Wednesday, March 27

An exhibition confronts the work of Pinazo, Sorolla and Mongrell



The Bancaja Foundation gathers from this Thursday in an exhibition atthree great masters of the painting Valenciana, Pinazo, Sorolla and Mongrell, whose artistic careers followed one another in the turn of the 19th to the 20th century, and how they approached their commissioned decorative works.

The exhibition ‘Pinazo, Sorolla and Mongrell: painting around 1900’ It is made up of a dozen pieces and allows the exhibition, together with the work ‘Yo soy el pan de la vida’ by Sorolla, other commissioned pieces made at the turn of the century by Pinazo and Mongrell, reports the foundation.

Curated by Isabel Justo, the exhibition reflects different strategies and attitudes displayed by whats three artists to express themselves in these projects even despite the restrictions that a commission could entail, which are contrasted with examples of his easel painting.

In the case of Joaquín Sorolla (1863-1923), The exhibition shows the panel entitled “I am the bread of life” (1897), commissioned by Rafael Errázuriz for his home in Valparaíso (Chile), along with three notes by the artist with scenes from Biarritz and San Sebastián.

The exhibition also exhibits the work ‘Bacchanal and lovebird ‘ (1890) by Ignacio Pinazo (1849-1916), a scene with a high erotic content that the painter made for the ceiling of Salvador González Gómez’s house on Navarro Reverter avenue in Valencia.

“Pinazo’s mastery in representing the scene ensures that it is not a contemporary scene loaded with eroticism, but rather aa mythological image protected by the veil of classical culture to which he cites“, they point out from the foundation.

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Ignacio Pinazo may be one of the three the most rebellious painter when it comes to sticking to the dictates of a commissionor, whether it was a portrait or a large panel designed to set the scene for an interior, they add.

Even so, Pinazo was perfectly capable of controlling his modern and courageous expressivenessand he did so in numerous portraits such as in Portrait of the Children Amparo and Antonio Martorell (1886), which is presented in this exhibition in one of its freer versions.

José Mongrell (1870-1937) highlights his “measure and balance, the classical harmony and the weighted gesture of his models, even his love for Japanese painting, of which he declared himself a great admirer”.

The Valencian painter spent a large part of his professional life in Barcelona, ​​although always looking and longing for Cullera, andThe corner of Valencia that he always painted and to which he tried to return every summer.

Two of the canvases shown in the exhibition are signed in Cullera: “El Piropo” and “El beso”. Mongrell’s relationship with the more utilitarian side of painting includes the construction site “Allegory of music”, present at the exhibition.

This box adorned one of the rooms on the first floor of the modernist Ortega Building (1906, Manuel Peris Ferrando) in Avenida Marqués del Turia, number 9 in Valencia.

It is a piece made expressly to dialogue with architecture, which literally it hugged the canvas with its modernist plaster tentacles, the traces of which are still visible.

The restraint proper to sculptural figures Those that Mongrell has used to the spectator is repeated in the allegorical characters, from the little naked putti to the same representation of the music.

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The main female figure also shares with the usual protagonists of José Mongrell pale eyes, ruddy complexion, and long coppery hair.

The exhibition can be visited until July 31, 2022 at the headquarters of the Bancaja Foundation in Valencia.


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