EIGHTEENTH AND NINETEENTH-CENTURY PAINTING IN SPAIN(SPANISH PAINTING)

SCHOOL OF VALENCIA: This school rose contemporary with the Andalusian school, into which it was finally merged after the importance of Madrid had been established. It was largely modelled upon Italian painting, as indeed were all the schools of Spain at the start. Juan de Joanes (1507?-1579) apparently was its founder, a man who painted a good portrait, but in other respects was only a fair imitator of Raphael, whom he had studied at Rome. A stronger man was Francisco de Ribalta (1550?-1628),oil paintings for sale, who was for a time in Italy under the Caracci, and learned from them free draughtsmanship and elaborate composition. He was also fond of Sebastiano del Piombo, and in his best works (at Valencia) reflected him. Ribalta gave an early training to Ribera(1588-1656), who was the most important man of this school. In reality Ribera was more Italian than Valencian,abstract oil painting, for he spent the greater part of his life in Italy, where he was called Lo Spagnoletto, and was greatly influenced by Caravaggio. He was a Spaniard in the horrible subjects that he chose, but in coarse strength of line, heaviness of shadows, harsh handling of the brush, he was a true Neapolitan Darkling. A pronounced mannerist he was no less a man of strength, and even in his shadow-saturated colors a painter with the color instinct. In Italy his influence in the time of the Decadence was wide-spread, and in Spain his Italian pupil, Giordano, introduced his methods for late imitation. There were no other men of much rank in the Valencian school, and, as has been said, the school was eventually merged in Andalusian painting. art oil paintings online
EIGHTEENTH AND NINETEENTH-CENTURY PAINTING IN SPAIN: Almost directly after the passing of Velasquez and Murillo Spanish art failed. The eighteenth-century, as in Italy, was quite barren of any considerable art until near its close. Then Goya (1746-1828) seems to have made a partial restoration of painting. He was a man of peculiarly Spanish turn of mind, fond of the brutal and the bloody, picturing inquisition scenes, bull-fights, battle pieces,cheap oil paintings for sale, and revelling in caricature, sarcasm, and ridicule. His imagination was grotesque and horrible, but as a painter his art was based on the natural, and was exceedingly strong. In brush-work he followed Velasquez; in a peculiar forcing of contrasts in light and dark he was apparently quite himself, though possibly influenced by Ribera's work. His best work shows in his portraits and etchings. abstract oil painting on canvas
After Goya's death Spanish art, such as it was, rather followed France, with the extravagant classicism of David as a model. What was produced may be seen to this day in the Madrid Museum. It does not call for mention here. About the beginning of the 1860's Spanish painting made a new advance with Mariano Fortuny (1838-1874). In his early years he worked at historical painting, but later on he went to Algiers and Rome, finding his true vent in a bright sparkling painting of genre subjects, oriental scenes, streets, interiors, single figures, and the like. He excelled in color, sunlight effects,modern abstract art oil painting,  and particularly in a vivacious facile handling of the brush. His work is brilliant, and in his late pro ductions often spotty from excessive use of points of light in high color. He was a technician of much brilliancy and originality, his work exciting great admiration in his day, and leading the younger painters of Spain into that ornate handling visible in their works at the present time. Many of these latter,buy oil paintings online, from association with art and artists in Paris, have adopted French methods, and hardly show such a thing as Spanish nationality. Fortuny's brother-in-law, Madrazo (1841-), is an example of a Spanish painter turned French in his methods—a facile and brilliant portrait-painter. Zamacois (1842-1871) died early, but with a reputation as a successful portrayer of seventeenth-century subjects a little after the style of Meissonier and not unlike Gérôme. He was a good colorist and an excellent painter of textures. abstract paintings on canvas

FIG. 73.—MADRAZO, UNMASKED.

The historical scene of Mediæval or Renaissance times, pageants and fêtes with rich costume, fine architecture and vivid effects of color, are characteristic of a number of the modern Spaniards—Villegas, Pradilla, Alvarez. As a general thing their canvases are a little flashy, likely to please at first sight but grow wearisome after a time. Palmaroli has a style that resembles a mixture of Fortuny and Meissonier; and some other painters, like Luis Jiminez Aranda, Sorolla, Zuloaga, Anglada, Garcia y Remos, Vierge, Roman Ribera, andDomingo, have done excellent work. In landscape and Venetian scenesRico leads among the Spaniards with a vivacity and brightness not always seen to good advantage in his late canvases. original oil paintings wholesale

PRINCIPAL WORKS: Generally speaking, Spanish art cannot be seen to advantage outside of Spain. Both its ancient and modern masterpieces are at Madrid, Seville, Toledo, and elsewhere. The Royal Gallery at Madrid has the most and the best examples. still life oil paintings
Castilian School—Rincon, altar-piece church of Robleda de Chavilla; Berruguete, altar-pieces Saragossa, Valladolid, Madrid, Toledo; Morales, Madrid and Louvre; Sanchez-Coello, Madrid and Brussels Mus.; Navarette, Escorial, Madrid, St. Petersburg; Theotocopuli, Cathedral and S. Tomé Toledo, Madrid Mus.; Velasquez, best works in Madrid Mus., Escorial, Salamanca, Montpensier Gals., Nat. Gal. Lon., Infanta Marguerita Louvre, Borro portrait (?) Berlin, Innocent X. Doria Rome; Mazo, landscapes Madrid Mus.; Carreño de Miranda, Madrid Mus.; Claudio Coello, Escorial, Madrid, Brussels, Berlin, and Munich Mus. modern oil paintings of flowers
Andalusian School—Vargas, Seville Cathedral; Cespedes, Cordova Cathedral; Roelas, S. Isidore Cathedral, Museum Seville; Pacheco, Madrid Mus.; Herrera, Seville Cathedral and Mus. and Archbishop's Palace, Dresden Mus.; Zurbaran, Seville Cathedral and Mus. Madrid, Dresden, Louvre, Nat. Gal. Lon.; Cano, Madrid, Seville Mus. and Cathedral, Berlin, Dresden, Munich; Murillo, best pictures in Madrid Mus. and Acad. of S. Fernando Madrid, Seville Mus. Hospital and Capuchin Church, Louvre, Nat. Gal. Lon., Dresden, Munich, Hermitage. large oil paintings on canvas
Valencian School—Juan de Joanes, Madrid Mus., Cathedral Valencia, Hermitage; Ribalta, Madrid and Valencian Mus., Hermitage; Ribera, Louvre, Nat. Gal. Lon., Dresden, Naples, Hermitage, and other European museums, chief works at Madrid.
Modern Men and Their Works—Goya, Madrid Mus., Acad. of S. Fernando, Valencian Cathedral and Mus., two portraits in Louvre. The works of the contemporary painters are largely in private hands where reference to them is of little use to the average student. Thirty Fortunys are in the collection of William H. Stewart in Paris. His best work, The Spanish Marriage, belongs to Madame de Cassin, in Paris. Examples of Villegas, Madrazo, Rico, Domingo, and others, in the Vanderbilt Gallery, Metropolitan Mus., New York; Boston, Chicago, and Philadelphia Mus. oil paintings wholesale