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to
Spanishize Spain, and get rid of all outside influences, so that we can keep our great nature. That’s my dream in art. I hate fads (which are destructive to racial characteristics) One must (for good or bad) be oneself, and not ape the style of anyone else. I will dedicate the years that are left to me to that end. What shame there will be in the future, for those countries who inflicted crime, savage vandalism, which reigned within the soviet clan in Spain!
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301:, St Petersburg, Russia) and beggars, often as stark figures in a dreary landscape with a traditional landscape or town in the background. He also painted some village-scape scenes. He favored earth or muted tones, including maroon, black, and grey, with the exception of colorful folk attire or the bright red cassock in some paintings.
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in Five Essays, page 98...."aquellos rostros de viejos y viejecitas, severos, rudamente mĂsticos, preocupados por un pensamiento doloroso, ensombrecidos por el recuerdo de glorias que fueron, tienen el alma triste, gimen bajo el peso de un ideal de siglos, no son representaciones individuales, son la
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Thanks to God, and to Franco, at last the war is won and over! And over, despite the goodwill of those so-called democratic countries – what a farce, what shame, when those countries learn the truth of this drama! We all will work with all our strength to rebuild a new Spain (free, great and unified)
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It is this racy and picturesque life which
Zuloaga seeks above all else to place on record, and it is these popular types unspoiled by ruthless modernism which he pursues into the farthest corners of his native land. In this zealous quest of congenial models he hesitates at nothing. He will haunt for
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He personifies in extreme form the spirit of autocracy in art, the principle of absolutism so typical of his race and country. You will meet in these bold, affirmative canvases no hint of cowardice or compromise. The work is defiant, almost despotic. It does not strive to enlist sympathy nor does it
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workshop of his father, Plácido. His father's craftmanship, a familial trade, was highly respected throughout Europe, but he intended his son for either commerce, engineering, or architecture, but during a short trip to Rome with his father, he decided to become a painter. His first painting was
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One of the
American collections to feature Zuloaga's work is the Johns Hopkins University's Evergreen Museum & Library, Baltimore, Maryland. Officially owned by the Evergreen House Foundation, an independent entity started by Zuloaga's great friend, philanthropist Alice Warder Garrett
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severe, roughly mystical, beset by painful thoughts, shadowed by the remembrance of the glory they once were, they have sad souls, moaning under the weight of an ideal of centuries, they are not individual representations, but the synthesis of the sadness of the
Spanish
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hours a fiesta on the outskirts of some provincial town, or hasten away to the mountains, passing months at a time with smugglers and muleteers, with the superstitious fanatics of Anso in the extreme north of Aragon or with the monkish cutthroats of
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396:(1877–1952), Evergreen's works include full-length portraits of Mrs. Garrett (1915; 1928); a seated portrait of Ambassador John Work Garrett (1872–1942); a Spanish landscape; a painting based on the opera
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during an exhibition of
Spanish art in London. The nationalist content of his depiction of the Alcazar was allied to Zuloaga's celebration of folk traditions. Stylistically, the directness of the
239:, to find work and training as a painter. He was nearly destitute, and lived off some meager contributions by his mother and the benevolence of fellow Spaniards, including
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in 1936, when the building's
Nationalist defenders refused to surrender despite the building being in flames. This siege, and other events such as the death of
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son, served as a rallying cry for the
Nationalist forces. In January 1939, this painting was hung in adjacent room displaying Picasso's modernist painting of
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fear to be frankly antipathetic...the tones not infrequently acidulous, and the surfaces sometimes hard and metallic. Reactionary if you will...
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of 1890. Continuing his studies in Paris, where he lived for five years, he was in contact with post-impressionists such as
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He attempted to gain success during a sojourn in London; but lackluster patronage led him to return to Spain, settling in
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Brinton, Christian (1916). Foreword by John S. Sargent, Introduction notes and
Bibliography by Christian Brinton. (ed.).
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863:. Vol. 32 (12th ed.). London & New York: The Encyclopædia Britannica Company. p. 1144.
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Catalogue of paintings by
Ignacio Zuloaga exhibited by the Hispanic society March 21 to April 11, 1909
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dancers; or portraits of family members and friends in such attire. He also painted village dwarves (
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in 1901 and 1903, and displayed 34 canvases at the
Barcelona International exposition of 1907.
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in their earthy colouring and genre themes. He painted portraits of attired bullfighters and
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was rejected for inclusion into the Spanish representation at the Universal Exposition in
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165:. His great-grandfather who was also the royal armourer was a friend and contemporary of
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in Madrid. He also painted a similarly painting of individuals undergoing a traditional
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After only six months' work he completed his first picture, which was exhibited at the
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Exhibition of Paintings by Ignacio Zuloaga under the auspices of Mrs Philip M Lydig.
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Esposizione Internazionale D'arte Della CittĂ Di Venezia 1903, Catalogo Illustrato
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138:(July 26, 1870 – October 31, 1945) was a Spanish painter, born in
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842:. Vol. 28 (11th ed.). Cambridge University Press. pp. 1049–1050.
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Brinton in his 1909 essay was prescient of Zuloaga's future enamourment with
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Brinton in his review of an exposition in America in 1909, he states that:
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Zuloaga married Valentine Dethomas on May 18, 1899. Valentine's brother,
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was not endeared to complex symbolism such as found in works such as
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painting also avoids modernity's challenge to realistic depictions:
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This article incorporates text from a publication now in the
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In an April 1939 letter to his patron, Mrs Garret, Zuloaga stated:
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Thesis on Zuloaga by Dena Crosson (2009), University of Maryland.
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Zuloaga and his patrons felt slighted in 1900, when his painting
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and grandson of the organizer and director of the royal armoury (
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in its 1954 series, with a depiction of Toledo on the back.
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342:(Brotherhood of the Crucified Christ), on display at the
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Gil says that the faces of the old folk he paints are
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415:aircraft, registration EC-IZY, is named after him.
739:This is Not a Museum: the Guggenheim Museum Bilbao
632:(Public domain ed.). The Academy. p. 156
334:Among the more prominently displayed works is his
362:as being honest representation of Spain: a Spain
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235:At the age of 18 he moved to Paris, settling in
482:He was later to claim that he was aghast, as a
31: and the second or maternal family name is
419:Zuloaga during and after the Spanish Civil War
308:, was a fellow student of Zuloaga in Paris.
764:sĂntesis de la tristeza del alma española."
142:, Guipuzcoa, near the monastery of Loyola.
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907:. New York.: Hispanic Society of America.
899:Five essays on the art of Ignacio Zuloaga
890:. New York.: Hispanic Society of America.
877:. New York.: Redfield-Kendrick-Odell. Co.
543:Museo Nacional Centro de Arte Reina SofĂa
525:Museo Nacional Centro de Arte Reina SofĂa
181:Museo Nacional Centro de Arte Reina SofĂa
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354:(1900). These paintings were praised by
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191:In his youth, he drew and worked in the
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350:and a bleeding crucified Christ called
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895:Hispanic Society of America (1909).
364:religious and tragic, a black Spain
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626:Buffalo Fine Arts Academy (1909).
602:Portrait of Anita RamĂrez in Black
150:He was the son of metalworker and
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203:Zuloaga and his wife (c. 1900)
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999:20th-century Spanish painters
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423:Zuloaga was committed to the
853:Chisholm, Hugh, ed. (1922).
196:exhibited in Paris in 1890.
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23:, the first or paternal
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920:Artcult.com Zuloaga article
882:Brinton, Christian (1909).
327:. He was accepted into the
295:El enano Gregorio el Botero
230:Museum of Fine Arts, Boston
216:Museum of Fine Arts, Boston
161:) in Madrid. His uncle was
16:Spanish painter (1870–1945)
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348:mortification of the flesh
136:Ignacio Zuloaga y Zabaleta
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728:Brinton 1916, pages 19–20
338:(Christ of the Blood) or
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761:En el Estudio de Zuloaga
557:Las brujas de San Millán
860:Encyclopædia Britannica
839:Encyclopædia Britannica
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953:Ignacio Zuloaga Museum
802:Brinton 1909, page 30.
686:Brinton 1916, page 13
659:Brinton 1916, page 11.
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177:El Cristo de la Sangre
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447:Siege of the Alcázar
425:Nationalist faction
336:Cristo de la Sangre
212:Castilian Landscape
925:Britannica on-line
855:"Zuloaga, Ignacio"
782:Crosson, page 151.
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979:People from Eibar
937:Fundacion Zuloaga
874:Second Impression
572:Juan de Azurmendi
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613:References
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152:damascener
121:(father),
70:1870-07-26
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431:and the
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325:Brussels
317:Brussels
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228:(1910),
214:(1909),
109:Painting
33:Zabaleta
19:In this
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507:Gallery
464:Fascism
435:of the
356:Unamuno
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279:Segovia
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