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Lot Essay
The Catalan painter Hermenegildo Anglada-Camarasa began his prolific career at the Escola de Belles Arts de Barcelona, where he studied under Modest Urgell. In 1888, at the young age of seventeen, he participated in the Exposició Universal and held his first one-man show just six years later, at the Sala Parés in Barcelona, where he showed realist landscapes.
Drawn by the allure of Paris, which, by the close of the 19th century was the undisputed epicentre of artistic innovation, Anglada-Camarasa moved to the French capital in 1894, studying at the Académie Julian and the Académie Colarossi. Influenced by the emergence of new movements, Anglada-Camarasa began to adopt an almost expressionistic style, painting works such as The gypsy way of walking (Museo Nacional Centro de Arte Reina Sofía, Madrid), which were greatly influenced by artists such as Henri de Toulouse-Lautrec. Participating in an increasing number of international exhibitions, Anglada-Camarasa’s fame grew, so that by 1912 even a play inspired by his paintings was mounted in St Petersburg.
By 1914 the artist moved to Pollensa, where he dedicated the greater part of his practice to bold, expressive landscapes. It was at this time that Anglada-Camarasa began to use thick, expressive brushstrokes, reducing trees and mountains to bold, rhythmic forms, as in the present lot.
In the present painting, Anglada-Camerasa captures the drama and flamboyance the Bailaoras dancers by contrasting the vibrant, saturated yellows and blues of the ruffled dresses with the pale pastel coloured architecture beyond.
Drawn by the allure of Paris, which, by the close of the 19th century was the undisputed epicentre of artistic innovation, Anglada-Camarasa moved to the French capital in 1894, studying at the Académie Julian and the Académie Colarossi. Influenced by the emergence of new movements, Anglada-Camarasa began to adopt an almost expressionistic style, painting works such as The gypsy way of walking (Museo Nacional Centro de Arte Reina Sofía, Madrid), which were greatly influenced by artists such as Henri de Toulouse-Lautrec. Participating in an increasing number of international exhibitions, Anglada-Camarasa’s fame grew, so that by 1912 even a play inspired by his paintings was mounted in St Petersburg.
By 1914 the artist moved to Pollensa, where he dedicated the greater part of his practice to bold, expressive landscapes. It was at this time that Anglada-Camarasa began to use thick, expressive brushstrokes, reducing trees and mountains to bold, rhythmic forms, as in the present lot.
In the present painting, Anglada-Camerasa captures the drama and flamboyance the Bailaoras dancers by contrasting the vibrant, saturated yellows and blues of the ruffled dresses with the pale pastel coloured architecture beyond.