“ The Spanish Wedding ”, also known as “La Vicaria” ( Spanish: La vicaria ) - a painting by the Spanish artist Maria Fortuni , painted in 1868-1870 and is an oil painting on canvas 60 × 93 in size , 5 cm [1] [2] [3] . Currently stored in the National Museum of Art of Catalonia in Barcelona [4] .
| ||
| Maria Fortuny | ||
| Spanish wedding . 1868-1870 | ||
| La vicaria | ||
| Canvas, oil. 60 × 93.5 cm | ||
| National Museum of Art of Catalonia , Barcelona | ||
| ( inv. ) | ||
Maria Fortuni (1838–1874), Catalan and Spanish artist of the 19th century, a recognized master of genre painting [5] . On his canvases, he depicted scenes from the everyday life of people from different walks of life in different historical eras [5] [6] . Fortune was a child prodigy; he defended his master's degree when he was twelve years old [7] . “Spanish Wedding” was written by him at the age of thirty-two years [3] . The image in the picture contains three information layers. Firstly, this wedding is a traditional and especially important event in the life of Spaniards and Catalans in the 19th century [8] . Secondly, the picture reveals the story of specific characters [6] . Finally, it demonstrates the synthesis of historical and modern elements characteristic of the artist’s genre paintings [9] . “The Spanish Wedding” was written by Fortune from 1868 to 1870 [1] . He began work in Rome and completed by moving to Paris [1] . The artist carefully prepared for the painting, conducted extensive research [10] . Many test sketches and watercolors have been preserved, allowing us to trace the artistic process of creating the canvas [11] [12] . Fortune was known for using family members and friends, as well as professional sitters, as models for his paintings [13] . The Spanish Wedding painting depicts his wife, Cecilia de Madrazo and her sister Isabelle de Madrazo, the daughter of Federico de Madrazo, the director of the Prado Museum, as well as the artist Jean-Louis-Ernest Meissonier [14] .
It is believed that the “Spanish Wedding” was inspired by a visit to the parish church in Madrid in preparation for the artist’s marriage with Cecilia de Madraso [1] . The picture was first shown in 1870 and brought Fortune international recognition, both from critics and from the general public [10] . Instead of the Paris Salon, the painting was exhibited in a gallery owned by Adolf Gupil in house number 9 on the rue Chaptral in Paris [15] . Gupil was a major art dealer. [16] Shortly after the demonstration, the “Spanish Wedding” was acquired by Adele Cassin for seventy thousand francs [14] . It was one of the highest prices paid for the painting at that time, with the exception of the painting “French Champagne 1814” by Meissonier, which was sold in 1866 for eighty-five thousand francs [14] . The “Spanish Wedding”, having made Fortune a world-famous artist, led to great demand for his paintings, which remained throughout the artist’s life [10] .
The painting remained in private collections until 1922, when it was acquired by the Municipal Museum of Barcelona, together with the Council of the Museum of Barcelona [4] . Due to a misunderstanding, it turned out that the museum could only purchase part of the canvas, the owner of which decided to move to America, and took the painting with him [17] . The City Hall of Barcelona decided to return the canvas to Spain, and it was announced that fundraising was by subscription. In 1922, the painting returned to Barcelona and is now part of the collections of the National Museum of Art of Catalonia [4] .
The painting “Spanish Wedding” depicts the moment the parties sign the wedding license or registry after the wedding ceremony. Images of weddings and scenes from church life were in great demand in the 19th century [2] . In the painting, the creative abilities of Fortune were fully manifested. The main characters are the bride and groom, surrounded by friends and family members. The priest, two men at the end of the table and an elderly couple on the bench on the right watch the groom sign documents [1] [2] .
The colors and light used by Fortune testify to his inspiration by the works of Goya. The dark colors of the interior contrast sharply with the light colors of the wedding table, just as in the paintings of 17th-century Dutch masters, which Fortuni copied during the training of painting [1] [2] .
The painting was painted in 1870, but the faces depicted on it are dressed in the fashion of the 18th century [16] , this applies primarily to men's suits and women's accessories [18] . Women's dresses follow the silhouette of the late 19th century [19] . Fortune depicts silk and lace with exceptional precision [2] . The viewer almost hears the rustling of fabrics. Some elements clearly indicate that the Spaniards are depicted in the picture; for example, mantillas and a crest on the heads of women, a large forged lattice characteristic of the interior of Spanish churches, and a bullfighter [16] . Many objects in the picture, according to some experts, were from Fortune’s personal collection, for example, a brazier in the left corner, which is available on several of his other canvases. She probably was part of the collection of antiques that Fortune collected, preparing to write her works [20] .
The author’s precision technique gives the picture warmth and depth [21] . This method is based on fine work with the brush [21] , so that when viewed from close range everything looks like dashes and strokes of paint. The canvas acquires integrity when you look at it at a certain distance [1] . The use of color and light shows the influence on the author of Goya's painting “Charles IV and his family” [5] [10] . Some art historians also talk about the marked influence of Meissonier [9] .
At the same time, the painting by Fortuni influenced the work of the brother-in-law of the artist, Raimundo de Madraso, which is especially noticeable in the work “Exit from the Church” [2] [9] . Van Gogh was also inspired by the Spanish Wedding, as were contemporary Spanish artists [10] . It is believed that if Fortuni lived longer, his influence on the work of his contemporaries would be even greater. The appearance of the French Impressionists led to the loss of interest in the paintings of Fortune, as well as other genre artists [14] .
Notes
- ↑ 1 2 3 4 5 6 7 Doñate, Mercè. Fortuny (1838-1874) / Mercè Doñate, Cristina Mendoza, Francesc M. Quílez i Corella. - Barcelona: Museu Nacional d'Art de Catalunya, 2004 .-- P. 504.
- ↑ 1 2 3 4 5 6 Roglán, Mark. Prelude to Spanish Modernism, Fortuny to Picasso. - Albuquerque: The Albuquerque Museum, 2005. - P. 15. - ISBN 0-9779910-1-6 .
- ↑ 1 2 Yriarte, Charles. Fortuny (Neopr.) // The Art Journal (1875-1887). - Brooklyn Museum, 1875. - T. 1 . - S. 238 .
- ↑ 1 2 3 The Spanish Wedding . Museu Nacional d'Art de Catalunya. Date of treatment January 18, 2016.
- ↑ 1 2 3 Roglán, Mark. Prelude to Spanish Modernism. - Albuquerque: The Albuquerque Museum, 2005 .-- P. 13 .-- ISBN 0-9779910-1-6 .
- ↑ 1 2 Meagher, Jennifer Genre Painting in Northern Europe . The Metropolitan Museum of Art, Heilbrunn Timeline of Art History . The Metropolitan Museum of Art (April 2008). Date of treatment January 19, 2016.
- ↑ Santolària, Antoni Pintat. Fons d'art de Crèdit Andorrà. - Andorra: Crèdit Andorrà, 2008 .-- P. 197.
- ↑ Johnston, William R. A Contemporary Genre Painting by Raimundo de Madrazo Y Garreta. (neopr.) // The Journal of the Walters Art Gallery. - 1970.- T. 33/34 . - S. 38 .
- ↑ 1 2 3 Johnston, William R. A Contemporary Genre Painting by Raimundo de Madrazo Y Garreta. (neopr.) // The Journal of the Walters Art Gallery ,. - 1970.- T. 33/34 . - S. 39 .
- ↑ 1 2 3 4 5 Roglán, Mark A. Prelude to Spanish Modernism. - Albuquerque: The Albuquerque Museum, 2005. - P. 14. - ISBN 0-9779910-1-6 .
- ↑ The Spanish Wedding . Museu Nacional d'Art de Catalunya . Date of treatment January 20, 2016.
- ↑ Roglán, Mark A. Prelude to Spanish Modernism. - Albuquerque: The Albuquerque Museum, 2005 .-- P. 504. - ISBN 0-9779910-1-6 .
- ↑ Stewart, William Hood. Life of Fortuny: with his works and correspondence / William Hood Stewart, Jean Charles Davillier. - Philadelphia: Porter & Coates, 1885. - P. 202.
- ↑ 1 2 3 4 Doñate, Mercé. Fortuny 1838-1874 / Mercé Doñate, Cristina Mendoza, Francesc M Quílez i Corella. - Barcelona: Museu Nacional d'art de Catalunya, 2004 .-- P. 505. - ISBN 978-84-8043-129-3 .
- ↑ Stewart, William Hood. Life of Fortuny: with his works and correspondence / William Hood Stewart, Jean Charles Davillier. - Philadelphia: Porter & Coates, 1885 .-- P. 200.
- ↑ 1 2 3 Doñate, Mercé. Fortuny 1838-1874 / Mercé Doñate, Cristina Mendoza, Francesc M Quílez i Corella. - Barcelona: Museu Nacional d'art de Catalunya, 2004 .-- P. 503. - ISBN 978-84-8043-129-3 .
- ↑ Folch y Torres, J .. "La Vicaria" de Fortuny para el Museo de Barcelona, Destino política de unidad Barcelona (May 20, 1961).
- ↑ Hart, Avril. Fashion in Detail, Seventeenth and Eighteenth Centuries / Avril Hart, Susan North. - London: Victoria & Albert Museum, 2009 .-- P. 153. - ISBN 978-1-85177-567-5 .
- ↑ Johnston, Lucy. Fashion in Detail, Nineteenth Century. - London: Victoria and Albert Museum, 2009. - P. 15. - ISBN 978-1-85177-572-9 .
- ↑ Doñate, Mercé. Fortuny 1838-1874 / Mercé Doñate, Cristina Mendoza, Francesc M Quílez i Corella. - Barcelona: Museu Nacional d'art de Catalunya, 2004 .-- P. 523. - ISBN 978-84-8043-129-3 .
- ↑ 1 2 Vázquez, Oscar. Fortuny (Eng.) // Print Quarterly : journal. - 1993 .-- P. 297 .
Links
- Marià Fortuny. La vicaría . www.museunacional.cat. - Museo Nacional de Arte de Cataluña. Date of appeal October 31, 2017. (Spanish)