Среди работ Игнасио Сулоаги, представленных в Главном штабе, - "Карлик Грегорио" (1908 г.). Художник любил писать эту модель, был захвачен ею и говорил о Грегорио одновременно с восторгом и ужасом:
"А, мой бурдючник, этот необыкновенный и ужасный карлик Грегорио, с кривыми ногами и огромными руками, его мертвый глаз столько же мертвенно-бледный, столько же зловещий, как агонизирующее небо, нависшее над башнями Авилы!.. Впервые я столкнулся с ним как-то вечером в Сеговии, свернув с какой-то улицы... (...) Было очень нелегко побудить его сделаться моделью... Он сопротивлялся упорно, злобно, сварливо и согласился прийти ко мне в мастерскую лишь при условии, что никто не пересечет порога, пока он позирует... В течение пяти недель настоящего наваждения, сумасшедшего кошмара, когда у меня не было передышки, он был моим единственным компаньоном".
Х. Ортега-и-Гассет писал о картине: "Божественный и бессмертный карлик... ты представляешь жизненную силу народа за пределами культуры, вне культуры. А что находится за пределами культуры? Природа и стихийные силы".
Цит. по изданию: Испанская живопись XV – начала XX века. Л.Л. Каганэ., А.Г. Костеневич, СПб. 2008 - http://bit.ly/2oyXTGn
在主要總部代表的ignacio suloagi的作品中, 是"矮人 格雷戈 里奧" (1908年). 藝術家喜歡寫這個模型, 被她抓住, 並同時與喜悅和恐怖同時談論格雷戈里奧:
"啊, 我的burdûčnik, 這個非凡的, 可怕的矮人格雷戈里奧, 有彎曲的腿和巨大的手, 他的死眼和死亡的眼睛一樣蒼白, 如同痛苦的天空, 在阿維拉塔的上空!.. 我當時遇到他就像在塞戈維亞的晚上, 從街上拉出來... (...)很難鼓勵他成為一個模特... 他抵制了艱難, 憤怒, 脾氣暴躁, 並同意來, 我的車間只是條件是沒有人在他擺姿勢時沒有跨過門檻... 五個星期的真正痴迷, 瘋狂的噩夢, 當我沒有休息時, 他是我唯一的同伴".
十, 十, 十, 十, 奧爾特加和gossett寫道: "神聖 和 不朽的 矮人", 你代表了文化以外的人的生命力量, 超越了文化的範圍. 甚麼是文化之外的東西? 自然和自然力量".
Op. 年十二月日, 星期一, 上午時分, 在紐約總部舉行 2008-2008-2008-2008-2008
"啊, 我的burdûčnik, 這個非凡的, 可怕的矮人格雷戈里奧, 有彎曲的腿和巨大的手, 他的死眼和死亡的眼睛一樣蒼白, 如同痛苦的天空, 在阿維拉塔的上空!.. 我當時遇到他就像在塞戈維亞的晚上, 從街上拉出來... (...)很難鼓勵他成為一個模特... 他抵制了艱難, 憤怒, 脾氣暴躁, 並同意來, 我的車間只是條件是沒有人在他擺姿勢時沒有跨過門檻... 五個星期的真正痴迷, 瘋狂的噩夢, 當我沒有休息時, 他是我唯一的同伴".
十, 十, 十, 十, 奧爾特加和gossett寫道: "神聖 和 不朽的 矮人", 你代表了文化以外的人的生命力量, 超越了文化的範圍. 甚麼是文化之外的東西? 自然和自然力量".
Op. 年十二月日, 星期一, 上午時分, 在紐約總部舉行 2008-2008-2008-2008-2008
Among the works of Ignacio Suloaga, represented in the General Staff, is "Dwarf Gregorio" (1908). The artist loved to write this model, was captured by her and spoke of Gregorio at the same time with delight and horror:
"Ah, my wineskin, this extraordinary and terrible dwarf Gregorio, with crooked legs and huge hands, his dead eye is as deadly pale, as sinister as the agonizing sky hanging over the towers of Avila! .. For the first time I came across him as in the evening in Segovia, turning off some street ... (...) It was very difficult to induce him to become a model ... He resisted stubbornly, spitefully, grumpily and agreed to come to my workshop only on the condition that no one He will not cross the threshold while he is posing ... Within five weeks of this navazhde Ia, a crazy nightmare that I have not had a break, he was my only companion. "
H. Ortega y Gasset wrote about the painting: "The divine and immortal dwarf ... you represent the life force of the people outside of culture, outside culture." And what is beyond culture? Nature and elemental forces. "
Cit. on the edition: Spanish painting of the XV - the beginning of XX century. L.L.Kagane., A.G. Kostenevich, St. Petersburg. 2008 - http://bit.ly/2oyXTGn
Ignacio Zuloaga y Zabaleta (July 26, 1870 – October 31, 1945) was a Spanish painter, born in Eibar (Guipuzcoa), near the monastery of Loyola.
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[hide]Family[edit]
He was the son of metalworker and damascener Plácido Zuloaga and grandson of the organizer and director of the royal armoury (Don Eusebio) in Madrid. His uncle was Daniel Zuloaga.[1] His great-grandfather who was also the royal armourer was a friend and contemporary of Goya.[2]
Biography[edit]
In his youth, he drew and worked in the armourer's workshop of his father, Plácido.[3] 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.[4] His first painting was exhibited in Paris in 1890[5]
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 Francisco Durrio, Pablo de Uranga, and Santiago Rusiñol.[6]
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, Gauguin and Toulouse-Lautrec, 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 Velázquezand Murillo in their earthy colouring and genre themes. He painted portraits of attired bullfighters and flamencodancers; or portraits of family members and friends in such attire. He also painted village dwarves (El enano Gregorio el Botero,[7] 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.[8] 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 and his patrons felt slighted in 1900, when his painting of 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,[9]and displayed 34 canvases at the Barcelona International exposition of 1907.[10]
Among one of 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 Unamuno in his book on De Arte Pictorico as being honest representation of Spain: a Spain religious and tragic, a black Spain.[11] rooted in the particularly Spanish Catholic fascination with mutilating penance.
Brinton in his review of an exposition in America in 1909, he states that:
Gil says that the faces of the old folk he paints are
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 Airbus A340-642 aircraft, registration EC-IZY, is named after him.
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