E I G HT ESSAYS

O N JOAQ UIN SOR OLLA Y BAST I DA

B Y

AU E AN O DE E UE E R LI B R T ,

CAM E M AUC LAI R EN O C E O ILL , H RI R H F RT ,

E O N A D A M S E S A E U E C A L R WI LLI , LI B T H L T H R R Y ,

JA M ES G O N S U N EKE C S AN N O N I BB H R , H RI TI B RI T ,

AM K EA E E . S A WILLI B . T R W TH R F O L L OWE D B Y APPR EC IATI O N S O F T HE PRESS

Pr i n t ed o n t h e o c cas io n o f t h e E x hib l t i o n o f P a i n t i n g s by S e fi o r Soroll a at t he n v a n o f t h e H i s am c c e of Am er ca 1 6 t h S t reet i it tio p So i ty i , 5

Wes t of B a w a N ew r k e r a r a c 1 0 . ro d y , Yo City, F b u y 4 to M r h 9 , 9 9

VO LUM E II

T HE HISPANIC SOCI ETY O F AM E RIC A NEW Y O R K 1909 Co 1 0 b pyright , 9 9 , y T H E H I S PANIC S O CIETY OF AMERICA CONT E NTS

V OLU M E I

JOAQ U IN SOROLLA Y BASTID A Au relian o d e B er u ete

S A M . OROLL Y BASTIDA Camill e Mau cl ai r

UN ASTRE Q U I S E L EVE H en ri R och efort

T H E ART O F JOAQ U IN SOROLLA Leon ard Williams

SOROLLA Y BASTID A ! ONE OF T H E G REAT MODERN M ASTERS Elisab eth Lu th er Cary

SOROLLA Y BASTID A Jam es G ibb on s H u n eker

SOROLLA AT T HE H ISPANIC SOCI ETY Christian Bri n ton

V OLU M E I I

JOAQ U IN SOROLLA ! T H E M AN AND H I S WOR K

a kwea e Willi am E . B . S t r th r

APPRECI ATIONS O F T HE PRESS

C ATALOG UE

JOAQ UIN SOR O LLA T H E M AN AND HI S WO RK

A M E . S A K EA E B Y WILLI . B T R W TH R

JOAQ U IN SOR OLLA

T H E M AN AND HIS W O R K 1

t w o URING the past decades . Spanish art has

so t o- made advances great , that it day occupies am ong contemporary European sch ools o f painting

o o f a p siti n o proud preeminence . Fi fty years ago the essentially nati onal art o f Spain

m w - w see ed ell nigh extinct . Basing their ork upon

- ow the cold pseudo classicism o f David , there had gr n up in the peninsula a gro up o f men wh o quite domi n at ed Spanish art and w ho devoted their considerable

o talents to the painting o f huge historical illustrati ns . In the w o rk o f Frederico Madrazo and o f his innu merable w o pupils , h se ranks included such distin

u ished ] ] o g cra ftsmen as Casado de Alisa and R sales , w e but occasionally find traces o f that unw avering naturalism w hich has been the characteristic o f Span i sh art in its greatest epochs .

o - Fo rt u n w h i s o o f Nor did the c met like y . ith h rde

o o ow t o imitat rs and f ll ers , serve revive the historical

s esen at on o f i t s su ec n ot e o e n t ed has een Thi pr t i bj t . b f r pri , b e b b h e n n pr pared as a l ect u re t o e ill u str ated y t l a ter . O f w w school Spain . Endo ed ith amazing natural

Fo rt un t o o ow n o gi fts , y chose f rsake his c untry and the subjects of hi s country and gave us a series o f w m w o orks ore French than Spanish and hich , th ugh astounding in their technical achievement and glitter

n ot o o o f ing beauty , are free fr m the repr ach insin cerity and commercialism . From this chaos o f French influence there has re cen t ly emerged a gro up o f artists o f extrao rdinary

ow w ho o p er , , abs lutely Spanish in style , have revived the art o f their Fatherland and are fo rcing it t o that

o o m p siti n o f e inence w hich it held in past centuries .

o o o o Joaquin S r lla y Bastida , Ignaci Zul aga , Gonzalo

o o f Bilba , and Hernan Anglada are the leaders this movement .

The intensely national character o f his w o rk his

o o f extra rdinary technical attainments , the catholicity

o o f o his ch ice subject , and the v lume o f his output have given S orolla an undisputed positi on as the chie f o f o f this strong group vigorous painters . For ten years he has exerted a d om inating influence over

Spanish art .

’ S o rolla s t streng h is the strength o f the people .

o f on w Born humble parents in Valencia , the t enty

o f 1 86 o seventh February , 3 , he had the mis f rtune to l ose his parents during the great epidemic o f cholera

E10 ] Playa de V al en c i a

Playa de Val en c i a

Pl aya de V al en c i a

Pu erto de S an S ebas ti an

w t w o o that s ept the city years later . T gether w ith

w as o his in fant sister , he ad pted by his maternal aunt ,

o Don D na Isabel Bastida , and her husband , José

Pi ueres q , the latter by trade a locksmith . At school y oung Sor o lla took n o particular interest in his les

o f sons , but spent the greater part his time scribbling

on oo o . and sketching his sch l bo ks Finally . his uncle w ithdrew the boy from the class - room and placed him o w o o w o w fo r at the f rge , here S r lla rked a ay s ome time and laid the foundati on fo r that splendid physique w hich has served him so w ell in later y ears .

Sorolla soon began study at a draw ing- sch oo l fo r

w w . artisans , here he sho ed great ability Encouraged

o f w S eii or P i u eres by the natural aptitude his nephe , q perm itted him t o leave his w o rk at the fo rge f o reve r! and t o attend the local art sch ool kn ow n as the Real

o o Academia de San Carl s . Here the y uth became

o o f E st ru ch o the fav rite pupil , and had the g od for

t o o f o tune enlist the interest Sen r Garcia . a celebrated

o o w ho Valencian ph t grapher , assisted the struggling

o o artist fo r s ome years . Subsequently S r lla married

o Dofi a o . the daughter o f his patr n . Cl tilda

At seventeen S o ro lla made his fi rst trip t o Madrid

w t o — and exhibited a picture , a landscape , hich day he “ ” “ o n o t characterizes as Very bad . It c uld have ”

w o a y . on been rse , he savs l ughingl Led by that

[ 1 5 ] tremendous ambiti on and enthusiasm w hich are the

o f greatest characteristics the man , and amply backed b o m o o o w v his great b dily and ental f rce , S r lla at t enty years o f age undertook the painting o f a t w elve — f oot “ hi s m o canvas and gave us first i p rtant picture , The ” Second o f May . This picture depicts the desperate resistance o f the Madrid people t o the French in the Spanish \Var o f m w m Independence . It is a turgid , i mature ork , i ita

w o f o tive in many ays G ya ; theatrical in treatment , m and deficient in technical achieve ent . It is inter

ow o m esting , h ever , inasmuch as it f recasts so ething f o w hat the future art o f Sorolla w as t o be . The yo ung painter started the huge w o rk in a studio .

He f ound the result disapp ointingly unreal . Under the first promptings o f that tendency tow ard realism w w o w hich after ard became a passi n ith him , he scraped his canvas clean and set it up again in the

- open bull ring o f his native t ow n . Here in clear sun

w o o — o t o light , ith his m dels sm ke enshr uded give the lit f o f . rea v e fect battle , he painted the picture The w hich the canvas thus gained is its principal claim

1 8 o o to merit . In 84 he gained a sch larship fr m the

f o city o Valencia and w ent to Italy . Here he c pied

om fr the Italian masters and , under the influence o f

oo o the classical Roman sch l , painted his only religi us

[ I O] Pu erto de S an S ebas ti an

o f picture , The Burial the Saviour , a correct , but

w o cold and unrepresentative rk .

o t o w o A j urney Paris , ho ever , gave the y ung man opp o rtunity to study w orks o f Bastien - Lepage and

f m o o t w o o Menzel . A ng m dern painters these great

’ realists have been S orolla s chie f enthusiasms .

o During his first visit to the Metrop litan Museum ,

’ m f ew w a o w as - L e a e s ade a eeks g , it Bastien p g great “ ” w im picture , Joan o f Arc , that he looked for ith

oom w as patience in every r . It this picture that he studied w ith greatest interest . And in the exhibition

o m o f c ntemporary Ger an art , the pictures o f Menzel m oved him t o boyish enthusiasm . Returning to Italy he continued his w ork as a

copyist . Sorolla himsel f regards this Italian trip as

o effort spent in vain . He had not f und his definite w w w manner . Al ays determined , ho ever , al ays indus t r iou s w i n , he produced several large orks o f rather

o m . deter inate style With his return to Spain . Sor lla

w as oo su fell upon difficult years . He very p r and p ported himsel f largely by the sale o f w ater colors

o m e and illustrati ons . He has t ld that the first pic

o ture he ever s ld , a landscape , brought him seven

1 0 or pesetas , that is , $ 4 , and that he painted small p

w as trait heads at a d ollar apiece . He habitually reduced to such sh abbv Shi fts as painting on the

EZ I ] i o f on t h e o h coarse back o f his canvas , nstead sm ot er

so w o prepared side , that his picture uld have the

eff ect o f having the t ooth o f a heavier and m ore

expensive canvas than that w hich he co uld afford .

a 1 8 2 Fin lly , in 9 , he exhibited at Madrid his first “ ” representative picture , Otra Margarita . His suc

o o cess w as immediate . He f und himsel f at nce

among the front ranks o f Spanish masters . Brought

’ to o o n ow the W rld s Fair at Chicag , this canvas hangs

m o . in the Museu at St . L uis “ ” With Otra Margarita the career of the S o rolla

the w o rld kn ow s may be said t o have begun . He had

found himsel f .

’ S orolla s w ork has come as a surprise and revela

o o o f o r ti n t the American public . Fam us years in

o w w on o o w Eur pe , here he has every h n r ithin the

o f ow gi ft the French government , he had sh n but

little o f his w ork in this co untry and has been repre sented here but by a f ew scattered and rather early

am Now ex ples . , under the auspices o f the public

o o f w Spirited Hispanic S ciety America , hich has

o o o t o o u r o as br ught S r lla c untry its guest , he has

Show n us a represent ative collecti on o f his w o rk in a m o re splendid and harm oni ous setting than it has

ever before received .

Judged superficially , there might be a first tendency

E2 2 ] Pu er to de S an S ebas ti an

La n c a S an e as an Co h , S b ti

La n c a S an e as an Co h , S b ti

Pu erto de P asaj es

i n i w o o r s o st s . He thre aside traditi ns , compromises w o L as M en i n as ith traditi n , and in gave us a ren dering o f w hat he actually saw instead o f w hat he m w t o . kne be there The facts , the visual i pressions o f o o that c urt gr up , are presented to us exactly as they w ould have been reco rded on ou r eye had w e been there t o see and i f w e had h ad the keenness o f

o f eye t o discern . And as a result this insistent

o analysis , he arrived at giving us c rrect renderings o f the figures as they st oo d be fo re him in illuminated

f o f atmosphere , securing e fects unrivaled natural

for m o f ness , and the first ti e in the history painting , deriving tone and quality in a picture by a repre sen t at ion on m o based natural har ny , rather than by

o o f o o . o s me arbitrary toning pr cess the studi G ya , m h uch less limited in field t an Velazquez , extended the i mpressionism o f the earlier master t o suit his

n m i Ow tempera ent . And Sorolla has taken this p ct o rial impressi onism that is the heritage o f Spanish art and carried it ably on w ith the brilliant and extended

o f t o- range o f the palette day .

His w ork has so far been marked by fo ur distinct

i n . S e ov a s o w o manners The g , the ldest rk in the

o o oo e Hispanic S ciety exhibiti n , is a g d xample o f his first manner . Here the subject is m o re definitely

w o o o arranged than in his later rk , the c l r is darker ,

E28 ] Playa de V al en c i a

Pl aya de V al en c ia

Pl aya de al en ci a

Playa de V al en c i a

o the technic less spontane us . In the figure o f the old o w man rising fr m his chair , of the girl ith t w w w her head turned o ard the indo , there is some hint of a blind search tow ard those qualities o f transience and accident w hich so definitely mark w his later ork .

In his second manner w e find a much less delib crate arrangement , a much truer understanding o f illumination and submergence o f figures in atmos

here w w t o p , hile his brush ork has begun assume

n ow that surety and finality that distinguish it . Hi s third manner is most clearly show n in his great

5 , picture Beaching the Boats . The elemental nature w o f this scene , the struggle o f man and beast ith the

o w w f rces o f ind and ater , have given Sorolla perhaps his greatest opportunity . One o f his earliest large

o f w canvases th is scene , painted hen a little past

w as o for thirty , b ught the Luxembourg by the French government . Now in the fullness o f his middle years he has given us a final colossal treatment o f this w subject , a masterpiece o f painting and dra ing that

o o w w has ccupied places o f h nor hen Sho n at London ,

New . Paris , Madrid , Berlin , and York Here his rendering o f sunlight has reached a point of luminous

o w splendor and beauty bey nd hich he h imsel f , nor

o . any other man indeed , has ever g ne The cra fts

E3 3 ] manship o f the picture is masterly . The tremendous

’ o f vigor , abundance , and fine sanity the man s art

find in this canvas one of its greatest expressions .

’ S orolla s w ork is characterized by extrao rdinary w excellence in three great qualities , dra ing, paint

w - o ing, and color . It is ell nigh imp ssible to overstate the triumph of his technic . w m His dra ing, at all times adequate , has beco e w o nderful in its simplicity and directness , in its grasp o f essentials , its searching characterization .

There is no problem o f moving figure , o f scintillant

f f . w sea , that o fers him di ficulty He has said o f dra “ o ing, The older I become , the m re I realize that draw ing is the m ost important o f all the problems o f

- picture making . Whether you use three thousand strokes , or ten strokes , in the painting o f a shoul im der , counts for nothing . What is really o f portance i s that the shoulder be s olid and w ell constructed .

w w — im As a matter o f fact , ho ever , it is ell nigh

o w p ssible to separate his dra ing from his painting . w F w . ew His dra ing is painting, his painting dra ing w ould quarrel w ith the statement that he know s bet ter than any other living man how to apply pigment

. o o f to canvas The surety, the brilliancy , the s lidity

w o ou r m . his rk , are unsurpassed in ti e And his tech

[ 34 ]

Pl ay a de V al en c ia

Pl a ya d e V al en ci a mic ow is majestic in its p er and dignity . It never

’ descends to firew orks for firew o rks sake ! his hand w is al ays the servant , never the master 4

o In his f urth manner , illustrated by his picture

o entitled C untry People o f Leon , the search for reality has been carried so far that there remains no

o trace o f deliberated compositi n . This huge w ork has been taken from li fe with the same lack o f pre vions plan w ith which another artist would toss off

— m ex raor a thumb nail sketch . Sum oning all his t di n ar has y equipment as a painter , Sorolla made a furious assault on the canvas in the efifort to approx i mate as nearly as possible the effect of a picture painted in a m oment to represent w hat he had seen in a moment O f the kaleidoscopic gro up before him .

Fo r sim lifi ca The canvas is a marvel o f virtuosity . p

o f tion for certainty technic , for speed , it stands unequaled . “ The great difficulty w ith large canvases is that ” i they should by right be pa nted as fast as a sketch ,

Sorolla has said . By speed only can you gain an appearance o f fleeting effect . But to paint a three y ard canvas w ith the same despatch as one of ten ” — o inches is w ell nigh impossible . It is these the ries that have fo und expression in this latest phase o f his extraordinary art . But the canvas is tw enty years ahead O f its time f “ w Sorolla has said o it . I fear that people ill hardly like or understand it . “ w t o ou T ice in your li fe , he has said me , y might , w through happy accident , arrive at painting a nose ith

o a Single stroke o f the brush . Things w ell d ne and

o f arrived at w ith this simplicity are marvel us in e fect . But it w ould be the maddest folly to go all your li fe

o w o thereafter trying to paint n ses ith but one str ke , for it w ould be mani festly imp ossible to sustain your

at o f sel f a height the reaching w hich is accidental . When an artist begins to count strokes instead o f

o w regarding nature he is lost . This pre ccupation ith t echnic , at the expense o f truth and sincerity . is the principal fault I find in much o f the w ork o f ” o m dern painters .

In color for outdoor w ork Sor olla has swept his palette clear o f all earthy or opaque col ors such as m “ are generally e ployed in depicting shadow s . The ” “ old chie f glory o f the masters , he has said , is their w dra ing and characterizati on . I find their color for

o the most part purely conventi nal . The chocolate brow n shad ow s w hich they painted on the side o f a m face , for exa ple , do not exist . With all its ex m cesses , the modern impressionistic ovement has

o given us one disc very , the color violet . It is the

E4 0 ] Pl aya de Val en c ia

Pl ay a de Val en c ia

only discovery o f importance in the art w orld si nce ” Velazquez .

It is mani festly impossible , through lack o f per

’ s ect i v e o w p , for a painter s c ntemporaries to j udge hat place he w ill hold in future years am ong the great

figures o f art . But i f the name o f Sorolla be finally w included among those o f the immortals , it ill be due “ to his rendering o f sunlight . It is impossible really to

o paint sunlight , he has said , one can only appr ximate ” it . But in many o f his canvases he has certainly

n come near to per forming the impossible . It seems i

i n credible approaching some o f these paintings , that these effects are obtained w ith ordinary paint only

One searches for some trick o f reflection , o f luster

o f paint , concealed mirror , in these radiant canvases

f o f o sea . sparkling , o f shining sail As a master sunlight he ranks absolutely alone .

The art o f Sorolla is an art o f joy , o f sunshine , o f splendid youth . He does not consider for a moment failure or distress , old age or death . It is an art w w some hat savage , some hat pagan ; but it is an art beauti fully vigorous , admirably robust . In a time w hen art is so concerned w ith the elabora tion o f the minor and the mournful , his frank opti w mism , his healthy delight in living , as sho n in these pictures , is a re freshing note . [ 4 5 ] Sorolla as a man is inde fatigable . There is noth

T o ing he cares about save his family and his art . H these t w o objects he has dev oted his entire li fe . e

o o goes int society as little as p ssible , and , in the past

o f ew thirty years , there have been c mparatively days ,

w h as w six save Sundays , hen he not orked to nine

o ex hi hours . His output has been en rmous . At his bit i on w in Paris , three years ago , he sho ed five hun

o o t w o dred pictures , last year at L nd n , hundred and

- t oo hi . s seventy eight Some idea , , may be gained o f output w hen w e remember that comparatively few of the 3 56 ) canvases he is n ow exhibiting at the His

o ar panic Society are more than f ur or five ve s old .

w t o t Certainly, his ork has never been seen be ter advantage than in the beauti ful building o f the His panic Society . And the unusual constructi on o f the w building, ith the decorative lines o f the arches o f

i o its patio , have given the exhibition a sett ng and t ne entirely distinct fr om that w hich it could have gained

o in a more conventi nal gallery .

’ S orolla s range o f interest is very great . From

ow sunlit sea , he has turned to sunlit garden ; has Sh n us Opulent Spain in her happiest m oods ; has painted w ith delight w hatever has caught his fancy “ w ith its f a o . d sh li fe , its light , its picturesqueness And the

’ o o f m e great c ntrasts the an s art , his almost incr dible

[ 46 ] Pl a ya de Val en ci a

de S an An n av ea C abo to io , J

Gali c i a

Cos i en do l a v el a

he has given us a portrait o f distincti on o f Princess

o o f Henry o f Battenberg . m ther the Queen o f Spain . It is true o f all artists that their best po rtraits are

f ow n never o ficial portraits , but those made o f their families . Painting in a tranquil and familiar atmos here o ow o t o p th se he kn s and l ves best , there is apt be a quality o f ease and psychol ogical understanding in these p ortraits not so generally found in portraits

o w painted t order . It ould be particularly fitting in the considering o f these delight ful and intimate

o w family portraits o f Sorolla , to c mmence ith that o f - i n - law o w ho his father , Sen r Garcia , gave him generous backing during his early years . He is one o f the kindliest and simplest of men . Senora Garcia and her granddaughter Maria have offered the theme for a quiet and w ell characterized p o rtrait that recalls in its telling s omething o f the col o r and manner of

Velazquez .

’ S orolla s style as a po rtrait - painter has been marked by four manners as w ell as has the style o f

o o his general w rk . These are seen clearly in f ur

hi s portraits o f Seno ra de Sorolla . In first style he

o ow w o w distinctly f ll ed Velazquez , h se ork he copied

t o o as a young m an . It is interesting n te in this con n ect ion that S o rolla does not n ow advise students to f “ copy from this great master o Spanish art . Go to

[ 52 ]

him and study , reverence him , but do not copy him , “ w he says . It ould be o f more value to you to put up a basket o f oranges and paint them than to repeat

’ M mn e as . In his second manner Sorolla has become more robust , more personal . An example o f this manner is the portrait o f Senora de Sorolla standing beside a red chair . This grace ful portrait he considers one o f o his best w orks . The bscure and conventional brow n background that marked his earlier portraits has disappeared and there is more o f a tendency to cool gray and black .

This tendency w e find still more marked in his w latest portrait done indoors , sho ing Senora de w w Sorolla earing the Spanish mantilla , a very po er

i n ful w ork o f fine quality . All trace o f Velazquez

fl uen ce w has disappeared ; there is , ho ever , quite a hint o f Goya in the furious painting and the rich blacks . His fourth manner in portrait - painting is on e o f the very recent developments o f his art and i s some

n e i n thing entirely w portraiture . This class includes his portraits in sunlight . No sacrifices are made for the head , as is so generally done in the usual portrait .

‘ S ei i ora w e In a portrait o f de Sorolla at La Granja ,

o f have both a charming picture a lady by a fountain , and a remarkable character study as w ell . [ 5 7 ] In this class may be included a fine w ork o f h is daughter Maria , also painted at La Granj a . It is something o f a j oke in the S o rolla family to say that it is Maria w ho supports the family . Her father has

hi s painted daughter innumerable times , and her por traits have an exceedingly ready sale . From the w alls o f a hundred public and private museums por

o f w w ' traits Maria look do n , as ell as do representa

o f w tions his youngest daughter , Elena , sho n in the ” o o dainty Kiss picture . The Sor lla girls c nsider it little short o f scandalous i f a w o rk painted by their father is not sold in three years , and I have heard them j oke their brother because pictures painted in

‘ cen ter o f o w hich he is the interest do not sell s w ell . Possibly the m ost striking o f the portraits in sun light o f this painter is that o f Al fonso ! III in the uni form o f the hussars . The King stands in the garden

o f Gran . su n La j a The glitter o f , the sparkle of light on gilded military ornaments have given the painter opportunity for remarkably picturesque effect . The Duke of Alva is one o f the last o f a long series of the distinguished sitters wh o have come

’ r lla under S o o s brush . It is one o f the most satis factory and most strongly characterized portraits he

o f has given us the Spanish nobility .

o Fidal Mon O f the Don Alejandr y , statesman E58 ]

and man o f letters , Sorolla has painted an excellent w head . It is interesting as an example o f hat the

o f t w o painter can do in a single session hours , the entire picture having been finished in that time . The w ork is marked by the same thought ful qualities as those w hich characterize a subtle rendering o f Don

on Aureliano de Beruete , the Spanish authority Velaz quez . In contrast to these men might be show n most

fi ti n l w t g y a portrait o f Blasco Ibanez . With hat Skill the painter has changed his technic from the suave ,

fine manner o f the Beruete portrait , to the brusque ,

so brutal , trenchant style that aids greatly in giving proper character to the burly masculine figure o f the “ author o f Blood and Sand . In sharp co ntrast again is the nervous sketch o f

- w w o . Franzen , the ell kno n Spanish ph tographer And n ow let us in imagination make a journey together to Valencia and try to gain some glimpse o f

o w as Sor lla painting . It at Valencia that Sorolla w as o born , it is here he is most th roughly at home , it is here that he has done his greatest w ork . Sorolla i s o f sun o o a child the , a m dern Zor astrian , and the sun he loves best is the burnished orb of Spain ’ s midsummer .

w o say It uld be then an August night , , at eight

[ 6 3 ] ’ o w w e fo r o cl ck , hen board the express Valencia in the

o Estacion del Medi odia . The train slips thr ugh the

o Spanish tw ilight into velvet night . Past m urning

Aranj uez w e go ; the stations become more rare and

o No o w e deserted as w e plunge al ng . l nger hear the ” w reedy cry o f the child selling ater , Agua fresca l “ - w w a ! or the long dra n ail , Almohadas para vi j eros

w w e ( Pillow s for travelers ) . In the first da n tumble out o f the carriage at Albacete to buy a clasp kni fe , the stock product o f the tow n . The sun soars up

w e . w e mercilessly as go on As pass Jativa , the early morning is already stifling and w e decide crossly

w e w w that dislike the to n ith its dusty palms , blazing w alls , and hedges o f adel fas . At last the train pulls along by the big red bull - ring o f Valencia and lands

on e us in the Estacion del Norte , o f the ugliest

w o rail ay terminals o f Eur pe .

o oo Bef re the d r , arid and uninviting, lies the Plaza

o it s de San Francisc , relieved at further end by a

You t o mass o f tropical trees . have but pass this w o o hen , suddenly , you find y ursel f in one o f the m st m oving and picturesque tow ns o f Spain . The peculiar sparkle and brilliancy o f the place under its glorious sun o f o f , the clearness its atmosphere , the radiance i t s v erv ow o shad s , these seem to f rm the peculiar

’ - f key n ote o f Valencia and o Valencia s beach . There E6 4 ]

w w is plenty o f glare in the city , but s inging a nings , sw aying shadow s of palms speak o f the nearness o f

o the sea . There is nothing ppressive in the illumina

o o w w ti n , as there is at Burg s . here the dying to n

ow su n . lies like a sick lizard , breathless in the yell And there is nothing o f the pitiless illumination w o f Toledo here that shadeless city sits gaunt , blinded and exposed on its huge red cli ff . In passing through the t ow n you may possibly catch a glimpse

- o f its great cathedral , o f the picturesque market place dominated by the Lonj a de la Seda , and , indeed , i f

ou w see y atch Sharply , may even the Calle del Pintor

Sorolla , an important street named by a grate ful municipality a fter its illustrious son .

o o Valencia lies three miles fr m its p rt . For thirty centimes a very modern electric tram carries the trav

B e eler across the curious old Puente de Serranos . low sun - w o , the river Turia , d indled , sulks al ng, a

w o \Ve mere rivulet o f heavy ater in its br ad bed . pass a dusty t rOpic garden and enter the long Camino

o w lan t an s T o del Gra ith its bordering p . the right w e pass a handsome garden belonging to Senor

’ S orolla s — in - law w Garcia , father , here the painter has done some o f his delight ful orange studies ; t o the le ft w e o hear the resonant din o f an occasi nal foundry ,

o o f o w gain s me glimpse a c ttage embo ered in adel fas .

E69 ] All this co untry has been reflected in the magic mirror

’ o f S orolla s art w ith the extra ordinary sincerity and visi on that characterize the man . No aspect o f the o so ow t o c untry has been mean , so l ly , as leave him w o . w c ld I ell remember my amazement hen , as a

o oo green art student , trained in c nventional sch ls , I took mv first w alk w ith h im through the coun t rv and saw him stop entranced before a pile o f manure cov ~

w w w o o ered ith stra litter , the h le a sparkle in m rning

“ ! o o m ! light . Stupend us , c lossal agnificent he said w o m o t o ! ith cust mary enthusias . I am g ing paint it “ I am going t o paint it sh ould be the crest o f S o rolla . f ’ It is a succinct expressi on o the man s w h ole s oul .

ow o w o The streets gr narr and dirty , teams l aded w o w . ith merchandise drag sl ly by , their drivers asleep

A turn in the ro ad and w e are in the port itsel f . This

f f - o f ri fra f o f tramp steamers , this hurly burly the

o o o f quay , S r lla has caught in many his pictures , and he has dev oted many other canvases t o the motley array O f fi shin g- boats that find re fuge in the inner

o harb r .

T o o o f o t o the n rth the p rt , the train brings you “ Las Arenas ( The a fashi onable bath ing

a m o oo - w e on est blish ent . Acr ss a f t bridge , and are ~ ’ w S o rolla s . o the borderland o f beach N rth ard , along

o o the c ast , staggers a slipsh d fishing village called El

[ 70 ]

the w ay peculiar to Valencian folk . Several yoke o f

’ o xen are driven into the sea and hitched t o the boat s

ow pr . Ways are laid under the keel , and then the vessel is dragged in through the surf t o the sand .

fi sh i n - o on The g b at once the sand , the fishing people sw arm about to see the catch ; the children who

o have been bathing nearby cr w d around . It is a

o f moment o f chatter and bargaining, screaming and

o f abafi al o laughter . The beach C is no place for th se

sk . w ith w eak eyes . The sun is not only in the y It

w et o blazes at us from the side o f a b at , gleams on

- on the silken head dress o f j osepha Maria , glints the

wet fish she is selling, reflects from the back o f her

w w . bathing child , is thro n back by the curve of a ave

w w w o The hole scene is radiant ith light , ith y uth ,

o o f w ith the j y living . “ ” on e Alegria del Agua , Sorolla has called o f his

w O f pictures . It sho s a romping mob children racing “ ” “ a w into the se . Alegria del Agua ith Alegria del ” Sol might be taken for a descripti on o f Cabafi al

’ beach and for a description o f S orolla s art as an

outdoor painter . What dexterous use he has made of all the pi ct ur esque material the beach Offers ! Some o f the little girls he has painted in their w ind — bl ow n bathing gar ments have the charm o f the delight ful figures o f [ 76 ] Ad elfas

Pl aya de Val en ci a

La n c a S an e as an Co h , S b ti

ow Tanagra . The nude little savages he has Sh n dis porting themselves in the w aves furnish a rare oppo r t un it w w y to study his onder ful dra ing , the amazing surety and s implicity o f his technic . In the glitter and gorgeousness o f the Valencia

’ n beach there is o e sad note . At five O clock in the a fternoon may be seen co ming through a country road a group o f boys dressed in the drab o f an or

han a e t w o . p g , and guided by Franciscans They are the offcast children o f w retched parents . Most o f them are crippled , some o f them bear the stigmata o f idiocy, many are totally blind . As the melancholy o ow bo c rtege reaches the beach , h ever , y nature asserts itsel f against physical limitations . There is a thin cry

w o o f j oy , and the hole pathetic , gr tesque company h rush for the w ater w ith w at Speed they can make . The moment o f the bath S orolla has taken for his “ w w on fo r picture Triste Herencia , hich him the “ a grand prize in Paris and Madrid . It is the only s d ff picture I ever painted , he says o f it . I su ered ” greatly . I shall never do another .

’ Nine o clock finds Sorolla at w ork upon the beach .

’ w w his He orks standing , at the ater s edge , models

o w o f o ften be f re him in the ash the sea . The Medi w terranean , practically tideless , permits one to ork by

o w o its side all the m rning ithout m ving . Back o f

[ 8 1 ] Sorolla is generally arranged a huge piece o f canvas stretched on p oles and painted black t o avoid refl ec

o on w a ti ns the picture , and placed in such a y as to screen him from the unduly curi ous . At his feet sits

on e o f o o Pepe , the m st intelligent , and m st certainly the laziest fisherman in Spai n . During the summer ,

o o on Pepe serves S r lla , carries his canvases his head , f m or . cleans palettes , searches models At ti es Pepe

o w is himsel f a m del , and as Pepe has a idely assorted

O f ow n w ho o lot o f children his , Often p se , he makes a

o very good thing o f his summer . Pepe is a phil s

As Opher . he lies in the shade and w atches the

w o m o n o painter ork , he c m ents li fe , pr pounding the

o o o f o f the ry that nly Six years li fe are value , the “ o o on e t o S i x o years fr m six t o tw elve . Fr m y u are ” “

o n ot o . o t o a baby , he says , li fe d es c unt Fr m six

w . w t elve li fe is all gold At t elve all j oy is ended ,

w o o o u . you must rk , y have resp nsibility And , sigh

o o f o ing heavily , he lights an ther cigarette ab minable tobacco , and rolls back further into the shade .

w o w o sun One nders hich is m re pitiless , the above , or f o the furnace o the sands beneath . A w ind fr m

sea o o o the brings no c m f rt , and , indeed , nly prevents

keeping up a sun umbrella . All day long , and every

o o m on day in the summer , S r lla paints cal ly in the su n o 1 1 0 . , i n a heat that ften reaches in the shade

E82 ]

It is a trial by fire fo r any northern born student w ho tries t o keep up the tremend ous pace . Sometimes at

’ o o five O cl ck , after six and a hal f h urs o f this paint

o ing , Sorolla begins an ther study by the sea , and

o f o w — fi v e paints until sunset . He has d ne this r t enty

o o f w o f years . Can this explain s me the onder

“ 3 ” “ his technic ! Have you w orked Have you

! ” w o rked is the insistent question he is constantl y

t o putting a student , even though long since he has learned that the student leaves no h our uno ccupied . It is a m ost interesting thing t o see Sorolla paint

w o o f w ing . I ill tell y u a little incident his ork

o f . typical the man Once , a fter a tremendous day ,

’ o o o o an at five cl ck in the afternoon , S r lla began on

o f a other study a little girl entering the se . To make his picture less a figure study , he decided to put three

T o little children in the sea . w little girls and a bov w w a aded into the ater h nd in hand , laughing , mak

n o ff t o T h w i n . ev ing particular e ort stand still ere ,

w w o deed , ashed here and there by the aves . Sor lla

w et o o f painted the three figures , gleaming in the g ld

. w as the setting sun , in fi fteen minutes It a marvelous w w display o f master painting . At t ilight I ent dow n the beach to put my painting things in a shack for the

o f night . In the darkness the place I heard groaning .

t o w oo Stretched at full leng h , face d n on the dirt fl r ,

[ 87 ] w as o f o l w ho w a Spanish student S rol a , had been ith

m o w m e o . but a sh rt ti e be f re , atch ing the painter

o o w as o I th ught he had a sunstr ke , and seri usly

alarmed .

S o ow uddenly , the y ung fell turned on me fiercely ” o o o ! Did you see S r lla paint th se children he cried . “ ” Yes . Do you ever think you can learn to paint like that ! ”

w w f or w And then , ithout aiting a reply, he ba led

’ ’ ’ o ! w You can t , I can t , n body else can He don t kno ” ho l himsel f w he paints . He just paints as a cow eats

’ A superficial study o f S orolla s painting m ight

a lead one to think Francisco w as right . He paints p

aren tl w w or p y ithout any orry preoccupation , very , “ t w . o n o very fast , and ith tremendous surety I c uld ” w “ paint at all i f I had to paint slo ly , he says . Every f so . e fect is transient , it must be rapidly painted He grasps in a f ew searching strokes an accidental move

w . m ent , a fleeting expression , a retreating ave There

t o . seems be no mistake , no undoing His picture

t o o o o f builds steadily completi n . M st his pictures

o o are painted in from f ur to Six m rnings , many in

or t o o o one w . He d es not arrange in his mind be f re he starts w hat sort o f a picture he is to get . One o f

’ “ o o f w o his most comm n criticisms a pupil s rk is , This [ 88 ] Playa de Val en c i a

looks fixed up , as i f you had an idea be fore you

o started o f w hat you w ould make o f the scene . G to

You n ot ow nature w ith no parti pris . should kn w hat your picture is to look like until it is d one . “ i s o Just see the picture that coming , he says ften o f his canvases , as they are being built up , exactly as

o o w w a ph t grapher , in developing a plate , atches ith suspense emerge on the film the scene he photo graphed . His big pictures are painted in almost the

w a . o o o same y There is no elab rate c mp sition sketch . A German firm o nce w rote w ith a View t o buying the ” o f riginal Sketch or the picture Beaching the B oats . “ ”

w as o . There n ne , he replied His big pictures are w orked directly from nature in a shack built by the sea . Francisco w as w rong in thinking that S o r olla does n o o h o o f t kn w w he paints . The ease and brilliancy his w o rk blinds us at first view to all evidences o f l ong

O f and thought ful training . Al w ays back his paint ing is that tw enty - fi v e years in w hich he has painted

o . and sm ked a great deal , eaten and slept a little

o o m Than this Sorolla does n thing . In the devel p ent

w o o f his rk , everything has been studied , everything

w o has been atched , all false paths av ided , every dan “ o ger met . A student said to S rolla , I have arrived w w w fairly ell in dra ing , fairly ell in the technic o f

[ 9 3 ] f o r w painting , but in the regard dra ing and painting w w o o ffi oo hen rking fr m nature , I find it di cult to l k ” fo r out fine quality . ! Ah That is the last thing one arrives at , said “ o o S r lla . Then he tapped his forehead . It is here you do it he said .

o o f One hundred miles s uth Valencia , a little used narrow - gage rail w ay brings us through an opulent country t o a Shack o f a rail w ay - stati on know n as

o ou Vergel . The nly train that brings y th ere in the

ex a t l oo o day arrives c v at n n . Fr m the station there is n othing t o see save a miserable f onda acro ss the w ay and a blazing white ro ad that stretches aw av in r o adiant sunlight acr ss the treeless plain . That tw elve - mile ride in the tumble - dow n Vergel diligence

o is not a tempting pr spect , but it is the Opening o f the

oo w d r o f Javea , a hidden Paradise here Sorolla has

o f o o o done a great part h is utdo r w rk .

w o . Those t elve miles are very , very l ng The dust pow ders you as w hite as it has silvered the vineyard

ho by the w ayside . The fat lady w has come w ith her maid to spend t w o w eeks in the country w ith her

m o w fa ily , cries , Dios , que cal r , and s ears by all the saints that the climate is changing and that the sum h mers are surely w armer than when s e w as a girl .

Her servant pulls cl ose the curtains o f the crazy vehi

E94 ]

As turi as

Versall es

A w alk thr ough the tow n w ill take y ou past s ome

w o . o f the great raisin areh uses Inside , in the semi

oom o f w om mi f or gl , hundreds en are stem ng raisins

w o m t o . ship ent England As they rk , they sing in h on or o f the Virgin a dragging canticle that ech oes through the ancient arches o f the place and out into the still aftern oon air .

Li fe is in every w ay most pri mitive and living is

o very cheap . A furnished h use near the quay may be

fo r w rented eleven cents a day , but be are , unless you bring an establishment o f servants w ith you from

t o . Madrid , you may find little eat There is no ice ,

m o and little meat . Butter is a essy mass br ught in a

w o r m tin from S itzerland , even Den ark , and served day after day in the same tin until it becomes a rancid offense . Inquiry elicits a fabled report that a certain very rich man actually has s ome cow s on a farm far

w o o a ay , but that their milk is preci us bey nd selling , and is sent only as a gi ft o f great price to those far

’

o . An gone in sickness . G ats milk only may be had t oni o drives the goats t o your place and milks them

o j ust be f re your break fast , and the milk is drunk w “ arm be fore it sp o ils w ith the heat . My milk is ’ ” w better than Vicente s , says the goatherd . I kno ” o i s best the places in the m untain w here there grass . This he says w ith the air o f a botanist ann ouncing

[ 1 00 ] Pl aya de V al en c i a

Pl aya de Val en c i a

o the secret o f a bed of rarest orchids . Meat is c vered

w w w . thick ith salt , and hung in a tin pail do n a ell A hapless artist w ho w ould perforce live near the

m w o f sea , ust thro himsel f on the mercy Paquita , w ho may or may n ot be w illing to cook for him in the

i thout . \V back room o f her grocery butter , every

o r o w thing is fried b iled ith olive oil . The cooking

out w is done o f doors over a tiny fire o f t igs . The

so o fish is delight ful , are the mel ns , but strange ,

w o f w o ou cra ly things the sea are served , h se like y have o nly be fore seen in alco hol bottles in zoological

on o o museums . Occasionally , pening a s up tureen , you find fl oating on the sur face o f the oil soup a good

o Sized fish , b iled , head and all . Its Single visible eye stares at you glassily , and you replace the cover o f the dish and turn to find w hat further adventure din ner may bring you . f Javea is the ideal place or a painter . There are no

w n o . ne spapers , letters , no engagements One paints

w . w from da n to dusk It is the huge , ta ny rocks of the place under the pitiless and searching illumination o f the sun o f Alicante that supply the characteristic w paintable n ote o f the place . Here Sorolla has sho n us w onder ful studies o f the children o f the port at

o f play , as in the remarkable study the boy hunting mussels . These happy little savages play about all

[ 105 ] day in a freed o m undisturbed by problems o f primary “ w New o education . Is there a river bet een Y rk ” ! - - and England asked a sixteen year old girl , at “ o r o o o Javea , is Lond n separated fr m England nly ” by mo untains ! It w as in the limpid w aters o f this port that S o rolla undertook the s oluti on o f a problem o f the sw irl o f sun - pierced w ater about a human m figure . O f this subject he made several preli inary

o oo w studies , and then in f ur a ftern ns o f brisk ork pro

o o d uced his large canvas . The c mpositi n for this picture w as scraw led on the side of his house in charcoal w hile servants w ere busy stretching the big

— w as w . canvas for the ork The picture painted , o f course, directly from nature , the stretcher being tied w ith ropes to some posts w hich had been arranged temporarily on a ledge o f rock , first chiseled smooth for the purpose . Six urchins served in relays as

w m o models , three s i ming round and r und for the w w painter , hile three rested and armed themselves in the sun . O f his ow n family bathing among the rocks o f Javea he has show n us some delight ful pic

tures , that reflect all the gaiety , radiant happiness , and

i intimacy o f the scene . Plung ng about in the sw ing w w ing sea and clear aters o f these secret glens , ith the laughter o f the Sorolla children echoing back

o o t o fr m the r cks about , it seems impossible believe

[ 1 06 ]

Pu er to de V al en c i a

Pl aya de V al en c i a

w ow h is he al ays depicts his children , he sh s us house h old on an a ftern oon w alk upon the cli ffs near the

o . w lighth use The ork has all the idle accident , the

o m in f r ality, the ease and intimacy o f the scene itsel f .

A lady amusing hersel f w ith amateur ph otography has supplied him w ith a brilliant opportunity for sun

w as light painting, as ell has an extraordinary study o f his daughter Maria against the cha os o f a sunlit sea . T w o o f the great historic cities o f Spain have also

n o bee revealed by his brush , T ledo and Sevilla . Toledo w as visited during the w inter and the studies made there lack the fierce edge o f sun that the sum mer traveler associates w ith this tow n . For poetic

o f charm , for the amazing sincerity his style , these studies are unsurpassed . It seems unbelievable that

so so o w results subtile , exquisite c uld be obtained ith

-m f brush arks so ew and so broad . He has seized at once the atmosphere o f blood and grimness and death , o f Splendor , parade , and decay that characterize this

for place and crystallized them in such a study , exam

w su ple , as that of the Puente de Alcantara , ith its g

o ow gesti n of the sluggish Tagus bel , its hint o f

o frow ning w alls ab ve . One o f the most picturesque bridges o f Toledo is the old fortifi ed bridge of San

w t w o Martin , ith its entrances commanded by great

[ 1 1 2 ] Pu erto de V al en c ia

Pl aya de Val en ci a

w o f stone to ers . The ravine the Tagus here reaches

o a c nsiderable depth , and from the bridge a splendid

w o f - - vie fers o f the sun scarred country about . Sorolla has sh ow n us w ith unrivaled skill the tumble - dow n

o f ruin San Servando , on its deserted hillside , and has taken us int o the house in w hich the mystic Greco m w . drea ed and painted , and in hich he died

w w o T ice he has painted ithin r yal precincts , first

w w as t o at Sevilla , here he commanded paint portraits

t o o f the Queen and the heir the throne . Here he painted a jew el - like series of pictures o f the Alcazar

Ol oo or d M rish palace . This series is the most deco

’ rat i v orolla s o e o f all his productions . S j y in the pleasant things o f li fe is sh ow n clearly in his l ove o f

o f gardens , and these subjects alone he has painted en ough pictures t o have equaled the li few o rk o f an o o f ther artist . H is pictures these Opulent oriental

o w o c urts , ith their r ses and orange trees . their fervid

o w c lor , their heat , ill carry many o f us back in

o memory to holidays spent in that m st marvelous ,

’ most beauti ful o f Spanish cities , Sevilla . The man s

oo w preeminence in outd r ork , the unrivaled prismatic

o o f o o Splend r his col r , can best be j udged by c mparing this series o f studies w ith results w hich other artists

o O f have obtained in this m st painted palaces . In contrast to the oriental c ol o r and quality o f

[ 1 1 7 ] oo o w e t o m m these M rish c urts , turn the ourn ful po p

w o o O f o f La Granja , ith the des late splend r that eighteenth — century garden built by a h omesick French

’ n m o f F f rolla s man i me o ry Versailles . ew o S o canvases have gre ater feeling than these renderings

f h o f o Ho w o . aunted garden , dilapidated f untain f admirable is his draw ing O this rippling w ater . It

ow m o o sh s the sa e care ful bservati n , the same search for anatomy that w e find he devotes t o the telling o f

f rm f o o a o a . the turn an , the curve sh ulder And at

La Granj a he has given us on e u n forget able picture o f little children at their bath in the trout stream that

flow s by the palace grounds .

w t o o f It ould be fitting close our series pictures , w w this evening , ith the last ork the artist painted

o om o be f re c ing to America , a superb dec rative canvas , sh ow ing h is t w o daughters dressed in the Valencian

1 808 . w as costume o f , and on horseback It painted , as

w o t w o are all his orks , directly fr m nature , the girls

o being mounted on a h rse held by a servant , in the

o f garden their Madrid h o use .

o o o — Old S r lla is but f rty six years . He is in the h o f ow eight his p er , the height of his success . In his sane and illuminating art there is n o trace o f

w o r o f decadence , o f eakening , carelessness . Success

o o r o f has brought the man n thing o f pose relaxation .

[ 1 1 8 ]

A a de S an cen e a n lt r Vi t , V l e c i a

Pla ya de Val en c ia

Pu erto d e Av iles

APPR EC I ATI ONS . OF T H E PR ES S

Playa de Val en c ia

M ercado de Lc6n

S o rolla is a man in middle li fe w ho has trodden

t o . the road fame very modestly , but surely With

o o f o w h o o o the excepti n G ya , rev luti nized modern

t o w o w o y art and h m he o es much , S rolla Bastida stands in the estimate o f many next to Velazquez in f the list o Spanish masters .

J . G . MOTTET .

T h e E v en i n os t e u a ( g P , F br ry 4 ,

I F the New York public d oes not take advantage of

’ the exhibiti on o f Sor olla y Bastida s pictures at the

— w w Hispanic American Museum , it ill gain a ell

deserved reputation for having no l ove f or really

T he o o o e great art . exhibiti n is the m st imp rtant w

f For t w have had or many a long day . o m onths men have been at w ork gutting the museum of its Spanish

treasures to provide r oom for the pictures which n ow occupy the alcoves on the floor o f the hall and the

w o f o m alls the gallery ab ve . An i mense amount o f

o om w as artificial light has been pr vided , and by s e it

thought that the electric lights gave the su n — lit paint

a ings a fictiti ous brilliancy . But it w s ou r privilege t o see s ome o f the Valencia beach scenes w ithout the

E1 3 6 ] Playa de Val en c ia

Playa de Val en cia

on e aid o f artificial light , and they did not lose iota

i ft - o f their brilliant tone . One Hundred and F y sixth

o f w Street sounds very like the other end the orld , but it takes less than hal f an hour by a Broadway express on the subw ay from Forty-second Street to

i f - One Hundred and F ty seventh Street .

A F E W w o rds about Joaquin Sorolla y Bastida . He

w w ho n o is a modest little fello , talks English and

w o - not much French . He ill enter his f rty seventh

f w as o Va year the end o this month . He b rn in len ci a w as w w as tw o , le ft an orphan hen he years

off old , both parents being carried by cholera , and

w as w . adopted by an aunt , the i fe o f a locksmith At school he spent much o f his time making draw ings in

- w as his copy books , and actually encouraged by the

hi s master . As he made no progress in his lessons , uncle took him aw ay from school and placed him in w w w his orkshop , but allo ed him to attend dra ing

o f w as t o classes , and , at the age fi fteen , he permitted devote himsel f enti rely to art . He became a student at the academy at Valencia , and almost immediately w on w the prize for coloring , dra ing from the model ,

. w and perspective A gentleman named Garcia , hose

o w daughter Sor lla a fter ard married , became inter ested in the youth , and enabled him to remain for

[ 14 1 ] several years at the academy . When he first exhib

i t ed at Madrid his pictures attracted n o attention “ ” w until he sho ed The Second o f May , a scene o f the

w o Spanish War o f Independence , hich c ntained the striking innovati o n o f having been painted i n the

o w on o w t open air . Sor lla a sch larship hich ook him w w w to Rome ; thence he ent to Paris , here the orks

o f Menzel and Bastien — Lepage Opened his eyes to the “ o a a rev lution that w s going on in art . It w s The

’ ” Fishing Boat s Return , exhibited at the Salon in

Paris and purchased by the Luxembourg , that first “ - gave Sorolla a w orld w ide fame . The Beaching o f the Boat” in the exhibition at the Hispanic

American Museum , repeats the same motive on a

w o f larger scale . The alls the museum tell the rest f hi o s artistic career .

om th e New o k H e ald e u a ( Fr Y r r , F br ry 5 ,

R S OR’ OLLA’ S ART I N M . SHOWN ARRAY OF 3 56 CANVASES

SPANISH PAINTER OPENS E ! HIBITION IN MUSEUM OF HISPA NIC SOCIETY — A M A STER OF METHODS

A o o P INTINGS by M r . Joaquin S r lla y Bastida , a

w on leader in art in Spain , ere placed exhibition

Playa de Valen c i a

Playa de Val en ci a

o . Sor lla He limns king and peasant , youth and age ,

th e health and faltering disease , palace and the

w o raisin shed , the gardens here pleasant f untains

flow an d the barren dust heap . In all that he does he is a master . Six portraits o f m embers o f the royal family o f

o o w Spain are in the collection . King Al f ns is sho n in the brilliant uni form o f the hussars -and again in the garb of the artillery . There is a charming like ness o f the young Queen and nestling in his crib w ith only his small red face revealed is the heir t o the

o f . Spanish throne , the young Prince the Asturias

There are als o po rtraits o f the In fanta o f Spain and f Princess Henry o Battenberg . For the remainder o f the exhibiti on it may be said that its subject is all humanity . Although the art o f w . w M r Sorolla is that hich conceals art , his onder ful technic triumphs in a greater degree w hen he paints children sw imming or playing in the sur f or along the beaches . There are several canvases w hich

o w so depict nude y ungsters s imming , and naturally are the tints and the texture of the flesh represented and all the values o f greenish w ater given that the effect is as th ough o n e w ere actually l ooking from a w ind ow upon a coast w here children w ere at nata

ri al t o plav .

E148 ] Playa de V al en c i a

Pl aya de V al en c i a

In the Old Castilian M r . Sorolla appears as a ” w “ genius in genre , hile in The Sad Inheritance , a painting lent by the Church of the Ascension , he

all sounds the depths o f pathos . Taken all in his art lives in the sunshine even w hen it is sad . Among the canvases especially distinguished by the “ grace and beauty o f their subj ects is In the Gardens ” o f La Granj a .

T he New o k i mes e u a ( Y r T , F br ry 5,

A A A w o w o SOROLL Y B STID , h se rks are to be seen at a

w w on private vie this eek , and are to be public ex hibit i on 1 6th w at the Hispanic Museum , s Street , est

o w o 8th 8th o f Br ad ay , fr m February until March , is on e o f the most impo rtant o f the follow ers o f the great artists o f ancient Spain , and the opportunity to enj oy his pictures in this country is one more o f those happily increasing opportunities w hich not only broaden international sympathies but stimulate the

o f w n o love art among our o pe ple .

‘ S ei i or S o rolla w as born at Valencia in Spain in

186 o 3 , and began seri usly to study art at the age o f f fi fteen . He studied at the academy o his birthplace fo r w on w en several years , and a scholarship hich titled him to a period of study in Italy . He visited

w w as o o Paris also , here he pr f undly impressed by t w o exhibitions in the French capital at the ti me on e o f the w ork o f Bastien - Lepage an d the other o f

i

w . the ork o f the German , Menzel In Italy he copied the old Italian masters and in Madrid he copied Ve laz uez and o f w w w q Ribera , all hich ork ent to the strengthening o f his technical capacity w ithout inter f r e i n g w ith his personal message .

His personal message is a national one as w ell .

a His w ork h s the stamp o f his race . He is nearer to

’ w o w o o Goya than to Velazquez , but is h lly ith ut G ya s f cruelty o f temper and brutality o vision . His Spain is a pleasant country , populated by kindly , intelligent people , and he depicts both the country and the people w ith a genial w armth of sympathy and an appreci a tion of the gayer Side o f li fe that is at once stimu lating and soothing . His portraits are grave o r brilliant in treatment as the subj ect demands , but are invariably spontaneous and filled w ith the spirit o f li fe . Among them are many personages interesting for the place they occupy in the Spanish w orld as w ell as f or their interpreta

six tion by the painter . There are portraits o f mem

— t w o ! bers o f the royal family o f Al fonso III , that in the uni form o f artillery having a look o f the Phil E1 54 2]

Muj eres j u gan do

Playa de V al en c ia

T he E v en i n os t e ua ( g P , F br ry 5,

S PAIN ’ S GREAT PAINTER

E ! HIBITION OF PICTURES BY SOROLLA Y B ASTIDA

T H E New York public w ill ow e a deep debt of grati tude to The Hispanic S ociety for giving it an oppor t u n i t o f y o f seeing the paintings a Spanish artist ,

o o w w S r lla y Bastida o f Valencia , hose ork has in the last f ew years created much enthusiasm in the art

w o . n ow on rld of Europe The exhibition , private view in the building o f the Hispanic S ociety o f Amer

- w ica , on One Hundred and Fi fty sixth Street , est o f

w w o Broad ay , ill be pen to the public , free o f charge , w on Monday next , and ill remain open until March

h f A t w o . 8 . , Sundays included , bet een the hours I I M

P wh o and 9 . M . No one appreciates great painting

o o sh uld miss seeing the exhibition , for Sor lla is a

n ot very great painter ; one o f his brother artists , not

o f who w one amateur art , has seen his ork , but ranks

o f him among the greatest painters the day . Sorolla is preeminently a realist and an open - air “ w o o f painter . His first important ork , The Sec nd ” 188 o f May , painted in 4 , representing the resistance the people of Madrid t o the French in the War of In

[ 1 60 ] Playa de Val en c i a

Pl aya de V al en c i a

w as o f 1 808 n ew . dependence . struck a note It

- painted i n the open air . “

w . o I hate darkness , he ill tell you Claude M net once said that painting in general did not have light

how w . o . en ugh in it I agree ith him We painters ,

o . ever , can never repr duce sunlight as it really is I

“ f do o o . can only appr ach the truth it And again . I

o n ot care t o paint portraits indoors . I cann t feel sympathetic . There are i n the exhibiti on 3 50 paintings and “ ” — f o o m o l . sketches notes c l r , as Sorolla cal s the

T o w w o deal ith all , in our limited Space , uld be an

o few o f o imp ssibility . Let us speak , then . o f a th se

’ open - ai r pictures into w hich the painter s sympathy

m w y enters . that sy pathy hich can even make an ugl w w w subject beauti ful ! here . ith a s i ft and unerring

o f o o w hand and a brush full brilliant c l r , he s eeps in

o f — m o w o o the actuality li fe al st ith ut excepti n , the j oyousness o f li fe — and in his s w eep pro duces m ar vel ons m odeling .

Sorolla probably learned much from the early im

ressi on i st s oo p , but , unlike the modern sch l , he never

w o betrays his technic ; his ork appears sp ntane ous .

\Ve o . w e sp ke o f his unerring hand It is said . and have the auth ority o f an artist w ho has painted side

w o orrec by side ith him , that Sor lla never makes a c E1 65 ] ’ — ow n t tion to use that artist s expression , he pain s

f d ow w o Go . ith the hand At any rate , h ever he

m o o f w paints , he gives one the i pressi n dashing in ith

w w as extraordinary rapidity hat he actually seeing , w o t o ith ut having studied the scene , and all that he lends remarkable quality . “ f or Take , instance , Alegria del Agua Water It is a scene on the beach at Valencia ; naked

o o t w o w b ys are gall ping into the sea , and girls , earing

— ow w light bathing suits , are trotting t ard the ater ; in the distance are fi shi n g— boats scudding w ith their

f ac sails full . B oys and girls and boats are full o

o w o f ex t raor ti n , and the dra ing the figures is quite “ ” di n ar . o o y In another picture , C rriend por la Plava “ ( Running Along the the m ovement o f the t w o girls and a boy is even still m o re remarkable .

o t oo how w o N te , , the hands , hich , at a sh rt distance ,

t o so o w appear be care fully m deled , are dashed in ith

o t oo w w few bright range paint ; note , , ith hat a strokes the perfect modeling o f the boy w ho is in the w ater in the distance is done . This is rather an ex ce t i on o o o p , for , as a rule , S r lla nly suggests the dis tant figures . The grandeur o f the color in these t w o

o f w e cases , as in the rest the pictures are about to

f or w o describe , must be taken granted ! it uld be an

o idle repetiti on to menti n it .

[ 166 ]

Pl aya de V al en c i a

Playa de Val en c i a

w hat a play o f sunshine in the w h ole picture . But as “ a t ou r de force in the play o f sunlight the Después ” del the Bath ) is startling and alm ost

’ makes on e d oubt S orolla s w o rd that he can only ap proach the truth o f it . It represents a laughing girl buttoning the sh oulder o f her w et bathing dress . A boy h olds up a w hite Sheet to cover her w ith through f w hich one sees the co l o r o his naked limbs . I f that

n ot w o is true sunlight hich falls up n the sheet , h its

' o f o t o the girl s arm , and gives a dash turqu ise blue

f e o n e o . w her feet , it is a very close imitation But c ould go on f or pages describing the beauty o f these “ beach scenes ; the compositi on o f Morning on the ” o on Beach at Valencia , the gr up the shore . the bath

o o w ing b ys , and the b ats ith their bellying sails ; the

o bo extra rdinary modeling o f the y crabbing , o f the “ ii ” young girl in El Ba o , Javea and the sparkle o f w o w o t o the ater int hich She is ab ut dive , and the “ “ c olor o f Salida del B afi o ( Coming Out o f the

There is one picture that strikes a deeper n ote than

— on e these the sad picture o f the w hole exhibition . “ It is called Triste Herencia The Sad I n heri

o and bel ngs to John E . Berw ind . It hung in the Sunday-school room of the Church o f the As cen sion on f ew w New , Fi fth Avenue ; yet kne that

[ 1 72 ] Playa de Val en ci a

Playa de Val en c i a

i nh eri York possessed this masterpiece . The sad ” tance has come to a number o f crippled or imbecile boys w ho are being w atched over by a priest as they take thei r bath on the beach at Valencia that has lost

’ all the gladsomeness o f S orolla s other beach pieces . Here again the artist displays his marvelous pow ers o f dra ftsmanship . There is a boy in the right hand corner o f the picture shading his eyes from the sun w , the modeling o f hose figure , simply indicated

w o o by the shado on his st mach . is quite extra rdinary and that o f o ther boys on crutches is no less re markable .

The largest canvas in the exhibition , Oxen Ready

- w to Beach Fishing Boats , is so full o f brilliant dra ing and painting that i f w e once started t o describe

w e w w — w w them Should not kno here to stop , hat ith the modeling o f the great bellying sail , o f the oxen ,

o f and especially o f thei r hind quarters , the quality the sea and the acti o n o f the figures ; and the same

1 6 virtues are to be found in 3 , one o f the many “ ” Playa de Valencia ; and in the Return fr om Fish ing ”

w e o o o - When come to S r lla as a p rtrait painter , w e especially hen he is painting royalti s and grandees , w e n - find him less great . The su lighted pieces may have bew ildered us . He appears to be very rarely in

[ 1 77 ] w e be w o . sympathy ith his m del And , as have said

o f t w o fore , he dislikes painting indoors . One the w portraits of the King o f Spain , that in hich he w o w ears a hussar uni form , is an outd or picture , ith

’ on the sun playing his Majesty s features , but it is h no l onger the su n that s one on the beach at Valencia .

o o o o o An ther utdo r p rtrait , that of Madraz , the

w e n ot painter , is more satis factory , but still do rec ogn i z e in it the S o rolla w e have been w andering w ith

“ ’ 3

o . \Ve ow al ng The Playa find him again , h ever , in “ w Maria at La Granj a , dressed in hite and delight

i s o fully simple , and , i f it not exactly the real S rolla , w e detect a fine portrait — painter in a picture of Seno ra Sorolla promenading in a garden w here s ome mas t erl w y ork in black and w hite is show n . The picture o f o o f w w the y ung Queen Spain in hite satin , earing

o f w an ermine cloak , ropes pearls , a small cro n , and

o w pearl and diam nd ornaments , and ith a deep crim son o f background , is hard . The little picture the

o f n ot baby Prince the Asturias is charming , but still

o o S r lla , and the same may be said o f an excellent

’ o o f likeness of the Queen s m ther , Princess Henry w Battenberg , dressed in black and earing many

e o o f diamonds . But w c me acr ss the great master o “ color again in certain landscapes in The Yell ow ” “ Tree , La Granj a , in The Seven Peaks , and in the

[ 1 78 ]

As turi as

Leé n

conflict w ith America has begun a n ew conquest in

o art . The influence of c ntemporary Spanish art is

o making itsel f felt m re strongly , and that one of the leaders in this art Sh ould be invited t o America to exhibit is in itsel f significant .

Under the title A Great Spanish Artist Mr .

o Charles M . Kurtz some time ago c ntributed to “ Scribner ’ s Magazine ” w hat still remains one o f the

’ o on orolla o most c mprehensive articles Mr . S s w rk w b o ritten v an American . The St . L uis Museum o f

’ “ ow An Fine Arts ns this Spanish painter s picture , o w ther Marguerite , and this , as ell as many other

’ or lla w . S o s examples o f Mr ork , may be seen repro

’ “ ” duced o in M r . Kurtz s essay . An ther Marguerite i o s tragic in subject . In executi n it emphasizes the path o s rather than the dramatic possibilities o f the

n om t theme and is sad a d s ber . But his subjec s are most varied and o ften full of li fe and gaiety . Some

’ passages in Mr . Kurtz s article , quoted at the time ,

n ow o but especially significant , are for this reas n w o rth calling attenti on to again . “ su r No other living painter , says M r . Kurtz , passes Sorolla in his representations of light and at

- oo mosph ere . He is especially fond o f out d r sub

ect s — w j vie s along the coast , fisher people , boatmen , w w w boats ith sails filled by the breeze , omen ith

[ 184 ] As tu r i as

A i st u ri as

w w ! skirts blo n by the ind , naked children playing in w the sur f , sturdy oxen ith ropes attached pulling up boats on the sands . In his genre pictures he studies mostly the comm on people and paints them t o the

w o w . li fe . Indeed , all his rk is instinct ith vitality He seems to imbibe something o f the essence o f whatever he studies and t o involve it in his representations . No other painter seems to cov er ' su ch tremendous range o f subjects or to Show such variety in his tech nic .

T he N a ti on e ua y ( , F br r I I , SOROLLA Y BASTIDA

w PRECEDED by a heightening fame i n Europe , hich w as accentuated by the success o f exhibits o f his

o paintings in b th Paris and London , the Spanish

o n ow artist , J aqui n Sorolla y Bastida , is to be seen in

New York . More than 3 50 o f his pictures and Sketches are on view at the Museum o f the Hispanic

o f w w m Society America , here they ill re ain till

o March 8t h . It is a c llecti on extraordinary for range

- i and brilliancy . To have produced at forty S x so great a body of mature w o rk indicates uncommon fertility ; to have attained such striking results argues

EI 89 ZI ’ S orolla s o im genius . meth d is that o f a modified

ressi on i sm p , but such a seeing eye as his must be ,

w o such a rapid and sure technic . uld have made him a great artist Under almost any meth od . Hi s

o painting seems abs lutely direct . Critics are putting

' o o o Velaz u ez s micr sc pes up n q canvas , to see i f they can discover anything like niggling under the broad

‘ w o f hi s bru sh w o o n o on e free s eep . but it uld ccur to

o o o o to apply such a test t o S o r lla . His str ke is bvi usly

w o f o o o as un avering as that a pist n , the pure c l r

o n being laid n in o e jet . There is no fussing ; all is

w o immediate , the dra ing , the m deling , being got by

f o o the sw i ft use o the final c l r . He is called a “ ” o f n ew oo triumph the sch l , but such great gi fts as

o his would have glorified any sch ol .

o o o o so I f definiti ns must be s ught , S r lla is not

o f l ir f much an artist the p ei n a as o the full sun . His greatest mastery lies in rendering the highest n otes

f i o the Spanish sun . Espec ally p ow erful are his

o f w paintings sea and sand in the brightest light , ith

o o t o w fishing b ats , and xen dra them up , and bathers and children playing on the beach or splashing in the w ater o r racing into the w ave or emerging from the bath — all under the sun o f Valencia or San Sebastian o r o f Biarritz . Many the paintings dealing w ith these fav orite subj ects o f S o r olla are p ositive tom's

E1 9 0 ]

Pl aya de Val en ci a

Pl a ya de Val enc i a

f o . o the seash re , Triste Herencia The portrait Me

n n dez . é y Pelayo , done last year , is equally masterful The entire ex hibit i s a notew orthy event in this art

o w o . o seas n S rolla is certain to prov ke ide discussion , in w hich admiration w ill be a common ground o f all f w . disputants , hatever their di ferences It is said that

ow o his pictures may be sh n in Boston , and p ssibly in

n ew o . so on e ther cities I f , can predict a Spanish f conquest o America .

T h e New or k Wo ld e u a 1 ( Y r F br ry 3 ,

’ S OR OLLA S 3 00 SUN NY S PANISH PICTURES

A LOCAL TIDA L W AVE OF ENTH USI AS M OVER A GREAT IM PRESSIONIST PAINTER — S U N WORSHIP IN COLOR T H E ROM ANCE — LAND OF CERVANTES IS H ERE A GORGEOUSLY REVE LED .

A A A A -w im JO Q UIN SOROLL Y B STID , a sun orshiping

ressi on i st o p painter from the c untry of Velazquez .

S a n olet t o o New p g , Murill , and Goya , came to York

o in f ggy February w ith some 3 00 o f his pictures .

— — The expected nay , the inevitable has happened .

’ o w In little more than a f rtnight s time , hat might have been in some circumstances a mere ripple o f

[ 196 ] Pl a ya de Val en c i a

Leon

artistic interest has risen to a tidal w ave o f en f t husi asm . And the e fect bears true and just relation t o the cause — for this is und oubtedly the most bril “ ” liant and stunning one - man Show to w hich art loving Manhattan has ever yet been treated .

Every day , Sundays and holidays included , rain or shine , morning and evening alike , the general public

n ew go , literally by thousands , to the museum build w ing o f the Hispanic Society, hich stands like a temple on a noble eminence overlooking the Hudson at One Hundred and Fi fty— Sixth Street — surely the “ ” farthest north for picture exhibitions .

It i s sa fe to say that more than w onted satis faction

’ over the city s acquisiti o n o f art treasures w ill be felt in the ann ouncement that a number o f the most im

’ portant o f S orolla s canvases are t o remain here per t l man en . y These include the grand , Homeric “ ” Beaching the B oats — w ith the l oose sails bellying

ow in the sun and breeze , and big br n oxen at their toil amidst the sw irling breakers of the joyous blue

— sea and the striking group o f Leonese peasants , w ith their gaily-caparisoned donkey ; w hich tw o rep r esen t at i v e w orks , it is rumored , are destined for the

o Metrop litan Museum of Art . The Hispanic Society als o has acquired a number of the po rtraits and his toric landscape scenes . As for the Triste Herencia Sad Inheritance the most thought ful and outw ardly s omber o f all

’ S orolla s w o o r so pictures , sho ing a sc re of naked ,

' w cri led bo s o eak , and pp y , s me o f them on crutches , the inmates o f an asylum fo r the cast -off children o f

or a depraved delinquent parents , enj oying their p thetic imitati on o f a happy moment in a summer sea w bath , under the Christlike charge o f a stal art

— priest , robed in black this eloquent sermon in paint

e o . o already belongs in N w Y rk It is w ned by M r .

w w n ot w John E . Ber ind , and , hen on public vie , hangs in the Sunday - school ro om o f the Church o f the Ascension , Fi fth Avenue and Tenth Street . The present S o rolla exhibition in its entirety w hich the artist himsel f says is the largest and best sh ow ing o f his w ork ever brought together — is to re

New 8th w main in York only until March , hen it w ill be follow ed by a similar exhibition of the paint

o ings o f another great c ntemporaneous Spaniard ,

Ignacio Zul oaga .

o i n Entering the hall of the Hispanic S ciety , you st i n ct i v ely Shade your eyes — for you seem suddenly to be standing in the full blaze o f a meridi onal sun

i n o f light . Right front you stands his young m ! o ajesty , Al fonso III , King of Spain , in a g rgeous hussar uni fo rm that alm ost requires to be l ooked at through sm oked goggles .

’ S orolla s Here , in fact , is autobiography , vividly

o f inscribed in paint . Nine tenths the scenes are his native Valencia or the shores of Biarritz and San

m ow n Sebastian . The char ing children are his , and the beauti ful senora w hom he depicts so O ften and so D oii a sympathetically is their mother , Clotilde

’

w . Garcia , the artist s beloved i fe From the intimate quality of many o f the po rtraits o f high pers onages on e w might guess hat is indeed the fact , that the

’ friendship of rank and nobility is S orolla s at his w command , hile he is still in early middle li fe ( he

s o 1 w a b rn in 863 ) and i n the zenith of his pow ers .

No o m re rapid , sure and vivid painter ever made a dash at the problems o f light and moti o n and got

o w aw ay w ith them w ith such éclat . S rolla is al ays trying, for the sake o f truth and unity o f impression , to paint a complete picture at a Single sitting — and more o ften than not he has succeeded in this con sum

t r o mate ou r de f o ce. Ever since as a b yish student he painted his first academic picture in the Open bull ring o f Valencia he has been possessed by the passion f r o light and laughter and color .

— for Coming in , tired , the other evening even n ow New o o o o , here In Y rk , S r lla c unts that day lost

’ in w hich he d oes not achieve six or eight hours w ork on a portrait or something — the impressionable Spaniard fairly embraced an otherw ise severe and [ 208 ]

pro fessi onal gentleman because he chanced to have on a bright red necktie ! It w as a propitious moment for cigarettes and con

fiden s ce . “ Have you considered said Senor Sorolla to The ” wh World representative , y you have such artists as ! Sargent , Chase , and the late Whistler It is because the real f ounder o f American art w as that supreme

o impressi nist master , Velazquez . The men I have

o named , like Constable and Turner and C urbet be fore w them , seize greatness by that same ecstatic s i ftness

’ o f execution w hich w as the secret of Velaz quez s

o f splendid triumphs realism . As for mysel f , I can assure you this lyrical impetuosity came to me as naturally as breathing or the beatings of my heart , at w w the earliest da n of my sympathy ith nature . “ o All inspired painters are impressi nists , even though it be true that s ome impressionists are not inspired . “ I f ever painter w rought a miracle of illusion w ith brush and pigment that painter w as Velazquez in his ‘ ’ w Las . No Meninas , at the Prado in Madrid , I

t w w do have studied his picture ith a lens , and hat I

! \Vh ot m o at find y , that Velazquez g that arvel us mospheri c background by on e broad sw eep o f his

w w o o — so flo ing brush , charged ith thin c l r thin that you can feel the very texture o f the canvas through it .

[ 2 1 3 ] sun ff on Nature , the itsel f , produces color e ects im this same principle , but instantaneously . The pression of these evanescent visions is w hat w e make desperate attempts to catch and fix by any means at hand . At such moments I am unconscious o f mate

of rials , style , o f rules , o f everything that intervenes between my perception and the obj ect or idea per

i e ce v d .

“ mes amis i s No , , impressionism not charlatanry ,

. sa nor a formula , nor a school I should y rather it is the bold resolve to throw all those things over board .

an w be By extraordinary coincidence , hich may

’ w w - come historic , Sargent s ondrous ater colors no

- o f w less than eighty six them , have been sho n at

’ K n oedler s w ex hibi , simultaneously ith the Sorolla

’ tion — and they absolutely confirm the Spaniard s contention .

Only after contemplating and comparing these t w o

- epoch making modern masters , i f you Should happen

’ B arbi zon s S ch aus s to look in upon a bunch o f at , or even upon the French impressionists at Durand

’ w how h ow Ruel s , you ill be astonished to find black , positively medieval , the latter appear for the moment

sun - to your dazzled eyes .

HENRY TYRRELL .

E2 14 ]

S an S eb asti an

Pl aya de V al en ci a

T h e Ameri can Art N ew s e u a 1 ( , F br ry 3 , A S PANISH MASTER ’ S WORKS

To the credit o f busy New York it must be said that its more cultivated element has quickly appre ci at ed the beauty and value of the most rem arkable “ ” and fascinating one — man exhibiti o n o f pictures ever made in this country , and has already begun to

ow cr d during the daylight and even evening hours , the hands ome and artistic museum of the Hispanic f o 1 6 . w Society America in 5 th Street This , ith a

o pr digality o f expense and great care and taste , has been so arranged in its interior — for it is really a library more than an art gallery — S O as t o display the w orks of the Spanish painter to the best w w advantage , ith harmonious coloring o f alls , and m ad irable arrangement o f lights , both at day and

. o w o evening The exhibiti n , hich opened on M nday

t o w last the public , and hich , a fter its close here on 8th w March , ill go to the Albright Art Gallery at

f t o o f w Bu falo , be succeeded by an exhibition t enty tw o selected canvases by another great c ontemporary

— Spanish painter , Ignacio Zuloaga called the Spanish

— w n ow on f o Manet and hich is at Bu fal , is composed o f 0 o f w o m 3 5 numbers , hich ver a hundred are s all

[ 2 20 ] Pl aya d e V al en c i a

Pl aya de V al en ci a

on e so Sketches , but each and every characteristic , so beauti ful in color , so virile and full o f sunlight and

for air , as to call the closest study .

PAINTER OF SUNLIGHT AND AI R

I T is diffiCult to restrain a possible exuberance o f ex

’ pression , or to quali fy one s admiration in attempting

ho to describe the art o f Sorolla . There are those w do not hesitate to place him very close to his early

who predecessor , the great master Velazquez , and sa y that , except in portraiture , he excels his other great predecessor , Goya , but no artist or art lover , be he tonalist , impressionist , realist , or romanticist , can fail to be at least amazed by the marvelous vi tality and Simplicity o f the art of Sorolla . He is

hi s essentially , to give him definite place , a colorist , and he is also a great dra ftsman , and the most success ful painter o f sunlight , atmosphere , and air that possibly the w orld has ever seen . And his w ork

— w is truth ful truth ful in dra ing , in action , and in “ ” every detail . Notice the baby boy in At the Bath , “ w Running Along the Beach , ith the movement and

i ts action o f the children and light and air , and the “ ” w A fter the Bath , ith the sunlight filtering through the w hite sheet w hich the boy is holding up over the

w e laughing girl in her t bathing dress . Notice the 2 2 5 ] muscles o f the straining oxen in the great museum w w picture , hich Should ithout question find a resting place in our ow n Metropolitan — the color o f the sea and the movement o f the figures . And through it all w one feels the breeze blo , and is gripped by the dra matic intensity o f the scene . A brother painter o f Sorolla says that he never w “ makes a correction in his dra ing , and that he ” i n paints w ith the hand o f God . Certainly his is

th e t est spired art , in that it meets of all inspired art

w . the po er to move , to thrill , to hold , the spectator

HIS HUM AN SIDE WHILE as a rule Sorolla paints the j oyousness o f

sad li fe , the summer and the sun , he can be and tragic , too , and in this very versatility he evinces his w f deep sympathy ith humanity in its su ferings , as w ell as in its j oys . One of the most moving pictures in the w orld — certainly one o f the most impressive “ o f m odern masterpieces o f art — i s The Sad I n heri ” w tance , that canvas fortunately o ned by the Church w o f the Ascension in this city , hich depicts a group o f naked laughing urchins sporting in the surf on the w Valencia beach , hile in the foreground four little cripples , also nude and desirous of a bath , are pre

[ 2 26 ]

S an S ebas ti an

Pl aya d e V al en c i a

as to become a lion against his w ill . He w le ft an

w o t w o orphan hen nly years old , adopted by an aunt , w the i fe o f a locksmith , and Spent his time making

w as draw ings in c opy books . Although he taken aw ay from school and placed by his uncle in the

’ w w as w latter s orkshop , he permitted to attend dra

w t o . ing classes , and hen fi fteen study art He en t ered o w on the academy at Valencia , and at nce the

f fi r or o w . S e o prize c lor , dra ing , and perspective A

Garcia became interested in the boy and paid his w ay for several years in the academy . The painter a fter

’ w ard married his patron s daughter . His pictures

o w attracted no attenti n hen first exhibited , but the

“ ’ Second of May , a scene o f the Spanish War of w Independence , and painted in the open air , hen

w o . w sho n at Madrid , br ught him fame Then he ent

on o to Rome a sch larship and afterw ard to Paris . “ ” \Vhen his Fishing Boats Returning w as purchased for o the Luxemb urg from the Salon , he first reached universal fame . Since then he has gone on conquer ing and to conquer .

n ot o The exhibition is only, as said ab ve a revela

o m o o ti n , but is the st imp rtant and interesting event

o f the present art season .

A J MES B . TOWNSEND .

E2 3 2 ] S eb as ti an

S an S eb as ti an

- om an a c e i n t he New - orker S taats Z ei tu n e ua ( Fr rti l Y g, F br ry “ 1 1 0 en ed Di e i s an sc e Gese sc a t v on 4, 9 9 , titl h p i h ll h f me k A on A a on . v ri . V

So w ar mir das Ziel dieses Unternehmens

w w ar ii berrascht klar ge orden und ich kaum davon , dass die Gesellschaft in ihren B emiihun gen das Ver st an dn i s zu hispanischer Kultur fordern , es auch unter n ommen . uns mit der modernen spanischen Kunst

w ar lii klich e z u . c bekannt machen Es eine g Idee , die

Ei n fii h run Herrn Huntington veranlasste , zur g in

z u dieselbe Joaquin Sorolla y Bastida Wahlen , dessen Kunst w eniger die dem Auslander sattsam bekann ten und ihm gew altsam erscheinenden Ausseru n gen

Nat i on alt em eramen ts dahi n lei des p , als das ruhig g

Du r hschn i t sv olk tende Alltagsleben des c t es darstellt .

S t i erkéi m fe T orreador Keine p , keinen , keine Carmen

8 . sieht man au f den Bildern , die Wahrend des am

Marz ablau fenden Monats an Stelle der oben er

Wahn t en emalde G getreten sind . Hat die Zeit j ene nachgedunkelt und si e z u typischen Dokumenten der

en ii t Vergangenheit gemacht , so g g j etzt ein einziger

Blick i n den Ausstellungssaal , einem den Eindruck

blii h en den f arben f r i s he neuen , , sonnigen , c n Gegen w artleben s z u ii ber it ln m t e . Der kii n stleri sche Werth

. z u der Ausstellung ist ein ungleicher Es ist viel da , [ 2 37 ] K u n st lers und mancherlei Unfertiges , das in des Ate

kOn n en . lier hatte bleiben Aber der lichte , sonnige

T hat sachli ch en Charakter , die naive Freude am rein

berii h rt und Grei fbaren , die diesen Bildern eigen , einen w i e frischer Seew ind Oder w i e scharfe HOh en lu ft . Man ist versucht , hinter dieser Kunst eine bei nahe robuste Gesundheit und ein sanguinisches Te r n

eram en t z u v ermu th en p , der die Erscheinung und

P ersOn li chkeit des mit seiner Gattin nach New York

K ii n stlers w gekommenen kaum entspricht , ohl aber besteht eine innige Beziehung zw ischen des K ii n stlers w schlichter , ruhiger Sprech eise und der ein fachen ,

mOcht e man beinahe sagen , sachlichen Sprache , die sein Pinsel fuhrt . Es ist in dieser An hau fun g von Bildern eine uber rasch en de Mannigfaltigkeit an Motiven aus dem

D r h chn i men hheit eilbi n der u c s tts sc . S Leben der ,

T rauben brii hen Heuernte in Asturien , , Einziehen der

Rii ckkeh r K rabben fi scher Segel , vom Fisch fang , ,

S e elfli cken R osi n en acken g , p , Trocknen der Netze , w w ti Sch immer , Badende und z ischen durch und ber all Kinder , Spielende , badende , feierlich bekleidete und paradiesisch nackte Kinder . Stellte man alle

z usammen so er abe diese Kinderbilder , _ g Sich ein far ben lii hen der son n en li cht er g , , sinnes freudiger Hymnus au f die Fruchtbarkeit , vor einer beinahe primitiven

E2 3 8 ]

ik t ik r r belt man t er o P roblema e . u n ch Er g nicht . er schaut und malt . Er berechnet vielleicht nicht ein

VVi rku n en so u nbekii mmert so mal seine g . , keck , scheint alles au f die Lein w and hingew orfen . Seine

' Farbenskala ist au f w enige T On e beschrankt ; Nuan

kom li z i rt e cen kennt er nicht . Er hat keine p moderne Psyche Oder aber er w ill nur das Ein fache in

Leben sau sseru n gen und menschlichen Empfi n du n gen sehen und alles Sensitive und R affi n i rt e vermeiden .

Es ist als ob dieser M oderne gegen Vieles prot est i rt e w as m an o w as m dern nennt , und in der That eine durchaus n atii rli ch e kii n stleri sche Au sseru n g in der

' geg en w art igen Generation schlummernder Gedanken und sich durch ganze Schichten der Menschheit h in

f h i e B e ziehender Ge ii lsst rOm u n gen ist . Es liegt w j abung des materiellen , gesund Sinnlichen Lebens in

S t ran dbilder n allen diesen mit spielenden Kindern .

lust w an deln den ii n li n en mit Madchen und J g g , mit

E S Badenden und Sch w immern . liegt sogar viel leicht ein phil osophisches S i ch fii gen in das Un aban derli ch e w o in den Volksszenen , den Interieurs , die Frauen uber ( lie Arbeit gebeugt dasitzen und in j enen

K ii st en bildern w o An st ren , Mensch und Vieh mit gung aller ihrer Kraft sich der Brandung entgegen

m . ste men Auch i n den Landschaften . die in der

w s ii rt Sammlung an Zahl sch ach vertreten sind , p

K ii n stler w be man nichts davon , dass der sich et a

£ 2 44 ] Ni fi o esn an a d udo , Gr i

mu ht h erv orzu habe , diese Oder j ene Stimmung bringen . Und doch lieg t in manchen derselben

Nu an ci ru n w i r Stimmung, und hatte durch feinere g kun gsv oll hervorgehoben w erden und au f den

n n Beschauer rii ckw i rken kOn e . Einzelne Portraits zeugen von Scharfblick fii r das Wesentliche und

Charakteristische . Das lebensgrosse Bild der Dame in Schw arz i st ein Beispiel das Portrait der In fanta

Isabel ein noch bedeutenderes . H ingegen kommen

' did Maj estaten bei Signor Sorolla w i e so haufi g in den Portraits selbst der grOsst en Meister w eniger gut davon . Man kann sich nichts Nichtssagenderes vorstellen als die Bilder der beiden kOn igli ch en

Hoheiten .

v on B e Die Ausstellung , die zur Zeit eine Menge

Gebau de v on suchern nach dem zieht , dessen Existenz

S i e vielleicht keine Ahnung gehabt haben , hinterlasst einen lichten , frischen Eindruck . Sie ist geeignet ,

z u einem anschaulich machen , dass Spanien nicht das Land mon dsii cht iger Romantik und auch nicht das

w i e Land blutiger Volksbelustigungen ist , man es sich gern vorstellt . Die grosse Masse des Volkes ist ii berall gesund und bleibt sich ii berall gleich . In gew isser Beziehung ist dies eine t rOstli ch e Erkennt i n s . T h e N ew ark E v en i n N ew s e ua 20 ( g , F br ry , JOAQUIN SOROLLA Y BASTIDA

I T grieves The Optimist to report that he has found

’ n othing in the galleries t o compare w ith S orolla s

w o o . w rk , but he is c m forted by his optimism It ill not alw ays be so . That great gladness o f color that

’ on f ew i s S orolla s ! it is w onderful . He is e o f the ' g reat living painters , and , happily , the exhibition of

1 6th h is paintings at the H ispanic Museum , s street , n w w ear the Sub ay station , ill be continued until th March 8 . The Optimist w ould like to linger l ong enough to

’ o S orolla s im ossi utline artistic pedigree , but that is p

— w ble to day . Biographical details ill be found in the

— introduction to the catalogue . Bastien Lepage and f w Menzel a fected Sorolla pro foundly , but he also ent t o Barbizon . He sprang from the loins o f Velazquez and Gova . Strongly influenced by many individuals ,

ow n he has an individuality o f his ; an eclectic , choos i n w w g method and technic here he ill , he makes his ow n school . But let us not labor over the causes that made him great ; let us enjoy w hat w e are privileged t o enjoy . S o rolla is a painter o f the w orld that he sees ! a [ 2 50 ]

his canvases contain a great variety o f blues and vio lets balanced and juxtaposed w ith reds and yellow s .

w o w These , and the skil ful use o f hite , pr vide him ith

o o a c lor scheme o f great simplicity , riginality , and ” beauty .

The color — the translucent col o r — o f Sorolla is

m o w n o tre end us , but hat a shame it is that gallery is

o 2 at hand that pr vides proper distance . Take No . 7 , “ ” Helen Among the Roses , for an illustration . It makes n o appeal w hatever until it is glimpsed from the upper gallery — this is the best place from w hich t o view them all — and then it is a vision that w oos

i o bv the great loveliness o f ts col r .

But w e must make a systematic beginning . His

o o w o o . p rtraiture is excellent , alm st ith ut excepti n It

o on e w w c mpels to believe , ithout kno ledge , that the 8 “ . 8 likenesses are accurate . Looking at No , In the

o f o f Gardens La Granja , from the other end the w museum , The Optimist mistook the oman in the pic

o f o ture for a spectator , and this quality b ldness is ever apparent . The portrait o f her Majesty the Queen o f Spain

o w w is d ne like a miniature , ith a onderful so ft , red

o r background o f inestimable values . The smaller p trait o f the infant Prince o f Astur ias is especiall y w pleasing , a charming thing ith the qualities o f a

[ 2 56 ]

o o f S efi ora S o w ater color . Except for the p rtraits “ o No h r lla , V , Her Royal Highness Do a Ysabel de

o o ex hi Borbon , is m re imposing than any ther in the

has biti on . Sorolla a great facility for reproducing fabrics that is mani fest n ot only in the portraits . His

f w et gossamer and diaphanous e fects , the , clinging garments o f the children and the bathers sublimate realism . The Optimist liked the picture o f the Mother w and Child in bed . It is simply a gray canvas ith the dark heads against pillow s and counterpane and w ith

’ who the mother s outstretched arm . 0 ye have babes

ow n ! i s . o f your this maternity , this is childhood

Sorolla must love children . On canvas after can w vas they romp along the beach , dive in the ater , or spraw l on the sands in the sunshine . The w ater is too clear to obscure their submerged limbs and bodies . What action there i s in them ! the aw kw ardness and ! w the grace of childhood Better still , its holesome , unconscious innocence ! as i f the serpent had never entered the Garden . They are beauti fully unashamed . ” 10 w . w No 4 , The Little Girl ith Blue Ribbon , ill never tire you , never cease to please . With artless

— as grace the little girl such a dainty child, all little girls ought to be— stands out in the sunshine on

’

Valencia s beach . And she stands out , too , as real as natural as li fe and sunshine . Nearby hangs No .

[ 2 6 1 ] 68 . . , Taking in the Sail The face , the red turban

w m o t o the hite sail , all glea in the sunshine that c mes

so his brush irresistibly .

’ There seems t o be n o limit t o S orolla s variety and his industry has furnished an impulse t o artists . It is alm ost al w ays the light that allures . In the Garden w w o f the Alcazar , beating against the hite alls and

o f o w columns a farmh use , dancing in the ater , play

- - o o o ing hide and seek thr ugh the f liage , glancing fr m

o f om - the body s e lightly clad child , penetrating Sheer fabrics and pattering hot upon the sands ; al w ays the

o o sunshine . He is a painter o f glad , j y us , free

No ho o o . w w hearted . exuberant li fe c uld an ptimist

t o o ! S i n ceri t v fail be enthusiastic ver all this , actu

w o f ality , sympathy , and s i ftness are the qualities his m w ork that make it real and lasting and hu an .

n ot ou ou No , there is all the finish y may think y w ish , all the avoidance o f sketchiness . Sorolla him

! w y sel f says I feel that i f I painted Slo ly , I positivel could not paint at all . He catches the infinite transi

o o ti ns o f light and shade and atm sphere and , to ren m w o w . der the , he must rk ith infinite rapidity This is on e o f the great secrets o f his pow er and his realism .

[ 262 ]

w ith his w ork at school and the futile task o f edu

a t cating him w as aband oned . He w s put o work in the sh ops of his uncle and during the evenings at

o tended a local art school . The h peless pupil proved so apt a dra ftsman that he w as taken from the shop and placed in the A cademia de Bellas Artes o f

o w San Carlos . Success f llo ed , and in his rise through li fe he encountered all o f the classes and kinds o f people that he has painted .

on e But his greatest sympathy , can readily see , lies

oo w ith those from w hom he came . Every m d and f occupation o theirs is know n to him . As fishermen

— k w . s he kno s them best But not only men sea , y and

sun earth , trees and beasts ; in fact , all that the lights on , he paints . Sea and sky , earth and rocks are

as . 1 1 . enough for him , in Nos 3 and 7 Even the hot

w t w o sun he o ften dispenses ith , as in the little gray

2 landscapes , poems in paint , Nos . 4 and 3 3 . Here sun w is unnecessary . A deep slope , splashed ith

w om flo ers , a forest at the bott o f the hill , a patch of sky and the thing is complete .

hi s In sunlight pictures , sun and atmosphere change w ith the theme he paints . Lurid and harsh is Old “ S ol w hen he throw s his rays on the men Beaching ” the Boat The sail o f the boat is pain ful and blinding ; the bodies o f the oxen clumsy and

[ 2 68 ]

W he heavy , as in nature . But hen the sun lights on t

on backs o f nude tots lying or playing the beach , w w - ading or s imming , or on slightly clad boys and girls running along the beach , it is delicate and de light ful .

This love for the sun is unique . It reveals a man o f sunny temperament . It is a physical sun , unlike

sun o f w w as the Rembrandt , hich used to pierce

’ shadow y gloom and reveal the torment o f the artist s

o o n ot e . s ul . S rolla is spiritual in that sens Nor does

o he clamor for the ideal . On the c ntrary , he is

w t o f poignantly real , sho ing man the delights o this beauti ful w orld .

o He is alienated from past traditi ns in art . His w orks are no mere arrangements in line , color , or

m o . o to o mass He d es not seem c p se , Nature com poses for him . With her he is in absolute sympathy .

o He paints rapidly , passi nately , suggestively the Spain w he kno s and loves . All is Spanish in the exhibit .

° o o health sacrifici n H is cra ft is big, vig r us , and y , g detail for mass , but never missing the salient features w w on hich make character . In this rendition he is der ful w , o ften sustaining himsel f thereby hen his color is not so fortunate as in some o f his indoor

o a p rtr its . The po rtrait o f h is w i fe in black dress ( 288 )

[ 273 ] is perhaps the best example o f subtile painting in the

o f m w w h ole exhibition . The figure the char ing oman “ is slightly posed and the canvas is somew hat ar

ow few o ranged , but I kn o f m dern pictures that are

o o w m re delicately m deled ; especially the head , hich

o f . S o o is a marvel sympathetic painting , als , is his “ ” Senorita D ona Maria S orolla . Here he cajoled

n the brush into slipping o e form into another . It is

m o o . snappy , crisp , and l vely Nu bers o f p rtraits other than these grace the w alls o f the m useum and attest the skill o f the artist . In his Valencian Fi sh er w omen s ome thing more than skill and character is felt . The w painter is free again . The picture is filled ith glo ri ou s sunlight alighting on the gossiping w omen and on f o o . the b ats in back them Here , as in his “ Beach o f Valencia by Morning Light ” one is

w e dra n into the actual . In the latter canvas w envy the yo ungsters divested o f their clothes and bathing

w e et in the at r or broiling their w bodies in sunshine .

ow The breeze bl s hard on the sails yonder , the

w o . ater r lls on the beach The canvas is full of humor , the stubbo rn little nudity in the fo reground re fuses t o h f be li fted off t esand t o the delight o all concerned .

o oo The fresh m rning air is c l and inviting . Its “ ” humor recalls t o on e Playing in the \Vater

o f oo Here the tenderness childh d is treated .

[ 274 21

sea w n ot o o and frolicking and ind , has f rg tten the w o w w ater ver hich the ind is hushed , the sky heavy

sun o w o laden , the c ol , the children h se sad inheritance it is t o be crippled or imbecile . “ ” His Sad Inheritance ( 3 50 ) is a picture o f a

n f priest guardi g a lot o deformed boys at their bath . His duty it is to take the place o f the l ost mother

o f and to substitute motherly care . The figure the w noble priest , ith black robe pitched against a dark

sea o and somber , ccupies a goodly part of the fore

o f o gr und o the picture . He leads one badly def rmed

o child and several others follow . Their nude b dies

su n sad are lighted by the , but it is a sun , bland , mak

m o ing us al ost f rget the sense o f the outdoor . Cool w shado s , taking on reflections , increase the depressing

o f w spirit of the canvas . Blank miles quiet ater

o stretch out befo re us . The limitless sea l ses itsel f

w on h in darkness . Gently it rolls its aves in the bat ers as th ough care ful o f the figures that are unable t o m o o r w . fr lic along the beach in its aters They , any w ith crutches to support them , move pain fully and

ow o f o sl ly . The head the priest , barely t uched by

w . light , looks do n at the cripple he is leading Tightly

o w o he h lds his charge , h se misshapen leg and torse sh ow his sad inheritance . Need w e speak o f the technical virtues of this can [ 280 ]

w w r vas , hich Sorolla has done ith a sympathy and e serve now here surpassed in this collection o f pictures !

— w o And as for moti f here , it is shado t uched by

o o gloomy light , as th ugh to c mplement the spirit o f the exhibition .

O f all the 3 50 paintings n ot on e is more popular ; no other but this destroys w hatever happiness w e may possess .

A HERM N BLOCH .

T he I n de en den t e ua 2 ( p , F br ry 5, A GREAT S PANI SH PAINTER

NEW YOR K has been made t o realize t w o th ings this

o w w m nth , o f hich most o f its citizens ere be fore

n e ° w as unaw are . O the existence and charm o f the building in West 1 56th Street o f t he Hispanic S o

ci et o y o f America , founded on good br ad lines for the furtherance o f our know ledge o f things Span w ish , and the other is the existence hich this Society again has enabled us to appreciate o f a mighty descendant o f the seventeenth -century artists

o f Spain in the person o f Joaquin Sorolla y Bastida . The w ork o f Sorolla shows influence from the great naturalistic w ave in French nineteenth - century

[ 285 ] art but obvi ously Velazquez himsel f w as very seri ou sly studied by this m odern master o f other kn ow w ledge unkn ow n t o Velazquez . Kno ledge o f light

o o o and movement ab ve all . No ph t graph can give a

o f o f w true idea the brilliant technic this man , hose eye seizes and w hose hand fixes alm ost instantly all the m ovements and colors and characters to be seen

o . o in his c untry , especially by its seas His visi n is

w o o w al ays clear , and poetic nly as p etry d ells in his subj ect matter al w ays ; yet his things have other depth o f splendidly virile achievements and o f his

o o n e sch ool he h as n o rivals . In p rtraiture is tempted t o compare him w ith Sargent and t o feel s ome

o w o similarity in p ints of vie , but pr bably his best

hi o w s w . portraits are not here , hile best genre rks are Never has the m other j ust after the birth of her

so o child been t uchingly painted as in the large , quiet

ow o o f w toned canvas , sh ing nly the expanse hite

o w t w o . c vered bed , ith the heads appearing The

’ o o nly darker sp ts , the mother s head turned in , are

e m ow w e w . t ard the mite , ith eyes tightly shut Seldo has the horr or o f def orm ity been so intensely painted “ ” sad o o w as in the c l red Sad Inheritance . ith its fo reground group o f crippled boys led d ow n to the

o w o w e sea by the str ng, stern priest , h m yet feel is

o w e o sympathetic , th ugh can see nly his back . A [ 2 86 ]

attenti o n betw een the German exhibiti on at the

Metrop olita n and the w o rks o f the Spanish master

S o r olla y Bastida at the Hispanic Museum . Three

’ hundred and fi fty specimens o f this artist s w ork are

ow m sh n , and critics and ad irers are applauding the o o o f w ho j y us , vital , sunny spirit this man chiefly paints sunshine and love , the frolics of children , and “ f on e w ho the play o the w aves on the seash o re . N 0 ” appreciates great painting , says the critic of the “ ” “ New o o o m Y rk Evening P st , sh uld iss seeing this

o for o n ot exhibiti n , Sor lla is a very great painter ; on e n ot w ho of his brother artists , one amateur of art

w o has seen his ork , but ranks him am ng the greatest

’ painters o f the day . The painter tells you that he “ hates darkness . Claude Monet once said that paint ing in general did not have light enough in it . I e w . w ow agree ith him painters , h ever , can never

o o repr duce sunlight as it really is . I can only appr ach h f “ ” N t e o . . ew truth it M r Huneker , in The Sun ( “ o o o o f Y rk ) , l oks up n him as the painter sunshine ” “ o om w ith ut equal . Admitting no mincing o f c ” “ o n ot n ot o paris ns , he asserts that Turner , M net , paint so directly blinding shafts o f sunshine as has

o . w this Spaniard . O f his meth d Mr Huneker rites

A fter years o f lab o r he has achieved a pers onal

so om a t o o w o vision . It is c pletely his th t c py it uld

E29 2 ]

o be to perpetrate a burlesque . He empl ys the divi si on al toe/res o f o o o — M net . sp ts . cr ss hatchings , big ,

o a la o saberlike str kes J hn Sargent . indulges in

o o o o r o re sm oth sinu us silh uettes , huge spl tches .

o o a su r fulgent patches , expl si ns , vibr ting sur faces ;

m oo an d faces that are s th oily , surfaces , as in his

’

w y . You aters . that are exquisitel translucent can t

o pin him d ow n t o a particular f rmula . His technic

o w o in ther hands ould be c arse . crashing , brassy .

t iss i o n ot an o f or m . y bald , and too f It is these , th ough it is t oo often deficient in the finer m o dula

on e o ti ons . He makes f rget this synthetic technic by

en t rai n sv m ath w . his , sincerity . and p y ith his subject

o o o o o o Apart fr m his lusci us , tr pical c l r he is a s ber f A o o . narrat r facts y , but he is a big chap , this amiable little Valencian w ith a big heart and a hand

ou t w o oo that reaches and grabs do n cl uds , skies . sc ps ’ an d set s w up the sea . running . riggling , screaming a j oy ful band o f naked bovs and girls over the go lden summer sands in a s ort o f ecst atic symphon v o f m hit a pantheism . I agine \Valt \V m n ( omitting ‘ the Children o f \Valt w hen he ev okes a

o f ou w mass animated youth . and y ill faintly gather ’ o o o f o oroll the rich c l red rhythms Sen r S a s pictures .

o Mr . Huneker thrusts in a cauti on against supp s

' ing that because o f S o rolla s en o rm ous br i o his

a w a o f \ e gener l y entrapping nature is brutal . V get o o f w h o w s me further ideas hat appeals to him . and

0 E29 7 ] . o ow - a o he stands in relati n to a fell p inter , Zul aga , w hose w ork is t o f ollow his at the same place o f ex hibi t i on

He is masculine and absolutely free from the n mor bides s a o f ow - o eurasthenic his fell c untryman , ’ o Zul aga . ( And far from attaining that painter s

o o o inches as a psych l gist . ) For the delineati n of

oo o o f con m ds nocturnal , o f poetic melanch ly , the t emplat i v e aspect o f li fe w e must n ot go t o S o r olla .

o f He is not a thinker . He is the painter bright

o . m rnings and brisk salt breezes . He is hal f Greek ’ ‘ \Vi n ckelman n s H ei zerkeit There is , blitheness , in his

o o m gr ups o f r mping children , in their unasha ed

o on bare skins and naive attitudes . B ys Valencian

or beaches evidently believe in Adamic undress . N do the girls seem to care . Stretched upon his stomach

o w — on the beach , a y uth , stra hatted , stares at the

o f o o n o n spume the rollers . His c mpani n is t so u

o sh e c nventionally disarrayed , and as has evidently not eaten o f the pois on ous apple o f w isdom sh e is ’ t w o free from embarrassment . Balzac s in fants ,

o o f o n ot inn cent their sex , c uld be less care free than

o How the Sor lla children . tenderly , sensitively he m odels the hardly nubile fo rms o f maidens ! The movement o f their legs as they race the strand , their

w or o dash into the ater , their nerv us pausing at the

w et — o ou o o f rim of the here is p etry for y . the p etry

lan o o gl ori ous days in you th d . Curi usl y en ugh his types are for the most part m ore internati onal than

t [ 298 ]

One picture in the co llecti on strikes an other n ote “ on e o f o o the sad picture the c llecti n . In The Evening Post w e read o f it It is called ‘Triste Herencia ’ ( ‘Sad

o and bel ngs t o J ohn E . Berw ind . It hung in the

- o oo o f o f o Sunday scho l r m the Church the Ascensi n , o n Fi fth Avenue ; yet f ew knew that New Yo rk pos ‘ ’ a sessed this m sterpiece . The sad inheritance has come t o a number o f crippled o r imbecile boys w ho are being w atched over by a priest as they take their bath on the beach at Valencia that has l ost all the ’ f o r ll glads omeness o S o a s other beach pieces . Here again the artist displays his marvel o us pow ers o f

i s bo - cor dra ftsmanship . There a y in the right hand

o f o sun ner the picture shading his eyes fr m the , the m odeling o f w h ose figure simply indicated by the

ow on shad his stomach is quite extraordinary . and

f n that o other boys o crutches is n o less remarkable .

T he Ci n ci n n a ti i mes -S tar e ua 2 ( T F br ry 7, A GREAT SPANI SH PAINTER IN NEW YORK

I F it w ere possible t o w rite an adequate account o f the

o o o w o o f o S r lla exhibiti n , it uld be d ubt ful kindness

w o t o any o n e w h o w as n ot t o see the pictures . It uld

E3 04 ]

simply make such an one disgusted w ith fate and the w riter fo r creating a hunger n ot t o be satisfied .

Three hundred and fi fty paintings . big and little , all

on e on e n ot u n i n t er by man , all in building , and an esting on e in the lot ! Standing in the presence o f h m f o r on e w t is a azing display , it is impossible any ith

o a grain o f art in his nature to remain unm ved . I f

ou f o r o y have never cared pictures bef re , here is the

al provocation fo r an aw akening . But i f you are w ready in fatuated ith things beauti ful , have a care how you drink of the w ine o f li fe w hich this w o nder

i ful Span ard offers you .

the o t o Surrounded by pictures , it is imp ssible think

o i n st an t lv or talk in m oderation . It goes t the head

o w ith the finest o f int oxicati ons . Here is the w rk o f a man surcharged w ith the j oy o f things and o f li fe

o t o an unparalleled degree . So many pe ple coming “ o oom ! w as int the r exclaim Why , I had no idea it

’

n ot sa o . like this . It s like anything I ever w be f re

o o o o o o u t Just lo k at the c l r . Lo k at that girl c ming o f w see o w h the ater , and th se boats ; y he paints a t oo f o o . l ndscapes , , and the p rtrait the King Why ! he paints everything . What a cunning baby

o o n ot This is an excerpt merely . What S r lla has

f w n f reco rded o li fe ould be hard t o tell . He is o e o

o o om n i v erou s the m st c mprehensive , . and artistically

[ 3 09 ] success ful painters the w orld has ever seen . Until

ow o f w f ew this sh ing h is ork , but very in America

w . o kne him , even by name The present exhibiti n is beyond all manner o f d oubt on e o f the m ost imp ortant

o on e events in our entire art hist ry . When realizes that the pictures are assembled here f or o nly a peri od

few w o f o f a eeks , it incites to further extravagances

o en thought . For instance , that the nati n should rise mass e o , purchase the entire collecti n as the greatest

o less n in art it has ever had , and then delegate its m ost alluring o rato r t o call upon S eii or Sorolla and persuade him that he could find a congenial w orking

o w e l a h ome in America . S shou d be in a fair w y to

t o f o r m be born again , assure A erica a true renais

- t o o f o or sance . It is heart breaking think this pp t u n it f or o y devel pment , for intellectual advancement ,

o f for riding the crest o f the highest tide li fe , Slipping

m o f e o o aw ay from us . At st only a w th usand s uls w m o W o ill read this ser n in paint , here millions sh uld

f am have the benefit o it . I a peaceably inclined citi w zen , but truly the situation stirs ithin me feelings which point t o the probability that s ome o f my f or bears w ere pirates .

o w h o w e o Sor lla is a man , as express it in this c un

. ow oo try , has made himsel f Heaven kn s he had g d raw o a material t o w rk w ith . He w s born in 1 863 in [ 3 1 0 ]

h h e m f f n sympathy w it t ga e o li e a d its players . His

o great passi n is sunshine . He is exuberant , keen ,

w m a o o w tender , hi sic l , brusque , phil s phic , but al ays

t o strong and impeccably frank . It is unnecessary add that he is o riginal . His pictures are sho w n in the beauti ful pati o o f

o o the Hispanic S ociety . This rganizati n invited Senor S o rolla t o be its guest and to Sh o w this large

o t o o mo collecti n , in the desire bring ab ut a re inti mate understanding o f the Spanish pe o ple by th ose o f

o m o w America . The h sts ust feel very c ntent ith the w elcome o f appreci ation w hich their generosity has brought fo rth . S o rolla has the rare gi ft p ossessed by s ome speak ers o f getting his idea be fo re you in the simplest and

at o quickest w ay . His pictures indicate nce that he has an idea ; and they do not cover the idea up w ith a mass o f pict orial verbiage . You know w hat he is

o ou o om talking ab ut , y rec gnize pr ptly that it is j ust w ou w t o ow o n ot o ou hat y ant kn . and he d es b ther y w ith those by- products o f intellectual gymnastics

f o w o o . hich c ver up , instead unc vering , the idea It is

h a f o an art w it out grain o affectati n . He never lavs on a stroke o f paint t o make you think he is sh ow ing

' o n t m on e o do off . And he d es ake canvas try t the

o f a a o w o rk h l f d zen .

[ 3 1 6 21

i s o That , of course , does not mean he understo d by

w e everybody , for are not by nature very simple in

fo r t he artistic sense . The taste simplicity is a thing w o ften to be acquired . Some people ant a painting to tell them all the facts , much after the fashion o f a

who w photograph . But then there are those ill sit w do n and peruse the dictionary for diversion , instead

“ ’ ” s o f a good yarn . He an impressionist , say these

w . votaries o f truth ; and the hole truth , be it noted

i s Sorolla indeed an impres sionist , and a fine one , “ ” who too . These paintings , said a lady , by the “ ” - w a w w . y , is a ell kno n artist , are plans for pictures Certain spots and lines here and there on the can

w a vases disturbed her , here things had smeared little , w w bent a little out o f good dra ing , or ere le ft frankly h . as s e w unfinished She resented these , j ust ould doubtless resent that a fine orator should make a slip

w h i s o f grammar , or repeat a ord , catch breath , or

n clear his throat . A devotion to details w hich have o bearing on the point at issue — the thought being

— presented is a mental cerecloth . I f much is le ft out o f these canvases it is only that w other facts may appear ith greater emphasis , that the imagination o f the beholder may gather some

o i momentum fr m that of the artist . Whatever s told w is given ith such virility , brilliancy , and precision

E3 2 1 ] that even the m ost unw illing t o believe can not say

“ ‘ that it is necessary to w rite cow unde r any picture

“ 3 ) Sorolla intends for cow And i f he paints on e

’ ou purple he s apt t o convince y . Sorolla has the g i ft o f making you feel at h ome w w a on o o herever he leads the y , the sh re am ng the

o w b ats ith fisherman and bathers , in the fields and

o f w o r o cities Spain , ith peasants and grandees , acr ss

o t o l onely m ountain passes. He intr duces you the most vividly painted and varied pers onalities in his

o f portraits . He appears to understand every kind

o t o om individual fr m king beggar , and every age fr

n e - o the n onagenarian to the w born babe . The c llee

ow o o f m tion here sh n c ntains many examples , all the m f f o so f o . ad irable , this di ficult phase art

o o w Th se r ads and bridges , arid astes and thickly w oo o w ded hills , the g rges and running aters o f Spain , are brilliant and dramatic w ith col o r and light and are

— n e true pictures every o . That of the young girl w ho o o w has j ust stepped fr m her cean bath , ith her w et m t o w o ow costu e clinging her , hile a y uth is thr

w o on e w m ing a great hite sheet ab ut her , is hich see s

n o on e to leave untouched . It embodies th e w h ole

w o o - o grace and h les me light heartedness o f y uth , all

— o bathed in brilliant , rich c lored Spanish sunshine .

o o ou o o r I f S r lla leads y in seri us , sad , even tragic

E3 2 2 ]

' Exc el en t i s i mo S eri o r A D . ureli an o de B eru et e

T h e hi ladel hi a I n ui e e ua 28 ( P p q r r, F br ry , JOAQUIN SOROLLA Y BASTIDA

I T i s not often that a one - man exhibiti on can fascinate a community to the extent that the w orks of the modern Spanish master , Joaquin Sorolla y Bastida ,

I 6th have done at the Hispanic Museum , 5 Street and

w Ne i w . Broad ay , York , dur ng the last fortnight Up to the present time persons have visited the exhibiti on . Last Sunday alone the attendance

” ’ w as and on Washington s birthday

In fact , William M . Chase , instructor at the Penn sylvania Academy o f the Fine Arts , considered it of such importance that he took his entire clas' s over to

New o o Y rk t see it .

o o o f 0 The exhibit , c mp sed 3 5 pictures , over a hun

o f w dred hich are small sketches , is the sensation o f

n ow the h our in the art w orld of New York . Until

’ little has been know n o f this man s w ork am ong

m f ew so A ericans , except by a artists living abroad , that the present display c omes as a complete revela

o ti n . The Metropolitan Museum has purchased tw o of “ o the pictures , Oxen Hauling B ats on Valencia

[ 3 28 ] li x c el en t i si m o S enor M arq ués d e I an a

his Beach and composition group , Leonese Peas ” ants , both large canvases , for its permanent collee tion .

w e Most o f the paintings are landscapes , ith som few it i s o f portraits , but in his depiction nature that

Sorolla chiefly excels . These canvases are beauti ful in color , full o f sunlight and atmosphere and air . What Sorolla seeks is not to paint facts or to tell

o f a story , but to convey to the spectator something the glad joy o f li fe that is felt out o f doors w ith

’ — i n w n w t he nature contact ith the su s arm rays , cool

o f play the breezes , and the broad expanse o f sky and

o sea. It is primarily these moods o f nature that S

t o rolla grasps and transmits his canvases , and in

on their ability to hold , to thrill , and fascinate the

’ ll looker they stand the test of a real art . An artist friend o f Sorolla says that he never makes a corree w tion in his dra ing .

But it is not alone as a co lorist that Sorolla excels ; he is a great dra ftsman as w ell . In the large canvas bought by the Metropolitan , for instance , the character and action o f the oxen straining under their m load , the various attitudes and move ents o f the w figures , Sho a perfect mastery o f technic . In the portrait groups is one o f the young King o f

- Spain and one o f the Queen , also a full length , seated

E3 33 ] w p o rtrait o f the Spanish artist Madrazo . All are ell

n ot so m . rendered , but char ing as his landscapes

As t o the li fe o f this remarkable m an — h e w as bo rn

- o a o . in Valencia , Spain , f rty seven years g Left an o w t w o old w as o rphan hen but years , he ad pted by a

- o o poo r th ough kind hearted aunt . Early in li fe S r lla

' o w w fi ft een w as t ok an interest in dra ing , and hen sent t o m t o w the acade y at Valencia study art , here he s oon w on a prize for color and draw ing . A man o f m f o r S eans , seeing talent in the boy , paid his tudies

’ f or o o m several years . Later S r lla arried his patron s daughter .

As usually happens , his pictures at first received

o o w o f little rec gniti n , but hen his scene the Spanish War o f Independence w as first exhibited at Madrid m m it i mediately brought him fa e . A fter that he “ t w ent o Rome and Paris on a scholarship . His Fish ” - o R ing B ats eturning , exhibited first at the Paris

o w as o o fo r Sal n , b ught by the French g vernment the

Luxembourg . Since then his fame has been uni versal .

o m And yet , Sor lla is a odest , retiring little man ,

o t o an d dev ted his art , his country , his Spanish

omelet . The exhibit w ill remain in New Yo rk until March

8t h o o w w f . Vt , a fter hich it ill g to Bu fal not Philadelphia !

[ 3 34 ]

o private citizen , and here als the public has responded w o o o ith j y us appreciati n . We are promised an ex h i

o f o bitiou m dern English painting . The ball has

o been set r lling , and it is impossible to predict the w proportions to hich it w ill attain . But it w ill be a great mistake to permit any reacti o n against French art to creep into the general feeling . The modern

French art that i s having a representation at M o ntreal must come here also .

I N a city n ot supposed to be characterized by an interest in art there has been a truly amazing w el come accorded t o both the German exhibition at the

Metropolitan Museum and the S o rolla exhibiti on at the H ispanic Museum . At the German exhibit the th w attendance from January 4 , the day on hich the

2 2 d exhibition opened , until February , the day o f its

w as o o o closing , At the S r lla exhibiti n the attendance from February 4th until the morning o f February 2 st h w as In the case o f the

S orolla exhibiti on the first four days w ere devoted

t w o to a public especially invited . The record days

’ o w o w o f this exhibiti n ere Washingt n s Birthday , hen

people visited the galleries , and the preceding

1

w w . Sunday , hen people ere there

1 T he fu ll r eco rd o f atten dan ce i s given o n a sub sequ en t a e p g . [ 340 ]

T h e E v en i n os t M a c 6 ( g P , r h ,

- T H E Sorolla exhibiti on leaves us to morrow . Its f memori es w ill remain w ith us o r many a long day . “ An article by Christian Brinton on S oro lla at the ” w H ispanic Society , hich appears in the current num “ ” ber o f the International Studi o gives a very lucid

’ view o f the Spanish painter s art . It is the fairest article on the subj ect that w e have read . M r . Brinton speaks o f the luminous and stimulating art o f S o ” “ o hi s r lla , o f his being the strongest personality of

N C‘ who are circle , that aggressive group of artists to -day reviving w ith such veracity and force the an ” cient pictorial supremacy o f their country , Spain ; “ he tells us h ow there has never been and there can never be anything speculative or phil os ophical in t he ” “ o f art the Iberian Peninsula , that Spanish painting ” “ o n ot o d es express symb ls , it records facts , that ful

filling the broad , traditional requirements o f Spanish painting in general , yet bathed in the vibrant splendor

o o f the modern palette , the art o f Sor lla suggests in ”

o . technical surety that o f Z rn , Besnard , or Sargent ‘ Yet n one o f these men equals the sturdy Valencian

w hi s in his close contact ith reality , in the rapidity of

[ 34 5 ] impressi onistic notati o n or the magnificent robustness ” w o o m o f o f his outlook . We uld rec m end a reading

’ o t o M r . Brint n s article a certain impressionist painter o f this city w ho could see nothing but a chromo in

’ “ S orolla s o o o Beaching the B at , and nly snapsh ts in the beach pictures .

’

R ow n ot . M . BRINTON S article h ever is all praise

’ “ S orolla s pow ers o f ready n otati on are truly phe “ n omen al so , but it is not apparent that he is able deliberately to face a sitter and reconstruct upon ’ w canvas his ( the sitter s ) inner , as ell as his outer

o o semblance . The maj ority o f the S r lla portraits “ ”

o . M r . Brint n finds lacking in depth and inevitability “ n o r S o rolla is et c ontemplative . He does not in p t rait u re patiently aw ait that con fidi n g sel f- revelation

’ which comes w ith time al one . It is a pity that th is interesting and j udicial article did n ot appear earlier When unexpectedly large crow ds w ere filling the M u

w o seum on 1 56th Street . It uld have assisted these crow ds t o a fuller appreciati on o f the heights t o “ w hich S o rolla had reached in that Jubilant S v m ” o o f t o o o f m ph ny Sunlight , a rec gnition his li ita ti ons and o f the cause o f them — he con fesses himsel f he can feel no sympathy w ith a sitter in a studi o

[ 346 3

' w o o sea-s rit e babi es Painter o f sharp s i ft m ti n , of p that flee

Out to the flashing breakers , out to their Mother the

Sea ,

o f sea Master of painted motion , lord the and the sand

o m a We bring thee greeting , Sor lla , and hearts that y understand

For w e o f this young strong Nation are keen fo r the thing that is true We w ant the art that is Honest and w e prod the

Dreamer to do .

’ w o s We elcome y ur art , Sorolla , because it alive and aglow

o w With seedlings and seas ns of Nature , ith the Sea

and its ebb and its flow .

o Master o f painted canvas , L ver o f human kind

We bring thee greeting , Sorolla , man o f the open

mind .

o o f Painter of splendors and squal rs , fishermen

peasants , and Kings

o f Painter o f modern Madonnas , j oys that maternity

brings ,

E352 ]

o f o f w Painter change and motion , ith brush that is w w s i ft like the ind ,

Painter o f gay , naked boyhood , pure both in body

and mind , w w Master o f masterly brush ork , ith vision unjaded and keen

We bring thee greeting , Sorolla for Art that is vital

and Clean .

Painter o f radiant childhood the sun and the open

sea ,

ow Painter of sorr ful children , shattered by Destiny,

Painter o f innocent girlhood , o f youth the dreamer

divine , w Painter o f men and omen , o f faces like thine and

mine ,

w w s Painter o f ind and motion , of the ide mysteriou main

Honor and greeting , Sorolla , to the son of thy M other — Spain

ZA ELI BETH NEWPORT HEPBURN .

E3 57 ] T h e E v en i n os t M a c 8 ( g P , r h , SOROLLA E! HIBIT ATTENDANCE SURPRISES STUDIOS

IN A LITTLE MORE TH A N ONE MONTH VISI TORS H AVE THRONGED T O T H E HIS PANIC SOCIETY

M USEUM AT AUDUBON PAR K — T H E NUMBER GREW

A A SO R PIDLY TH T ARTISTS WONDER .

I s the New York public mani festing a sudden lean

w n ot wh ing to ard things artistic ; and , i f , y the sur prising figures that w ere given ou t to -day at the Hispanic Society Museum ! This is the problem that is being w orked out in the studi o belt w ith eager i n

t erest .

The exhibit o f the Sorolla canvases — w ork of the

Spanish painter — w ill be closed to - night at 10

’ o O clock . For a bit m re than a month the pictures w w have been on vie , seven days each eek , from

1 0 A M . until the same hour at night , and at the opening hour t o- day the total o f attendance had been probably the largest number o f visitors ever

o rec rded at a similar exhibit in this city .

o w as w on When the collecti n first placed on vie ,

h o 8t w as 8 . February , attendance for the day 5 9 Fr m

w o that time the cro ds c ntinued to increase , until , yes

[ 3 58 ]

Shortly after the lunch hour to -day a small parade o f touring cars , cabs , and other vehicles began ar riving, and these , added to the steady stream o f visi

who w tors came via the sub ay , gave the scene outside the exhibition something of the appearance o f a

’ — Monday night at the opera . To day s attendance , it w as w said , ould probably be one of the largest of the month .

T he New o k Herald M a c ( Y r , r h 9 , AT H ISPANIC MUSEUM

ATTENDAN CE GROWS FROM 589 PERSONS AT T H E

A A AGO T o ON ST RT , MONTH , LAST SUNDAY TH RONGS o f persons passed through the Hispanic Society ’ s museum yesterday to get a last glimpse of the exhibition of paintings by Mr . Sorolla , a Spanish

w . painter , hich came to a brilliant close The attend

w as ance since the exhibition opened , on February h t . 4 , has been persons

AT w as first the attendance small , but the press and a general discussion o f the merit o f the pictures drew the attention o f the public . The first general day,

8th 8 . February , had an attendance o f 5 9 persons E364 ]

yet are bound t o see in his marked triumph evidence o f a capacity in the people to appreciate and to be

n moved by high art . This ew Spanish Conquest of America simply proves once more that artistic genius

i ts has the w orld at feet .

L as N ov edades New o k M a c ( , Y r , r h I I , EL GRAN TRIUNFO DE SOROLLA

U N A concurrencia inmensa asi stio el martes ultimo a la clausura de la ex hibi cién de pinturas de Sorolla y

el Bastida , en Museo de la Sociedad Hispanica de

o u e América . El numero de pers nas q visitaron la exposicion es el mas grande que j amas haya con cu r rido ex hibi ciOn en esta ciudad a alguna de arte , pues

el ebrero se que desde 4 de F en que abrio , han v isto

o las famosas obras del artista espan l , per

n h i so as . ex ib ciOn el El primer dia de la para publico ,

ex hibi ciOn 8 después de la privada , concurrieron 5 9 per son as ; durante una semana hubo una co ncurrencia

el 2 1 ebrero 1 0 diaria de de F concurrieron ,

2 6 el 2 2 o el 9 ; , dia de fiesta naci nal , domingo

2 8 el m siguiente , y sabado ulti o , no habiend o sid o posible a millares de personas poder

el entrar este dia en Museo , por la cantidad de visi

E368 ]

pintor nuestras mas calur osas y entusiastas

Ci on es o el m , m vidos por natural senti iento que ha despertado nuestro orgullo también ante triunfo .

e e— cos ua a ram a Si t P i , G d r

n - r r m s S e e P ea s uada a a Mt . v k , Q T he m oun a n so-ca ed i n t h e o n ce of M ad t i ll , pr vi i d i s o 6 r a u 1 0 . . , b t 7 ft high

o achu e as To e o C v l , l d

o ac u e as o edo C v h l , T l “ o ac u e as e a es the mos n o e n C v h l , Littl C v , t rth r su u o f o o b rb T l ed .

Las P edri z as a o , P rd

Las P edri z as P a do , r “ ” “ r i z P a do P ed a S on ac S on e en ce . , t y Tr t , t F El r , a e ow n of 1 800 n a an s 0 m n u es littl t i h bit t , 4 i t by amw a n o om ad d i n a r o a a 6 tr y rth fr M ri , y l p rk 3 m es i n m e en il circu f r ce.

4 S efi or Gomar A di sti n gu i sh ed l an dscap e-p ai n ter

To n eo ar o 5 El r , P d

E1 o n eo P a do T r , r “ o n eo ou s n - ace T r , j ti g pl

6 Un a cal l e de Tol edo A T ol edo str eet

E38 1 ] Vi s t a del To r n eo Vi ew fr om El T o rn eo

M u r all as de S egov i a Wall s o f S egovi a “ S egovi a i s an u n match ed pi ctu r e o f t he Middl e es You ead i t s s h l - Ag . r hi tory on t e o d city w al ls w e e — e w e s — ll n A . a e a . ith th ir ighty thr e to r . G g

on en o del a a e o a C v t P r r l , S g v i

on en o f P a a S e o a C v t El rr l , g vi ” P a n e- o T h e n o su essed mon a . w rr l , Vi Arb r ppr ast er i s ac oss t h e esma t o t he n o o f y r Er , rth

S egovi a .

I O Al r ed ed or es de S egovi a E n vir on s of S egovi a

I I R efl e os del abo ea j C , Jav

eflec on s om t he a e a ea R ti fr C p , J v a ea a ow n o f 6 00 n a an s on t he a on J v , t 7 i h bit t , J l , m s so o f n T he ca e i s a o de 4 5 il e uth Val e c i a . p C b an n on o S A t i .

amo es e o a El Cl r , S g v i

T he amo es S e o a Cl r , g vi S e o a i s e c ed on a ock a ou 0 g vi p r h r y hill , b t 33 e w een t w o sma s eams t he E esma ft . high , b t ll tr , r , n o an d t he amo es sou w c o n t o t h e rth , Cl r , th , hi h j i h w est b el ow t e Al cazar .

E382 ]

1 Roca s del abo v ea 3 C , Ja

oc s of t he a e a ea R k C p , J v

I u e a c a 4 Alq ri , Al i r

a m- ou se c a F r h , Al ir c a i s a own o f n a an s 2 m es Al ir t i h bit t , 3 il h as man a ms and sou th o f Val en ci a . It y p l - or an ge trees .

M a ri a en B i ar r itz M ari a at Bi arri tz S enorita D ona M ar i a S oroll a

16 ombr a del uen e c n ara To e o S P t Al a t , l d

S adow o f th e can a a d e o edo h Al t r Bri g , T l Thi s bridge at t he n o rth east an gl e of t he city h as n n m e i s o f oo s o e large an d o e s all r arch . It M ri h al k n t r z br i e o n . a a a d rigi (Arab g ) .

as o de S an er an o To e o C ti ll S v d , l d On t he h eight s on t he l eft b an k o f the T agu s are th e u n s o f t h e as e o f S an S e an do e ec ed r i C tl rv , r t by Alfon so VI ( 1072 - 1 109 ) t o protect th e con ven t o f a n ame an d t h e c an d en ew ed th t ity , r by Al fon so VII I ( 1 1 58

D r D cr 1 8 . e et

An emi n en t phy si ci an

E385 ] 1 u en e de c n a a To e o 9 P t Al a t r , l d

can a a d e o edo Al t r Bri g , T l

La e a an a S l v , Gr j

T h e o es L a an a F r t , Gr j I n 1 1 P u c ased t he an a an e 7 9 hilip V p r h gr j , gr g , o f t he e on m e mon s se en m es sou eas Hi r y it k , v il th t o f S egovi a an d began t o con str u ct t he chateau an d a den s n amed L n a g r a Gr a j .

Ri o de las T u c as ran a r h , G j

ou -s eam La an a Tr t tr , Gr j

a o de las an as c a e a P ti D z , Al az r , S v ill

ou o f t he an ces caz a S e e C rt D , Al r , vill T h e caz a t he a ace o f t h e oo s n s h as Al r , p l M ri h ki g , b een t he residen ce o f t he Sp an i sh sover eign s si n ce

h e d n an d i n 12 8 . t he captu r e o f t e city by S t . F r i 4

O S Ad el f as Ro se-bay tr ees

2 a a a s u as 4 C u d , A t ri

en s u as Gl , A t ri

P ab ellon de C a rl os V S ev ill a

P on o f a es a es o f S a n avili Ch rl V ( Ch rl I p i ) , S evill e

[ 3 86 ]

u en e de S an ar i n Tole o P t M t , d

’

S t . a n s d e o edo M rti Bri g , T l

N ar an j os Oran ge-trees

Cordeleros

R op e-mak er s

29 S en or Fr an z en T he ph otograph er

0 Rocas del Fa o arr 3 r , B i itz

oc s at t he ou se a R k lighth , Bi rritz

I uen e de S an ar n Tole o 3 P t M ti , d

’ d e o edo St . a n s M rti Bri g , T l

3 2 P escador a v al en ci an a Valen ci an fi sh er w oman

am n o de S an s eban s u as 33 C i E t , A t r i

oad of S an Est eban Ast u r i as R ,

s an ue del c ar e lla 34 E t q Al az , S vi

as n i n the ca a S e e B i Al z r, vill

E389 ] 3 5 P ue rt o de V al en ci a H arbo r o f Val en ci a

6 m on on an o cl en o s u as 3 A t d h , A t ri

a mak n s u as H y i g , A t ri

asa del eco To e o 37 C Gr , l d

Hou se o f E l eco o edo Gr , T l om n o T h eot ocO u li ca ed El eco 1 8 D i g p , ll Gr ( 54 1 62 5)

38 M a ri a con somb r er o n egr o M ari a w ith bl ack h at S enorita D ofi a M ari a S o r oll a

39 To r r e de en t r ad a en T ol ed o

0w e of en an ce o edo T r tr , T l

0 Las o ach ue as To e o 4 C v l , l d

2 ( S ee No . )

1 Rocas ea 4 , Jav

ocks a ea R , J v o ( S ee N . I I )

2 am n o de 105 a es T o e o 4 C i Al ij r , l d

oad o f t he a es S on ou n d o edo. R Alij r , t y Gr , T l

43 Famil i a sego vi an a S egov i an f am ily

[ 39 0 ]

E sca dan d-o u v a uv-ea l , J S‘caldin g gr ap es ee No 1 1 ( S . )

Joaqu i n

no D oa u n o o a S e r . J q i S r ll

46 El en a H el en S enorit a D ona El en a S or oll a

u esco c ar e a 47 El Gr t , Al az , S vi ll “ El Grutesco

48 Pl aya de V al en ci a B each o f Val en ci a

e as secar a en c a 49 V l a , V l i S ail s dryi n g

50 N ar an j o Or an ge—tr ee

5 1 N 1110 con la barqu it a Littl e boy w ith t oy boat

52 Vi ej o pescad or v al en ci an o Old V al en ci an fi sh erman

53 B a r cas de pesca Fi shi n g—b oats P u ert o de Val en ci a

’ H arb o r o f V al en ci a

i El beso T he ki ss

n o sob e u n a oca ea Ni r r , Jav Littl e boy on a r ock

B ao de la Re n a Valsai n i ,

’ T h e u een s eam Val sai n Q B , Valsai n an old an d n e ec ed u n n - c a eau , gl t h ti g h t , t w o m es om La an a u P an d il fr Gr j , b ilt by hilip I I e bu r n ed i n t he r eign o f Ch arl s I I .

sca e a del a ac o an a E l r P l i , Gr j

S a case o f t h e P a ace L a an a t ir l , Gr j

59 El en a en el P a rd o H el en at El P ardo

F uen t e de los C aball os Gr an j a

ou n a n o f t he o ses L a an a F t i H r , Gr j T he fou n tai n s o f La Gr an j a ar e su p eri o r t o th ose f es e w e e ma n m ade i n 1 2 o V er saill . Th y r i ly 7 7 by I sab ell a Fa r n ese as a su rpri se f or h er h u sb an d n He P on hi s e u n a e a on a se ce . hilip V , r t r ft r l g b “ said ! It h as cost m e three milli on s an d h as ” m s T h e w a e i s su ed amu sed me three i n u te . t r ppli l r 1 o t h e an a fi c a ake E M a 00 . a e by rti i l l , , 4 ft b v sea

E39 4 ]

“ Otofi o an a , Gr j

u umn La an a A t , Gr j

62 ar a n an o a o M i pi t d , P rd

a a a n n P a do M ri p i ti g, r

6 Fn en e de la e a an a 3 t S l v , Gr j

oun a n o f t he o es La an a F t i F r t , Gr j

6 Fuen e de e un o r an a 4 t N pt , G j

oun a n o f e u n e La an a F t i N pt , Gr j

65 Hu e o de n a an os a en c a rt r j , V l i

O an e- o e a en c a r g gr v , V l i

66 Fr an ci s u et a a en c a q , V l i

an n a en c a F y , V l i

6 s e an o la esca a en c a 7 E p r d p , V l i

Wa n f or t h e fi sh a en c a iti g , V l i

68 Reco en o la e a a en c a gi d v l , V l i

aki n i n t h e sa a en c a T g il , V l i

6 Re eso de la esca a en c a 9 gr p , V l i

e u n om fi s n a en c a R t r fr hi g , V l i

E39 7 ] 0 esca o es de u s u as a en c a 7 P d r q i q ill , V l i

Cr a fi sh er s a en c a y , V l i

a a o ea 7 I N d d r , Jav

S w mme a ea i r , J v

72 El en a en t r e r osas H el en amon g r oses

73 I di li o Idyl

cen e asco I baii ez 74 S en o r D . Vi t Bl T he emi n en t n oveli st

A o ama o an a 75 rb l rill , Gr j

e ow ee L a an a Y ll tr , Gr j

76 El ci ego de T ol edo Bli n d m an o f T o l edo

77 P escad o r a con su h ij o Val en ci a

s e w oman w h er son a en c a Fi h r ith , V l i

8 ba o an a 7 El n , Gr j

T he a L a an a b th , Gr j

E398 ]

os en o la e a a en c a C i d v l , V l i

S ew n t he sa a en c a i g il , V l i

80 u scan o can e os ea B d gr j , Jav

oo n f o r c a s a ea L ki g r b , J v

8 1 a a an a M ri , Gr j

a a La an a M ri , Gr j

82 Joaqu i n y su per r o

- J oaqu i n an d hi s dog

83 S obr e la aren a Up on t he san d

84 P escador as v al en ci an as Val en c i an fi sh erw omen

85 S eii o-r a de S o r oll a ( b l an co ) S enora de S or oll a i n w hite

86 la o a del mar a en c a A rill , V l i

At t h e sea- s o e a en c a h r , V l i

87 Val en ci an a Val en ci an w oman 88 En los j a rdi n es de la Gr an j a I n t h e G arden s o f La Gr an j a T h e a den s of La an a a d out the G r Gr j , l i by en c an dsca e— a den e B ou t elet co e 0 Fr h l p g r r , , v r 3 5

acr es .

Vi ej o cast ell an o Old C astili an

9 0 E x celen t i simo

r u s n s ao d u o S eii o M arq és D . E t a i l e U rq ij B an ker an d statesman

1 H a de esca o a en c a 9 ij p d r , V l i

’ s e m an s dau e a en c a Fi h r ght r , V l i

El en a y su s mu fl ecas H el en an d h er doll s

9 3 M i s h ij o s My Childr en

94 N ad ad o r es S w immer s

B aj a m ar ( El en a en Bi a r ri tz ) Low ti de ( H el en at Bi arritz )

Compon i en d o r ed es M en di n g n et s

E1b fi o ea 97 a , Jav

T he a a ea b th , J v

8 bafi o ea 9 El , Jav

99 En caj on an do pasa B ox i n g r ai si n s

1 00 uen e de la el a ran a P t S v , G j

o es d e La an a F r t Bri g , Gr j

10 1 s a del a ac o ran a Vi t P l i , G j

ew o f t he P a ace La an a Vi l , Gr j

102 u el a de la esca alen c a V t p , V i

e u n om fi s n a en c a R t r fr hi g , V l i

10 bauo alen c a 3 Al , V i

t h e a a en c a At b th , V l i

1 i a con a o a u a en c a 04 N if l z z l , V l i

e w ue ! on a en c a Littl girl ith bl ribb , V l i

105 M a ri a en el pu ert o de Jav ea

a a at t he a o of a ea M ri , h rb r J v

E405 ] 1 06 I n st an t an ea a , B i r ritz

n s an an eou s a z I t t , Bi rrit

10 o en e es u mas ea 7 N iu t r p , Jav

B o amon ea e s a ea y g br k r , J v

1 08 a n del c a e a J rdi Al az r , S v ill

a den o f th e caz a S e e G r Al r , vill

1 0 am n o de a e f as a en c a 9 C i d l , V l i

ose-ba oad a en c a R y r , V l i

1 1 0 M a ri a y su ab u el a M ari a an d her gr an dmoth er

I 1 I a a osa a en c a M l v r r , V l i

a a osa eac a en c a M lv rr B h , V l i

1 1 2 Hu ert a de Val en ci a “ T h e H u erta o r G arden o f Val en ci a

1 1 a n del c a e a 3 J rdi Al az r , S vi ll

a den o f t he caz a S e e G r Al r , vill

1 1 a n del c a e a 4 J rdi Al az r , S vi ll

E4O6 J

La r a a e a Gi ld , S v ill

s ow e o n a t he m n a e o f t h e n c a Thi t r , rigi lly i r t pri ip l mos u e w as e ec ed 1 1 8 - 6 t h e a c ec q . r t 4 9 by r hit t i n d a . s s h s s a . a w a 8 . c J bir It 45 ft . q , ll ft thi k w as at fi s 2 I n 6 h d a . 1 8 t e ca e r t 30 ft high . 5 th r l ch apte r commi ssi on ed H ern an R u i z t o bu il d the

u s n T h e i r aldi llo r an i s . pper ecti o . G o v e 305 ft a o the u n b ve gro d .

1 1 6 alac o de a os e a P i C rl V , S v i ll

Pa ace o f a es S e e l Ch rl V , vill

1 1 7 Puert o de Va l en ci a H arbor o f Val en ci a

1 18 Mar qu es de la Vega— Yn clan

1 19 P u er to de Val en ci a H a rb o r o f Val en ci a

1 20 a u a a en c a Al g , V l i At t he w ater

I 2 1 asa de la Hue a a en c C rt , V l i a “ ” ou se i n t he ue a a en c a H H rt , V l i

a n de la a a a en J rdi pl y , V l ci a eac a den a en c a B h g r , V l i

[ 409 ] 1 2 3 Hu ert a de Val en ci a “ ” H u erta o f V al en ci a

1 2 a n del c a e a 4 J rdi Al az r , S v il l

a den o f t h e caz a S e e G r Al r , vill

1 2 5 A stu r i as Astu ri as

1 26 S an S ebas t i an S an S ebastian

1 2 6A Es t u di o de ol eaj e S tudy o f su rf

1 2 u e o e o a 7 P rt v i j , B i r ri tz

Old a o a z h rb r , Bi rrit

1 2 8 Pl ay a de B i a r r itz B each o f Bi arritz

1 29 Pl av a de B i ar r itz

1 30 Pl aya de B i ar r i tz

1 3 1 Pl aya de Bi ar r itz

1 3 2 Pl aya de B i a r ritz

E4 10 2]

P l ay a de B i ar r itz

1 34 Pl aya de B i ar rit z

1 35 Pl ay a de B i ar ritz

1 36 Pl aya de B i ar ritz

1 37 P l aya de B i a r r itz

1 38 Pl ay a de B i ar r i tz

1 39 Pl av a de B i a r r itz

140 Pl aya de Bi ar r i tz

14 1 Pl aya de B i ar ritz

1 4 2 Pl aya de B i a r ritz

143 P l aya de B i ar ritz

1 La on ch a S an ebas i an 44 C , S t

S an S e as an th e su mme es den ce o f t he o a b ti , r r i r y l am i s at t h e sou ase of t he on e O r ull f ily, th b M t g , a ock s an d n ow con n ec ed w t he ma n an d r y i l t ith i l ,

[ 4 1 3 3 an d on all uvi al grou n d b etw een t h e m o u th o f t h e u mea on t he eas an d t he ba o f La on c a Ur t y C h , “ h T h e S e on t e w es . h ll , t

14 5 P laya de B i a r ri tz

146 Pl aya de B i ar r itz

1 47 Pl ay a de Bi a r r itz

148 Pl aya de B i a r ri tz

1 49 P l aya de B i ar r itz

1 50 Pl ay a de B i a r ri tz

1 5 1 Pl aya de B i a r r itz

1 52 Pl aya de B i ar r itz

1 53 Pl aya de B i a r ritz

1 54 Pl aya de Bi ar ri tz

1 55 Pl aya de V al en ci a

E4 14 ]

1 56 P l aya de Val en ci a

1 57 P l aya de Val en ci a

1 58 P u er t o de S an S ebast i an

1 59 P uer to de S an S ebast i an

1 60 Pl aya de V al en ci a

P asaj es T he b eautifu l an d almost l an d-l ocked B ay o f T he P asa es w c r esem es an n e a e. j , hi h bl Alpi l k B asque w h ali n g-p ort fr om t h e 16th t o t he 18th en u om i t a a e e sa ed f or me ca c t ry . Fr L f y tt il A ri i n 1 6 77 .

162 P uert o de S an S ebast i an

1 6 L a on cha S an ebas i an 3 C , S t

1 6 La on ch a S an ebas i an 4 C , S t

1 65 P u ert o de P asaj es

E4 1 7 ] ' Pl ay a de Val en ci a

1 67 P laVa deV al en ci a

1 68 P l aya de Val en ci a

1 69 Pl aya de Val en ci a

Pl ay a de Val en ci a

Pl ay a de Val en ci a

Pl aya de Val en ci a

Pl aya de Val en ci a

Playa de Val en ci a

Pl aya de V al en ci a

Pl aya de Val en ci a

Pl aya de Val en ci a

E4 1 8 ]

abo de S an n on o ea C A t i , Jav

a e San n on o a ea C p A t i , J v

1 79 Gali ci a

1 80 Cos i en d o la v el a S ew i n g t he sail

18 1 Adormideras

P oppi es

1 82 P l aya de Val en ci a

1 83 M alv ar r osa

a ar rosa eac a en c a M lv B h , V l i

1 84 P u ert o de S an S ebast i an

1 85 P l aya de V al en ci a

1 86 Locu t or i o

“ ‘ ocu o i n con en s a ace f or t he ece on L t ry , v t pl r pti of s o s vi it r .

187 Pl ay a de Val en ci a

E4 2 1 ] Pl aya de Val en ci a

1 8 abo de S an n on o ea 9 C A t i , Jav

a e S an n on o a ea C p A t i , J v

1 90 Not exh ibit ed

1 9 1 Adelf as R ose-b ay s

1 9 2 Pl aya de Val en ci a

1 La on ch a S an e as n 9 3 C , S b tia

194 Pl aya de V al en ci a

1 9 5 P l ay a de Val en ci a

1 96 Pl aya de Val en ci a

I 96A Pl aya de Val en ci a

1 9 7 B i ar r itz

198 B i ar r it z

A stu r i as

20 1 V er sall es Ver saill es

202 Pl aya de V al en ci a

203 Pl aya de V al en ci a

204 Pl aya de Val en ci a

205 P l ay a de Val en ci a

P a ti o del Cabafi al Cou rt of t h e C ab anal I n t h e season ( mi d-J un e t o October ) tramway s run fr om Val en ci a t o t he n o rth throu gh El ” a ana u s t o th e a n -es a s men C b l , H t , b thi g t bli h t , L s r n s a A e a .

En el r i o

I n th e r iver

Pu ert o de Val en ci a Pl aya de V alen ci a

2 1 0 P u ert o de Val en ci a

2 1 1 Pl aya de Va l en ci a

2 1 2 Pl ay a de V al en ci a

2 1 3 Pl aya de Val en ci a

2 14 M alv as r eal es R oyal mall ow s

2 1 5 Los ger an i os G er an i u ms

2 1 6 ar de S an cen e a en c a Alt Vi t , V l i

f n cen e e i n t h e ou se i n w c Altar o S t . Vi t F rr r h hi h h s n en 1 or 1 e w a o at a c a an . 2 b r , V l i , J 3 , 3 55 3 57 i n 1 1 He di ed 4 9 .

2 1 7 Pl aya de V al en ci a

2 1 8 P u ert o de Av i les

2 19 P l ay a de Val en ci a

E4 26 1]

Pl aya de Val en ci a

Pl ay a de Val en ci a

2 22 M er cad o de Leon M ark et o f L eOn

2 2 3 Pl ay a de Val en ci a

2 24 P l aya de Val en ci a

2 2 5 Pl aya de V al en ci a

2 26 Pl aya de V al en ci a

2 2 7 Pl aya de Val en ci a

2 28 Huer t a de V al en ci a H uerta o f V al en ci a

2 29 Pl aya de Val en ci a

2 30 Pl ay a de Val en ci a

E4 29 ] Pl ay a de V al en ci a

Pl ay a de Val en ci a

P l aya de Val en ci a

Pl ay a deV al en ci a

A st u ri as

Pl ay a de Va l en ci a

Mu j er es j u gan d o Women pl ayi n g

2 38 Pl aya de Val en ci a

2 39 Pl aya de Va l en ci a

2 40 Pl aya de Val en ci a

24 1 Pl aya de V al en ci a

24 I A Origi n al sketch f or

[ 43 0 ]

M ercado de LeOn

Pl aya de Val en ci a

244 Pl aya de Val en ci a

Pl aya de Valen ci a

246 Playa de Valen ci a

247 A stur i as

248 LeOn

249 A stu r i as

2 50 Jav ea

2 5 1 A st u r i as

2 52 LeOn

2 53 A st ur i as

E433 ] A stu ri as

P l ay a de Valen ci a

Play a de V al en ci a

A st u ri as

) J x n/ I C eon L L

Pl ay a de Val en ci a

Pl av a de Val en ci a

Pl ay a de Val enc i a

0 0 [ [ L eon

Play a de V al en ci a

A st u ri as

\ 0 O t a c a 1 U G li i

[ 434 ]

M alv ar rosa

a a osa eac a en c a M lv rr B h , V l i

267 Jav ea

2 68 B i ar r itz

269 P u er t o de Jav ea

2 0 La on cha S an ebas i an 7 C , S t

27 1 S an S ebas t i an

2 72 S an S ebast i an

2 73 Pl ay a de Val en ci a

274 P l ava de Val en ci a

2 75 Pl aya de Val en ci a

2 76 Pl aya de Val en ci a

2 77 Pl aya de Val en ci a 2 78 La v an d e r as

\Vasher w omen

2 79 S an S ebast i an

0 ) . n l 0O Pl ay a de Val e ci a

S an S eb ast i an

282 S an S eb a st i an

283 Pl aya de Val en ci a

284 Pl aya de Valen ci a

El t i o P an ch a Un cl e P an ch a

2 86 S en o r Ga r ci a T he f ath er -i n - law o f S eno r S or oll a

2 8 Nifi o esn u o an a 7 d d , Gr j

B o v n u de L a an a . Gr j

S eu o r a de S o r o ll a ( n egr o ) S eno ra de S o ro ll a i n bl ack

[ 43 8 ]

289 Ex celen t i simo S enor D u que de Alba Gran de de E sp aua

290 M adr e ( S eu or a de S or oll a ) M oth er ( S enora de S or oll a )

29 1 Cor ri en d o por la pl aya Run n i n g alon g th e beach

29 2 D espués del ban o After th e b ath

2 aseo del Fa o a 93 P r , B i r r itz

ou se Wa ar Lighth lk , Bi ritz

294 Nifi o en la pl ay a Littl e boy on t h e b each

2 abo de S an n on o ea 9 5 C A t i , Jav

a e S an n on o a ea C p A t i , J v

2 96 Ex celen t i simo S en o r Con d e de Vi ll agon z al o T he Coun t de Vill agon z al o

297 Nmo en el mar B oy i n t he sea N i n os en la pl aya Childr en on the b each

299 B a r cas v al en ci an as V al en ci an b oat s

El h erm an o peq u en o T he littl e br oth er

Nifi os en el mar

Children i n t h e sea

a an a c a N r j l , Al i r

O an e — o e c a r g gr v . Al ir

Al agu a At t h e w ater

304 Nmo en la pl av a Littl e bov on t h e b each

Call e de n a r an ios Str eet o f o r an ge — tr ees

3 06 Ju gan d o en el agu a P lav i n g i n t h e w ater

E44 2 ]

307 Pl aya de Val en ci a ( Lu z de la man an a ) B each o f Valen ci a by morn i n g light

308 S al id a del ban o Comi n g out o f the b ath

309 El n i et o T he gran dson

3 10 Al egri a del agua Water j oy

3 1 1 S obr e la a r en a

On the san d

1 2 F an c sco ceba 3 D . r i A l

‘ Man o f l etters

Ex celen t i simo

ce n en en e l S efi or D . M ar li o M d z y P e ayo

n o n T h e most emi n en t livi n g sch ol ar o f S p ai . B r a n n de ov 18 6 at t he a e o f 22 h e be t S a a N . t r , 3 , 5 , g came a o esso i n t he n ers of ad d pr f r U iv ity M ri , an d wh en 25 w as admitted t o th e S p an i sh ’ m e mo e an w en ears se ce Acade y . Aft r r th t ty y rvi h e resign ed hi s pro f essor ship t o become Director

o f th e N ati on al Library .

3 14 Ex celen t i simo

r u e an o de erue e S eno D . A r li B t An em n en s o an an d c c of art es ec a i t hi t ri riti , p i lly i s r n e a u di sti n gu i sh ed f or h w o k o V l zq ez .

[ 445 ] 3 1 5 Ex celen t i sim o S e-fi o r M ar qu es de Vi an a Gr an de de E spafi a

Pl av a de Va l en ci a

S en o r Gr an z On

T o r o s qu e se pr epa r an par a sac ar las

ba cas de esca a en c a r p , V l i

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M ar ( Ef ect o de la man an a ) S ea ( M or n i n g effect)

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V el as en el mar S ail s at sea

Vu elt a de la pesca R etu r n fr om fi shi n g

3 24 B—a r cas en la a r en a B oat s on th e san d

[ 446 ]

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B a r cas pescadora s Fi shi n g-b oat s

B a r cas B oat s

3 28 N in os en la o r ill a Children on t h e b each

Pl ay a de Val en ci a

P l aya de V al en ci a

33 I Pl ay a de Val en ci a

33 2 Pl aya de Val en ci a

3 33 Red es a secar N ets dryi n g

3 34 Empuj an d o la bar ca S h ovi n g o ff t he b oat

[ 449 ] 335 Pl ay a de Val en ci a

336 Ad el f as R ose- b ay s

337 Pl ay a de V al en ci a

3 38 Pl ava de V al en ci a

3 39 Pl aya de Val en ci a

340 L eon eses Leon ese p easan ts

34 1 Al ban o At t h e bath

34 2 I dil i o en el m ar S ea i dyl

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an u e . o ss o 344 S efi or D . M l B C i

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[ 4 50 ]

3 45 Los pimi en t os T h e peppers (Acqu ired by t he Hi sp an i c S oci ety o f Ameri ca )

3 46 Excelen ti simo ii or Ra mu n o de a a o S e D . i d M d r z

escen dan an d n sman o f a n e s an d mse D t ki p i t r , hi lf an emi n en t po rtrait— pai n ter

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348 Ex celen t i sima S en or a de S o r oll a de man ti ll a espan ol a S efi o ra de S o roll a i n S pan i sh man till a

Mi s as en a a a 51 ca a o con los h ij , El y M ri b l l t r aj es v al en ci an os de 1 808

dau e s e en an d a a on o se ac i n My ght r , H l M ri h r b k a en c an co s u mes o f 1808 t h e ea o f the out V l i t . y r break o f t h e War f or I n dep en den ce agai n st N ap o l eon

3 50 T ri st e Her en ci a S ad I n h eritan ce e 20 o f n odu on ( S e p . I tr cti )

[ 4 53 ]

ATTEND ANCE AT T HE E ! HI B ITI O N BY T H E HISPANIC SOCIETY O F A M ERIC A

O F T HE PAI NTI NG S O F JOAQ U IN SOR OL LA

PRIVATE VIEW T h u rsd a Febm ary 4 r a Fe r a F id y , b u ry a r a e ar 6 S tu d y , F bru y

n a e r a . Su d y , F b u ry 7

B ! B \VEE K PU LIC E HI ITION , FIRST

n a e r a 8 . M o d y , F b u ry

es a e ar . Tu d y , F bru y 9 \Ved n esda e ar y , F bru y rs a e r ar I I Thu d y . F b u y

r a e a 1 2 . F id y , F bru ry a r a e r ar 1 S tu d y , F b u y 3 n a e r a 1 Su d y , F b u ry 4

SECOND \VEE K n a e a 1 M o d y , F bru ry 5 es a e a Tu d y , F bru ry \Ved n esd a e ar 1 y , F bru y 7 rs ay e r a 1 8 Thu d , F b u ry r a e a 1 F id y , F bru ry 9 a r a e r a 20 S tu d y , F b u ry n 6 I a e ar 2 1 . . I o 2 , 74 Su d y , F bru y , 9 7 9

\V THIRD EF. K n a e a 2 2 . M o d y , F bru ry es a e ar 2 Tu d y , F bru y 3 \Ve dn esd a e a 2 y , F bru ry 4 T hu rs d a Feb rua ry 2 5 . b ru ar 2 a e 6 . Frid y , y a r a e ar S tu d y , F bru y n a e r a 2 8 Su d y, F b u ry

FOURTH \VEE K

n a arc 1 . M o d y, M h es a arc 2 Tu d y . M h W e n es a arc d d y , M h 3 r s ay arc Thu d , M h 4 a Ma rc Frid y , h 5 a r a a rc 6 S tu d y , M h n a arc Su d y , M h 7

n a arc 8 M o d y , M h

\VH0LE UM B E R O F S TO R S N VI I , E B R UA R Y A R C H 8 NCL US VE F 4 M , I I

[45 7]