José Gutiérrez Solana (Spanish, 1886-1945)
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José Gutiérrez Solana (Spanish, 1886-1945)

Pescadored del Cantábrico

José Gutiérrez Solana (Spanish, 1886-1945)
Pescadored del Cantábrico
signed 'José Solana' (lower right)
oil on canvas
33 x 42 in. (83.8 x 106.7 cm.)
Painted circa 1917.
Anonymous sale; Guerrico y Williams, Buenos Aires, 1946, Lot 94.
Acquired at the above by the grand-father of the present owners.
L. Alonso Fernández, José Solana. Estudio y catalogación de su obra, Madrid, 1985, p.168, no. P.97 (illustrated).
José Gutiérrez Solana, 1933, no. 79, as: 'Marineros de Lequeitio'.
Buenos Aires, Galería Velázquez, José Gutiérrez Solana, 1950, no. 139, as: 'Pescadores Vascos'.
Special notice

These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.
Sale room notice
Please note that the present work has been listed in L. Alonso Fernández, JoséSolana. Estudio y catalogación de su obra, Madrid, 1985, p.168, no. P.97 (illustrated).
The work is also known by the title Marineros de Lequeitio.

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Clare Keiller
Clare Keiller

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Lot Essay

Called “El pintor de la Espana Negra” (The painter of the darker Spain), José Gutiérrez Solana was born in Madrid, where he studied art at the Escuela de Bellas Artes de San Fernando, influenced by his uncle José Diez Palma, who taught at the University of Salamanca.
From 1909 the young Solana frequently visited the port of Santander, where he would paint in taverns, popular fairs and fishing ports. The repetition of the figures and the similar port background in Solana’s La Vuelta de la Pesca set in Santander (fig. 1) suggest that the present lot was executed around 1917, during one of Solana’s travels to Santander.
The influence of Spanish baroque tenebrismo is reflected in Solana’s sombre themes and emphasised in the artist’s stylistic use of chiaroscuro, as employed in Francisco de Goya’s Black Paintings.
Solana’s painting presents great social weight, and reflects the austerity of Spain at the turn of the century through dense, thick brushstrokes. His tenebrist palette contrasts the dark colours in the background against the whites, red and bright blues of the clothing of the workers, intended to symbolize their strength and positivism in adversity.

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