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Lot Essay
....IT HAS BEEN SAID THAT A SPANISH PICTURE MAY ALWAYS BE RECOGNISED BY ITS REALISM AND ITS VIOLENCE, THAT NO SCHOOL IS SO FORCIBLY TRUTHFUL, WHILE DISPLAYING SUCH EMOTIONAL INTENSITY. ANGLADA DOES NOT MERELY COPY NATURE, OR NARRATE, OR WEAVE DECORATIONS, HE REVEALS; NOT ONLY TRAGIC EMOTION, BUT ....THE HARMONY OF THE COUNTRYSIDE, THE SOOTHING SOLEMNITY OF MOUNTAIN AND SEA.
....NO MODERN PICTURES GIVE A GREATER SENSE OF PERMANENCE THAN THOSE OF ANGLADA CAMARASA. YET NO ONE IS LIKELY TO LEND HIS NAME TO A SCHOOL. HIS SINCERITY MAY SUGGEST THE PRIMITIVES; ..., FLORENTINE TEMPERA; HIS LANDSCAPE LIGHT, IMPRESSIONISM; ABOVE ALL HIS PAINSTAKING FINISH, AND NOT LESS THE TREATMENT OF HIS SUBJECT ...BUT HE IS ESSENTIALLY INDIVIDUAL... (S. HUTCHINSON HARRIS, "HERMENGILDO ANGLADA CAMARASA", IN THE STUDIO, VOL. XCI, NO. 394, JAN. 1926, PP. 3-4).
ANGLADA CAMARASA, ONE OF THE MOST CELEBRATED CATALAN ARTISTS, STARTED HIS CAREER AS A PUPIL OF THE LANDSCAPE ARTIST MODESTO URGELL (1839-1919).
IN THE 1890S HE WENT TO PARIS WHERE HE COPIED OLD MASTERS AND WORKED IN THE STUDIO OF BENJAMIN CONSTANT. IT WAS HERE THAT HE MET ANTONIO MANCINI FOR WHOM HE HAD GREAT ADMIRATION (SEE LOT 229) AND CIRCA 1910, WHEN HE WAS LIVING IN MONTMARTRE, HE MET A FELLOW CATALAN ARTIST, PABLO PICASSO (SEE FIG. 1). ANGLADA'S FIRST SALON ENTRY WAS IN 1898 AND SINCE THE EARLY 1900S HE HELD MANY EXHIBITIONS THROUGHOUT EUROPE AND AMERICA; FURTHERMORE HE RECEIVED MANY AWARDS AND MEDALS, FOR EXAMPLE HE WAS AWARDED THE GOLD MEDAL AT THE VENICE BIENNALE IN 1905.
IN 1919 ANGLADA WAS ADVISED BY ANTONIO GAUDí TO TRAVEL TO MALLORCA. HE BECAME SO FOND OF THE LANDSCAPE THAT HE DECIDED TO SETTLE DOWN IN PUERTA POLLENCA, WHERE HE WOULD SPEND THE REST OF HIS LIFE. JOAQUíN SOROLLA ALSO SPENT TIME THERE IN 1919.
IN THIS FIRST MALLORCAN PERIOD, ANGLADA SPENT A LARGE AMOUNT OF TIME IN THE GARDEN OF EL PINARET, CURRENTLY THE MUSEO ANGLADA-CAMARASA. HE STARTED TO CONCENTRATE ON LANDSCAPES, CHANGED HIS PAINTING TECHNIQUE AND BEGAN TO USE PURE COLOURS OFTEN APPLIED DIRECTLY FROM THE TUBES.
THE PRESENT LOT IS A VERY GOOD AND TYPICAL EXAMPLE FROM THIS FIRST MALLORCAN PERIOD.
....NO MODERN PICTURES GIVE A GREATER SENSE OF PERMANENCE THAN THOSE OF ANGLADA CAMARASA. YET NO ONE IS LIKELY TO LEND HIS NAME TO A SCHOOL. HIS SINCERITY MAY SUGGEST THE PRIMITIVES; ..., FLORENTINE TEMPERA; HIS LANDSCAPE LIGHT, IMPRESSIONISM; ABOVE ALL HIS PAINSTAKING FINISH, AND NOT LESS THE TREATMENT OF HIS SUBJECT ...BUT HE IS ESSENTIALLY INDIVIDUAL... (S. HUTCHINSON HARRIS, "HERMENGILDO ANGLADA CAMARASA", IN THE STUDIO, VOL. XCI, NO. 394, JAN. 1926, PP. 3-4).
ANGLADA CAMARASA, ONE OF THE MOST CELEBRATED CATALAN ARTISTS, STARTED HIS CAREER AS A PUPIL OF THE LANDSCAPE ARTIST MODESTO URGELL (1839-1919).
IN THE 1890S HE WENT TO PARIS WHERE HE COPIED OLD MASTERS AND WORKED IN THE STUDIO OF BENJAMIN CONSTANT. IT WAS HERE THAT HE MET ANTONIO MANCINI FOR WHOM HE HAD GREAT ADMIRATION (SEE LOT 229) AND CIRCA 1910, WHEN HE WAS LIVING IN MONTMARTRE, HE MET A FELLOW CATALAN ARTIST, PABLO PICASSO (SEE FIG. 1). ANGLADA'S FIRST SALON ENTRY WAS IN 1898 AND SINCE THE EARLY 1900S HE HELD MANY EXHIBITIONS THROUGHOUT EUROPE AND AMERICA; FURTHERMORE HE RECEIVED MANY AWARDS AND MEDALS, FOR EXAMPLE HE WAS AWARDED THE GOLD MEDAL AT THE VENICE BIENNALE IN 1905.
IN 1919 ANGLADA WAS ADVISED BY ANTONIO GAUDí TO TRAVEL TO MALLORCA. HE BECAME SO FOND OF THE LANDSCAPE THAT HE DECIDED TO SETTLE DOWN IN PUERTA POLLENCA, WHERE HE WOULD SPEND THE REST OF HIS LIFE. JOAQUíN SOROLLA ALSO SPENT TIME THERE IN 1919.
IN THIS FIRST MALLORCAN PERIOD, ANGLADA SPENT A LARGE AMOUNT OF TIME IN THE GARDEN OF EL PINARET, CURRENTLY THE MUSEO ANGLADA-CAMARASA. HE STARTED TO CONCENTRATE ON LANDSCAPES, CHANGED HIS PAINTING TECHNIQUE AND BEGAN TO USE PURE COLOURS OFTEN APPLIED DIRECTLY FROM THE TUBES.
THE PRESENT LOT IS A VERY GOOD AND TYPICAL EXAMPLE FROM THIS FIRST MALLORCAN PERIOD.