter, born in [[Eibar]], Guipuzcoa, near the monastery of Loyola. ==Family== He was the son of metalworker and [[damascening|damascener]] [[Plácido Zuloaga]] and grandson of the organizer and director of the royal armoury ([[Eusebio Zuloaga|Don Eusebio]]) in Madrid. His uncle was [[Daniel Zuloaga]].<ref name="Academy1909">{{cite book|author=Buffalo Fine Arts Academy|title=Academy notes|url=https://books.google.com/books?id=Ir_lAAAAMAAJ&pg=PA156|access-date=11 September 2012|edition=Public domain|year=1909|publisher=The Academy|pages=156}}</ref> His great-grandfather who was also the royal armourer was a friend and contemporary of [[Francisco Goya|Goya]].<ref>Brinton 1916, page 10</ref> [[File:Zuloaga en MNCARS 1.jpg|thumb|''El Cristo de la Sangre'' (1911), Madrid, [[Museo Nacional Centro de Arte Reina Sofía]]]] ==Biography== In his youth, he drew and worked in the [[armourer|armourer's]] workshop of his father, Plácido.<ref>Brinton 1916, page 11.</ref> His father's craftmanship, a familial trade, was highly respected throughout Europe, but he intended his son for either commerce, engineering, or architecture, but during a short trip to Rome with his father, he decided to become a painter.<ref>Brinton 1916, page 12</ref> His first painting was exhibited in Paris in 1890.<ref>Utrillo in Five Essays, page 8.</ref> [[File:Ignacio Zuloaga and his wife Valentine Dethomas (c.1900).jpg|thumb|Zuloaga and his wife (c. 1900)]] [[File:Ignacio_Zuloaga_y_Zabaleta_-_Castilian_Landscape_-_42.571_-_Museum_of_Fine_Arts.jpg|thumb|''Castilian Landscape'' (1909), [[Museum of Fine Arts, Boston]]]] [[File:Ignacio Zuloaga y Zabaleta - My Uncle Daniel and his Family - 17.1598 - Museum of Fine Arts.jpg|thumb|''My Uncle Daniel and his Family'' (1910), [[Museum of Fine Arts, Boston]]]] At the age of 18 he moved to Paris, settling in [[Montmartre]], to find work and training as a painter. He was nearly destitute, and lived off some meager contributions by his mother and the benevolence of fellow Spaniards, including [[Paco Durrio]], [[Pablo Uranga]], and [[Santiago Rusiñol i Prats|Santiago Rusiñol]].<ref>Brinton 1916, page 13</ref> After only six months' work he completed his first picture, which was exhibited at the [[Paris Salon]] of 1890. Continuing his studies in Paris, where he lived for five years, he was in contact with post-impressionists such as [[Ramon Casas i Carbó|Ramon Casas]], [[Paul Gauguin|Gauguin]] and [[Henri de Toulouse-Lautrec|Toulouse-Lautrec]],{{sfn|Chisholm|1911}} yet his tendencies were always to a thematic that was more ethnic in scope. He attempted to gain success during a sojourn in London; but lackluster patronage led him to return to Spain, settling in [[Seville]], then [[Segovia]], and developed a style based on a realist Spanish tradition, recalling [[Diego Velázquez|Velázquez]] and [[Bartolomé Esteban Murillo|Murillo]] in their earthy colouring and genre themes. He painted portraits of attired bullfighters and [[flamenco]] dancers; or portraits of family members and friends in such attire. He also painted village dwarves (''El enano Gregorio el Botero''; [[Hermitage Museum|Hermitage]], St Petersburg, Russia) and beggars, often as stark figures in a dreary landscape with a traditional landscape or town in the background. He also painted some village-scape scenes.<ref>Brinton 1916, page 16</ref> He favored earth or muted tones, including maroon, black, and grey, with the exception of colorful folk attire or the bright red cassock in some paintings. Zuloaga married Valentine Dethomas on May 18, 1899. Valentine's brother, [[Maxime Dethomas]], was a fellow student of Zuloaga in Paris. Zuloaga and his patrons felt slighted in 1900, when his painting ''Before the Bull-fight'' was rejected for inclusion into the Spanish representation at the Universal Exposition in [[Brussels]]. In 1899, one of his paintings exhibited in Paris had been purchased for the [[Luxembourg Palace]]. However, he did exhibit the painting at the Exposition of the Libre Esthetique in Brussels, and did see it acquired by the Modern Gallery in [[Brussels]]. He was accepted into the [[Venice Biennale]] in 1901 and 1903,<ref>[https://books.google.com/books?id=ANhXAAAAIAAJ&printsec=frontcover&dq=Quinta+Esposizione+Internazionale+Della+Citt%C3%A0+D'arte&hl=en#v=onepage&q=Ignacio&f=false|Quinta Esposizione Internazionale D'arte Della Città Di Venezia 1903, Catalogo Illustrato], Third Edition; Premiato Stabilimento Dottore Chappuis, Bologna, 1903. page 39.</ref> and displayed 34 canvases at the Barcelona International exposition of 1907.<ref>Brinton 1916, pages 19–20</ref> Among the more prominently displayed works is his ''Cristo de la Sangre'' (Christ of the Blood) or ''Hermandad del Cristo Crucificado'' (Brotherhood of the Crucified Christ), on display at the [[Museo Reina Sofia]] in Madrid. He also painted a similarly painting of individuals undergoing a traditional [[mortification of the flesh]] and a bleeding crucified Christ called ''The Flagellants'' (1900). These paintings were praised by [[Miguel de Unamuno|Unamuno]] in his book on ''De Arte Pictorico'' as being honest representation of Spain: a Spain ''religious and tragic, a black Spain''.<ref>"Esta Espana religiosa y tragica esta Espana negra" quoted in Nancy Dean Faires (2007), ''This is Not a Museum: the Guggenheim Museum Bilbao''.</ref> rooted in the particularly Spanish Catholic fascination with mutilating penance. Brinton in his review of an exposition in America in 1909, he states that: <blockquote>It is this racy and picturesque life which Zuloaga seeks above all else to place on record, and it is these popular types unspoiled by ruthless modernism which he pursues into the farthest corners of his native land. In this zealous quest of congenial models he hesitates at nothing. He will haunt for hours a fiesta on the outskirts of some provincial town, or hasten away to the mountains, passing months at a time with smugglers and muleteers, with the superstitious fanatics of Anso in the extreme north of Aragon or with the monkish cutthroats of [[Las Baluecas]], a little village on the southern boundary line of [[Salamanca]].<ref>Brinton 1916.</ref></blockquote> Gil says that the faces of the old folk he paints are <blockquote>severe, roughly mystical, beset by painful thoughts, shadowed by the remembrance of the glory they once were, they have sad souls, moaning under the weight of an ideal of centuries, they are not individual representations, but the synthesis of the sadness of the Spanish Soul.<ref>Padre M. Gil, ''En el Estudio de Zuloaga'' in Five Essays, page 98...."aquellos rostros de viejos y viejecitas, severos, rudamente místicos, preocupados por un pensamiento doloroso, ensombrecidos por el recuerdo de glorias que fueron, tienen el alma triste, gimen bajo el peso de un ideal de siglos, no son representaciones individuales, son la síntesis de la tristeza del alma española."</ref></blockquote> One of the American collections to feature Zuloaga's work is the Johns Hopkins University's Evergreen Museum & Library, Baltimore, Maryland. Officially owned by the Evergreen House Foundation, an independent entity started by Zuloaga's great friend, philanthropist Alice Warder Garrett (1877–1952), Evergreen's works include full-length portraits of Mrs. Garrett (1915; 1928); a seated portrait of Ambassador John Work Garrett (1872–1942); a Spanish landscape; a painting based on the opera ''Goyescas''; and a landscape of [[Calatayud]] (Spain). An [[Iberia (airline)|Iberia]] airline [[Airbus A340|Airbus A340-642]] aircraft, registration EC-IZY, is named after him. ==Zuloaga during and after the Spanish Civil War== Zuloaga was committed to the [[Nationalist faction (Spanish Civil War)|Nationalist faction]] during the [[Spanish Civil War]] and the [[Spanish State]] of the ''[[caudillo]]'' [[Francisco Franco|Franco]], whose portrait he painted in 1940. During the war, Zuloaga honored the defenders of the ''[[Siege of the Alcázar]]'' in 1936, when the building's Nationalist defenders refused to surrender despite the building being in flames. This siege, and other events such as the death of [[José Moscardó Ituarte|General Moscardo's]] son, served as a rallying cry for the Nationalist forces. In January 1939, this painting was hung in adjacent room displaying Picasso's modernist painting of [[Guernica (Picasso)|Guernica]] during an exhibition of Spanish art in London.<ref>Crosson, D. page 148.</ref> The nationalist content of his depiction of the Alcazar was allied to Zuloaga's celebration of folk traditions. Stylistically, the directness of the ''Siege'' painting also avoids modernity's challenge to realistic depictions: [[Fascism]] was not endeared to complex symbolism such as found in works such as ''Guernica''. In an April 1939 letter to his patron, Mrs Garret, Zuloaga stated:<blockquote>Thanks to God, and to Franco, at last the war is won and over! And over, despite the goodwill of those so-called democratic countries – what a farce, what shame, when those countries learn the truth of this drama! We all will work with all our strength to rebuild a new Spain (free, great and unified) to Spanishize Spain, and get rid of all outside influences, so that we can keep our great nature. That’s my dream in art. I hate fads (which are destructive to racial characteristics) One must (for good or bad) be oneself, and not ape the style of anyone else. I will dedicate the years that are left to me to that end. What shame there will be in the future, for those countries who inflicted crime, savage vandalism, which reigned within the soviet clan in Spain!<ref>Crosson, page 151.</ref></blockquote> He was later to claim that he was aghast, as a [[francophile]], when Hitler defeated France in 1940. After his death in 1945, he appeared on Spain's 500 peseta banknote emitted by [[Francoist Spain]] in its 1954 series, with a depiction of Toledo on the back.<ref>[https://web.archive.org/web/20100107040336/http://aes.iupui.edu/rwise/banknotes/spain/SpainP148-500Pesetas-1954-donated_f.jpg 500 peseta]</ref> Brinton in his 1909 essay was prescient of Zuloaga's future enamourment with [[Falangism]]: <blockquote>He personifies in extreme form the spirit of autocracy in art, the principle of absolutism so typical of his race and country. You will meet in these bold, affirmative canvases no hint of cowardice or compromise. The work is defiant, almost despotic. It does not strive to enlist sympathy nor does it fear to be frankly antipathetic...the tones not infrequently acidulous, and the surfaces sometimes hard and metallic. Reactionary if you will...<ref>Brinton 1909, page 30.</ref></blockquote> ==Gallery== <gallery heights=170 widths=180> File:Zuloaga MNCARS.jpg|''Don Plácido Zuloaga en su taller'' (1895), Madrid, [[Museo Nacional Centro de Arte Reina Sofía]] File:Zuloaga en MNCARS 2.jpg|''Torerillos de pueblo'' (1906), Madrid, [[Museo Nacional Centro de Arte Reina Sofía]] File:Las_brujas_de_San_Millán_-_Ignacio_Zuloaga_Zabaleta.jpg|''Las brujas de San Millán'' (1907) File:El violonchelista Juan de Azurmendi (Ignacio Zuloaga) 1909.jpg|''Juan de Azurmendi'' (1909) File:Ignacio Zuloaga - Gitanilla.jpg|''Gitanilla'' (after 1910) File:Ignacio Zuloaga y Zabaleta - Portrait of Anita Ramírez in Black - Google Art Project.jpg|''Portrait of Anita Ramírez in Black'' (ca. 1915), [[Brooklyn Museum]] </gallery> ==References== {{reflist}} == Further reading == * {{EB1911|wstitle=Zuloaga, Ignacio|volume=28|pages=1049–1050}} * {{Cite EB1922|title=Zuloaga, Ignacio|volume=32|page=1144|url=https://archive.org/details/encyclopdiabri32newyrich/page/1144/mode/1up?view=theater}} *{{cite book|last=Brinton |first=Christian|title= ''Exhibition of Paintings by Ignacio Zuloaga under the auspices of Mrs Philip M Lydig.'' Second Impression.|editor=Foreword by John S. Sargent, Introduction notes and Bibliography by Christian Brinton.|publisher= Redfield-Kendrick-Odell. Co|location=New York.|year=1916|url=https://archive.org/details/cu31924091208854}} *{{cite book|last=Brinton |first=Christian|title= ''Catalogue of paintings by Ignacio Zuloaga exhibited by the Hispanic society March 21 to April 11, 1909''|publisher=Hispanic Society of America. |location=New York.|year=1909|url=https://archive.org/details/catalogueofpaint00hisprich}} *{{cite book|last=Hispanic Society of America |title= ''Five essays on the art of Ignacio Zuloaga''; Miguel Utrillo, Arsène Alexandre, Gabriel Mourey, René Maizeroy, and the Reverend Father M. Gil.''|publisher=Hispanic Society of America. |location=New York.|year=1909|url=https://archive.org/details/fiveessaysonarto1909hisp}} * [http://drum.lib.umd.edu/bitstream/1903/9639/1/Crosson_umd_0117E_10689.pdf Thesis on Zuloaga by Dena Crosson (2009), University of Maryland.] *[https://web.archive.org/web/20060209052350/http://www.artcult.com/zulo.html Artcult.com Zuloaga article] *[http://www.britannica.com/eb/article-9105030 Britannica on-line] == External links == *[http://www.fundacionzuloaga.com Fundacion Zuloaga] {{Commons category}} * {{Internet Archive author |sname=Ignacio Zuloaga |sopt=t}} * [http://www.espaciozuloaga.com Ignacio Zuloaga Museum] (es, en, eu) {{Authority control (arts)|country=ES}} {{DEFAULTSORT:Zuloaga, Ignacio}} [[Category:1870 births]] [[Category:1945 deaths]] [[Category:People from Eibar]] [[Category:19th-century Spanish painters]] [[Category:19th-century Spanish male artists]] [[Category:Spanish male painters]] [[Category:20th-century Spanish painters]] [[Category:20th-century Spanish male artists]] [[Category:Basque painters]] [[Category:Falangists]] [[Category:Members of the Royal Academy of Belgium]] [[Category:People of Montmartre]] [[Category:Spanish portrait painters]]
Edit summary
(Briefly describe your changes)
By publishing changes, you agree to the
Terms of Use
, and you irrevocably agree to release your contribution under the
CC BY-SA 4.0 License
and the
GFDL
. You agree that a hyperlink or URL is sufficient attribution under the Creative Commons license.
Cancel
Editing help
(opens in new window)
Pages transcluded onto the current version of this page
(
help
)
:
Template:Authority control (arts)
(
edit
)
Template:Cite EB1922
(
edit
)
Template:Cite book
(
edit
)
Template:Commons category
(
edit
)
Template:EB1911
(
edit
)
Template:Family name hatnote
(
edit
)
Template:Infobox artist
(
edit
)
Template:Internet Archive author
(
edit
)
Template:Reflist
(
edit
)
Template:Sfn
(
edit
)
Template:Short description
(
edit
)
Template:Sister project
(
edit
)
Template:Spaced ndash
(
edit
)