Ignacio Zuloaga #ignaciozuloaga

Portrait of the Duchess of Arión, Marchioness of Bay (Retrato de la duquesa de Arión, marquesa de Bay) by Spanish artist Ignacio Zuloaga y Zabaleta places the slim, elongated figure of the duchess slightly left of center, strongly and distinctly outlined against both earth and sky. She pauses, tall and poised, half-turned towards us, close up, in the near foreground, much larger than real life, so that she seems to acquire mythic dimensions transforming her, for a moment, into a universal icon. The quiet dignity of her posture, the perfection of her exquisite oval face, and the opalescent skin-tones of her arms and shoulders are all marvelous. Zuloaga knew how to translate into paint the tactile reality of elegant fabrics and the way light acts upon them. He captures the golden metallic glint glancing off the stiff blue-green moiré of her gown. He recreates the sensuous drift of the black lace mantilla floating down from the peineta (a high Spanish comb), in contrast to the weighty softness of the traditional shawl (mantón de Manila). This is not only a faithful representation of the outward appearance of the Duchess, it also suggests something beneath that, some mystery that we are invited to explore. When we approach the royal beauty and meet her eyes, candidly returning our gaze, and when her lips, slightly parted in a smile, seem to be inviting us to join her on her walk, we find ourselves in front of an enigma. Where is she going? What is the meaning of the turbulent sky? Zuloaga was born in 1870 and passed away in 1945; meaning, he lived through the Spanish American War, two World Wars, the Russian Revolution, and the Spanish Civil War. Turbulence was the background to Spanish life then. His friends and admirers recognized his passionate devotion to Spain, and said of him that he not only painted Spain, he “painted in Spanish.”

“Retrato de la duquesa de Arión, marquesa de Bay” by Ignacio Zuloaga y Zabaleta (Spanish) - Oil on canvas / 1918 - Meadows Museum (Dallas, Texas) #WomenInArt #art #PortraitofaWoman #ArtText #artwork #portraitofalady #SpanishArtist #IgnacioZuloagayZabaleta #IgnacioZuloaga #Zuloaga #SMU #MeadowsMuseum

Ignacio Zuloaga 🎂🇪🇸👨🏻‍🎨
nace #26Julio 1870
Considerado el último gran maestro de la pintura española
Con su estilo único, retrató la "España Negra", capturando con maestría carencias sociales y económicas de su época 🖼 #FelizSábado
#IgnacioZuloaga #Pintura
#OtrebordmXCultura

Ignacio Zuloaga #ignaciozuloaga

'La Celestina' (1906)
de Ignacio Zuloaga

Tremendo impacto da novela cando a lín de mozo.

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#lacelestina

Painted in 1938, Spanish artist Ignacio Zuloaga y Zabaleta's striking portrait of Esther de Garay (neé Rodriguez Bauzá) perfectly combines the artist's Spanish roots and worldly sophistication with the elegance and finesse of his sitter. Zuloaga's love of bullfighting and sense of drama are evident in the sitter's brocade torero jacket, the fan she displays, and the sweeping curves of the sofa on which Esther de Garay reclines. Fashionable Paris, the artist's adopted home, is evoked in the powder blue silk gown, which reaches a marked level of refinement in Zuloaga's painterly hand. Esther de Garay y Garay was one of six daughters of Uruguyan industrialist Herminio Ramón Rodríguez Labandera y Fernández Llameria and his wife, collector and society hostess María Bauzá. Herminio and María had moved with their family to Spain in the 1920s, bringing with them an already burgeoning art collection. Despite the death of Herminio in the early 1930s, María installed herself with her children in the Palacio de Bermejillo, purchased from the Marquess of Bermejillo just before her husband died. In the succeeding years, María pursued her passion for amassing a vast number of works of art to furnish the impressive home in Paseo del Cisne. María kept an open house, the palace becoming a venue for informal events and tertulias particularly on Sundays when leading voices in the world of the Arts, Letters and Sciences gathered to present and exchange views on matters of the day. Raised in such a cultured milieu, when Esther married Fernando de Garay y Garay (1906-1966), Ignacio Zuloaga was an obvious choice to paint her portrait. Esther's pose, reclining with feet up on the sofa, was one that Zuloaga had come to favor, having developed it in Paris through his series of depictions of his favoured Paris model Marcelle Souty. As well as this painting, Zuloaga also completed a full-length portrait of Esther de Garay standing — on BSKY in a post of mine a few months ago.

Retrato de la Señora de Garay (neé Rodríguez Bauzá) by Ignacio Zuloaga (Spanish) - Oil on canvas / 1938 #womeninart #art #oilpainting #artwork #IgnacioZuloaga #Zuloaga #portraitofawoman #womensart #portraitofalady #fineart #spanishartist #spanishart #fashion #socialite #oiloncanvas #style #bskyart

Spanish artist Ignacio Zuloaga y Zabaleta divides the canvas into two planes. The legendary countess appears in the foreground looking up from reading while reclining on a divan, where she often greeted her guests that year for health reasons. In this allongée pose, strong lighting spotlights her presence, while her gown, made of pinkish and orangey chiffon and tulle, is highlighted by the color contrast with the green satin of the divan. Her bust is unabashedly pushed up and framed by her dark tresses, which along with her lips, her look and her Oriental features accentuate the expressive and intellectual sensuality of the countess, and with it her psychological depth. However, the physical seduction of her body is nullified by her loose gowns. The background, which is highlighted as a backdrop, refuses any aim at perspective with a cloudscape flanked by heavy curtains. Books arranged on a side table evoke the profession of the countess as a famous writer, along with a pearl necklace, a sign of passion, and a vase of roses, a symbol of love. This is a small symbolic compendium of the countess' artistic oeuvre while also representing the theme of the vanitas from the Spanish Baroque. Executed with extraordinary technical virtuosity, the work is aligned with the aesthetic ideals that the painter promoted during this period. "In a painting, I am not seeking atmosphere, distances, nor sun nor moon. I am seeking character, psychological penetration of a race, emotion, demonstration of a somewhat romantic vision... I want to paint from the heart and brain, but not from the eyes" (letter to Juan Pujol, February 8, 1912). After being displayed to resounding success in the United States in 1916 and 1917, the painting was acquired by the Spanish shipping magnate, Ramón de la Sota, after appearing in the 1st International Painting and Sculpture Exhibition of Bilbao in 1919. That same year, De la Sota donated the work to the recently-created Museum of Bilbao.

Retrato de la condesa Mathieu de Noailles by Ignacio Zuloaga (Spanish) - Oil on canvas / 1913 - Museo de Bellas Artes de Bilbao (Spain) #womeninart #art #IgnacioZuloaga #artwork #oilpainting #portraitofawoman #womensart #portrait #Zuloaga #SpanishArtist #fineart #beauty #MuseodeBellasArtesdeBilbao

Doña María del Rosario de Silva y Gurtubay, Duchess of Alba de Tormes, 9th Marchioness of San Vicente del Barco, GE (1900 – 1934) was a Spanish aristocrat and socialite. This beautiful portrait by Ignacio Zuloaga depicts her holding a fan and wearing a tiered bright cherry red Spanish mantilla and black sheer lace fabric over her head and shoulders while standing like a model gracefully against a landscape backdrop, evoking a sense of elegance, beauty, fashion, and quiet confidence. Her life was short, but fascinating as the only child and the single heiress of all the titles of her father, Alfonso de Silva, 16th Duke of Híjar, and of the fortune of her mother, María del Rosario de Gurtubay. She was married in London, on October 7, 1920, to Jacobo Fitz-James Stuart, 17th Duke of Alba. This painting was completed the following year when she was 21. In 1888, Spanish artist Ignacio Zuloaga y Zabaleta moved to Paris, settling in Montmartre, to find work and training as a painter the age of 18. After a 5 years in France and a brief stay in London, he returned to Spain to find success painting portraits of attired bullfighters and flamenco dancers; or portraits of family members and friends in such attire. Decades later, he was hand-picked to create this portrait of the duchess.

Retrato de Maria del Rosario de Silva y Gurtubay, duquesa de Alba by Ignacio Zuloaga y Zabaleta (Spanish) - Oil on canvas / 1921 - Palacio de Liria (Madrid, Spain) #womeninart #art #IgnacioZuloaga #oilpainting #artwork #portraitofawoman #portrait #spanishart #pintura #Zuloaga #spanishartist #fashion

A tall thin woman her dark hair held in place with a flower hairpiece stands with her left hand on her hip in vast green outdoor landscape of hills and trees as dark clouds form overhead. She wears an elegant red strapless body-hugging gown with 3 layers of ruffles below her thighs. With her right hand she slyly pulls her dress up slightly to display her left front foot extended forward in a high-heeled beige shoe.

Portrait of Doña Esther de Garay y Garay by Ignacio Zuloaga y Zabaleta (Spanish) - Oil on canvas / c. 1938 - San Diego (California) Museum of Art #painting #art #womeninart #portraitofalady #IgnacioZuloaga #spanishart #sandiegomuseumofart #balboapark #artoftheday #portrait #spanish