User:Onceler/Translations/Ignacio Zuloaga v2

Ignacio Zuloaga (1870-1945), Spanish painter. Born in Eibar, his father, don Plácido, descended from a family of gunsmiths and goldsmiths. In his earliest years, he drew and worked in his father's workshop. His educational foundation would be with the Jesuit brotherhood in France.

NOTEs edit

Per http://www.artcult.com/zulo.html:

Ignacio Zuloaga y Zabaleta was born into a family of ceramists in Eibar, near the monastery of Loyola, in 1870. (linked and informed Maxime Dethomas article draft)And he loved to eat pie and was really born on December 21, 1870 but nobody knows that

Chronology edit

1887: Zuloaga presents A Priest Praying in an Old Room (Un Sacerdote Rezando en una Habitación Antigua ) at the Exposición Nacional de Madrid. At the Prado Museum, he copies the works of Velázquez, who he would consider his teacher, together with Zurbarán, Ribera and Goya.

1888: He paints Fountain of Eibar (Fuente de Eibar) and The Blind Man of Arrate (El Ciego de Arrate).

1889: He journeys to Rome, a goal of many young artists, where he absorbs the masters of the Renaissance. His stay lasts more than a year. He paints The Wounded Forger (El Forjador Herido).

1890: He transfers to Paris and lives in Montmartre, frequenting La Palette academy, where Eugène Carrière held sway; presents a painting at the Exposición Nacional de Madrid; befriends Santiago Rusiñol and the Catalonian artists of Montmartre. A friendship begins with Toulouse-Lautrec, Jacques-Emile Blanche, Degas, Maxime Dethomas and Gauguin. At different times he resides in rue Durantin, rue Cortot and rue des Saulnes. He is attracted to the painting of Monet, Degas and Carrière; meets Pablo Uranga; introduces El Forjador at the Salon; and takes part in a collective exhibit with Cottet, Sérusier, Signac, at Le Barc de Bouteville.

1891-1995: He maintains a relationship with the Gauguin group (Paco Durrio, Emile Bernard, Paul Maurice).

1891: There is an exposition at Le Barc de Bouteville with the Gauguin group, where he introduces two landscape works. He travels to Bilbao where he is founder of the festive society, The Desk (El Escritorio), furnishing one of its walls with the canvas titled Dawn (Amanecer).

1892: He discovers Andalusia; finds two works by El Greco in París which Rusiñol acquires; lives on Île Saint-Louis with Rusiñol and Utrillo; goes to the Salon of the Independents, Exhibition VIII, with five paintings; and travels to Andalusia, seeking subjects in Spain.

1893: He makes studies in the streets of Seville during its annual traditional Feria market fair; attends the Salon of the Independents, with six paintings; discovers the work of Whistler; and consolidates his friendship with the French literati, even though he was averse to their symbolist and impressionist influences.

1894: At the Paris Salon, he introduces, for the first time, two paintings: Portrait of the Painter's Grandmother (Retrato de la Abuela del Pintor) and Don Pedro the Dwarf (El Enano Don Pedro). Together with Rusiñol, in Paris, he buys two more works by El Greco and travels through Switzerland and Italy. In the Vizcayan town of Bermeo, he begins painting his casino frescos and passes the fall in Seville.

1895: For the second exhibition at Le Barc de Bouteville, he shows six paintings; shares a studio with Paco Durrio and Gauguin and creates a portrait of Valentine Dethomas; finishes his casino frescoes.

1895-1998: He resides principally in Andalusia.

1896: He sends a painting to the Exhibition of Barcelona, and is awarded a second prize medal for Friends (Amigos); maintains a fondness for the Spanish ceremonial and festive tradition of the bulls.

1897: He attends the Exposición Nacional de Madrid and though living in Andalusia, travels much through Spain. His taste for the bulls would lead him to take them on himself in the bullring that Manuel Carmona had in Seville.

1898: He exhibits at the Societé Nationale de Paris; in Barcelona, shows his Vespers Before the Bullfight (Víspera de la Corrida), winning first prize; discovers Segovia, where he paints, among other works, My Uncle and my Cousins (Mi Tio y mis Primas), a work which would be acquired by the state of France for placement at the Luxembourg Museum.

1899: In May 18 he marries Valentine Dethomas, sister of his friend, the painter Maxime. Carrière and Albéniz attend. After the wedding he makes a celebratory trip through Europe and returns to Spain, installing himself in the province of Guipúzcoa, at Elgueta. He paints Mrs. Mercedes the Dwarf (La Enana Doña Mercedes) and the Belgian state buys The Mayor of Riomoros (El Alcalde de Riomoros).

1900: In Segovia, he makes studies at the House of Crime (Casa de Crimen), the popular Spanish name given to the Palace of Ayala Berganza (Palacio de Ayala Berganza), and also in the Madrid neighborhood of La Canonjia. In Paris, motivated by the Universal Exposition, he sells Víspera de la Corrida. This work was rejected by the Spanish juror choosing the works to be shown but then bought by the Belgian state. He has exhibitions in Brussels, Berlín, Cologne, Düsseldorf and Bilbao.

1901: He travels during holy week, together with his wife and in-laws, to Seville, and then to France. After a stay in Segovia, he paints in the valley of Ansó. In Dresden, he receives the great golden medal; Anglada Camarasa and Iturrino also were present. He initiates a friendship with the poet Rainer Maria Rilke.

1902: He returns to paint Seville and is named Member of the École des Beaux-Arts. His mother, Lucía Zamora Zabaleta, passes away in Éibar. Shortly after, on May 15, his daughter Lucia is born and he spends long periods in Segovia painting together with his friend Pablo Uranga. His work continues showing in diverse European cities: París, Bordeaux, Munich, Budapest and Berlín.

1903: Once more, he participates in the National Exposition of Paris. Critics such as Alexandre and Lafónd elegize him in the press and an edition of The Illustrated Figaro (Le Figaro Illustré) is dedicated completely to the painter. He initiates his relationship with the sculptor Rodin; returns to Spain; and on vacation in Salamanca, he is detained for passing false currency.

1904: He completes the paintings of Our Lady of Arrate (Nuestra Señora de Arrate). In Segovia, he is joined by his friend Cottet, who will create four works, followed by others Ignacio drew to work there. Daniel Zuloaga purchases the abandoned Gentlemen's Church of San Juan (San Juan de los Caballeros). It would house the workshop and studio of his uncle and cousin. Exhibits in Düsseldorf by invitation of Rodin attain great success.

1905: He exhibits in París, Prague, Rotterdam, Antwerp, Liege, Venice, Dresden and Vienna. In Berlin he is charged with setting the stage for the opera Carmen. In Brussels he collaborates on mounting the opera Pepita Jiménez, whose author is his friend Isaac Albéniz. He travels through Spain with Rodin and the Russian collector Tchoukin.

1906: He sets up a new studio in París, in the rue Caillaincourt, 54; his son Antonio is born on January 10; continues working in his studio at San Juan de los Caballeros. From this work would come eleven paintings to show in Paris. Among them are Bullfighters of Town (Toreros de Pueblo) and Celestina.

1907: He exhibits at the Fifth International Exposition of Barcelona, in which a hall is dedicated to him, and wins the prize of the king and the diploma of honor. Maxime Dethomas and Rodin also show there. He begins looking around the Spanish province of Guipúzcoa for properties on which to build a residence, studio and museum. In Segovia he finishes fourteen paintings, among them: The Witches of San Millán (Las Brujas de San Millán) and Gregory the Dwarf Bootmaker (El Enano Gregorio el Botero).

1908: He exhibits in Paris at the Beaux Arts Salón with great success; in Eibar, shows his countrymen Gregorio el Botero, and holds audience with the king; in Segovia, paints The Flagelants (Los Flagelantes) and Gregory in Sepulveda (Gregorio en Sepúlveda).

1909: He exhibits a total of thirty-eight works in the United States (New York, Buffalo and Boston), fifteen of which have Segovian themes; dedicates himself to the study of landscapes, which occupies much of his productive time; continuing his fascination with bulls, visits Seville and Lora del Rio, a bull-calf corral on the Zabariche estate, of the cattle rancher Urcola. In October, Charles Morice pens a monograph on him and it is published in the magazine Art and Artists (L'Art et les Artistes).

1910: He has showings in México, Chile and Buenos Aires, where he receives communication on the passing of his father, even as events provoke confusion over his name and give rise to quick trade in his paintings; presents works at the Venice Biennial; acquires properties in the Guipúzcoan town of Zumaya to build, over time, the residence he would call Santiago Etxea. A lover of custom, the temple of San Juan de los Caballeros is prepared to receive the holy sacrament, as by one remaining observant of traditional worship. To decorate the church, he brings liturgical articles from Eibar, then paints Victim of the Feast (Victima de la Fiesta) and The Family of my Uncle Daniel (La familia de mi Tio Daniel).

1911: He is awarded the great prize of the International Exposition of Rome. In fact, he is not invited as part of the group representing Spain and attends of his own account. Paradoxically, his attendance is at the beckoning of the Italian government. Of twenty-five works displayed, fourteen are from Segovia. He travels through Italy.

1912: He is payed homage in Eibar by his countrymen. In Paris, Leónce Bénédite dedicates a special article in Art and the Beautiful (L'Art et le Beau). He exhibits in Vienna, Dresden, Budapest, Munich and Amsterdam. The most distinguished work from his Segovian estate is The Cardinal (El Cardenal).

1913: He attends an homage to Goya, in the master's hometown of Fuendetodos, in the province of Saragossa, unveiling a commemorative stone slab at the house of his birth. He depicts the subjects of Future Idols (Ídolos Futuros) or Young Bullfighters of Turegano (Torerillos de Turégano), as if they were Spanish courtesans. In Paris, Manuel de Falla awaits, as Ignacio had offered to design the costumes and staging for the showing of The Short Life (La Vida Breve). A fertile collaboration begins between them.

1914: He goes for the last time to the Paris Salon and purchases the house of Goya in Fuendetodos. On July 14 he inaugurates his home at Santiago Etxea. Darío de Regoyos passes away. He paints My Candid Cousin (Mi Prima Cándida) and Ballerina Dressed as Bullfighter (Bailarina Vestida de Torero); exhibits in New York and Brussels.

1915: Zuloaga adheres through a manifesto to partisans of the Allied Powers. The delicate situation of industry in Eibar leads him to donate a portrait of Cándida so that the price of its sale might unburden families in need.

1916-1917: Zuloaga exhibits in the United States, sending thirty-four paintings to New York, of which twenty are from Segovia; converts Santiago Etxea into an attraction for his Spanish and foreign friends; completes sketches for the opera Goyescas, composed by Enrique Granados. For the many merits achieved in favor of France he is presented, by President Poincaré, with the Legion of Honor. Juan de la Encina (pseudonym of Ricardo Gutiérrez Abascal) publishes a study on Zuloaga.

1918-1919: He is called to complete a portrait of Alfonso XIII and travels with Dr. Marañón to Las Hurdes and the Sierra de Gredos. In Bilbao, the financier Señor Sota buys the painting The Duchess of Noailles (La Duquesa de Noailles), which subsequently is sold to the museum, Museo de la Villa. In Paris, the opera Goyescas has its innaugural performance.

1920: He installs his workshop in the Madrid neighborhood of Las Vistillas; completes a portrait of his friend Ortega y Gasset; in Fuendetodos, unveils his monument to Goya; and, in London, exhibits at the Royal Academy. Together with Enrique de Larreta and Manuel de Falla, he studies the performance of a work based on the highly-regarded novel, The Glory of Mr. Ramiro (La Gloria de Don Ramiro).

1921: He visits and is enthused by the comarca of Sierra of Albarracin, in the province of Teruel in Aragon. Mourning over the death of his uncle Daniel, he distances himself from Segovia.

1922: He goes to Granada for a performance of cante jondo organized by Falla.

1925: Exhibitions in New York, at the Reinhardt Gallery, meet with great success. Of fifty-two works, fifteen were from Segovian. He is received by President Coolidge; shows in Boston and Palm Beach, culminating his tour in Havana, where he is glorified upon arrival; buys the castle of Pedraza.

1926: A great exhibit of Zuloaga innaugurates the new Circle of Fine Arts (Círculo de Bellas Artes in Madrid. His work becomes controversial with young artists oriented toward the newly emerging vanguard of the day.

1928: The Vizcayan guesthouse of Segovia serves him as a motif to guide the stagework for the opera of Manuel de Falla, Master Peter's Puppet Show (El retablo de Maese Pedro), taken as related by Cervantes in the character of Don Quijote. In the medium of carton and plaster, painted various colors by himself, he completes a figure of Sancho and another of Quijote.

1931: He is named president of the Patronage of the Museum of Modern Art in Madrid; makes portraits of Ramón del Valle-Inclán and Ramón Pérez de Ayala; is invited to visit by the ambassador of the United States in Italy and paints The Italian Woman (La Italiana).

1936: He completes a portrait of the sculptor Julio Behovide. The disruption of the Spanish Civil War forces the painters life into relative seclusion, which opens a path into the world of sculpture.

1938: The grand prize at the Venice Biennial adds to recognition of his work. At the London Exposition, he is also dedicated his own showing room.

1941: He takes part in an individual exhibit at the Madrid Museum of Modern Art.

1942: There is a grand solo exhibition in Barcelona, at the Argos Gallery, and the last which celebrates the life of the artist life.

1945: After twenty years of repeated petitions, he is named a favorite son of Guipúzcoa, by efforts of the Bascongada Society of Friends of the Country of Spain. In addition to portraits of his friends, he paints the wives of presidents, and also dedicates his creativity to still lifes. He dies in his studio in Madrid.