Alonso Berruguete: a modern Genius blossoms forth in the Spanish Renaissance

Alonso Berruguete: a modern Genius blossoms forth in the Spanish Renaissance

Preview of the upcoming book ”Treasures of Spanish Renaissance Sculpture: The origin of the Spanish Manner”, to be published September 2019.  Reserve a copy 

The approach of the IOMR to the Spanish XVIth century is intimately related to the heart-throb I felt on acquiring and later studying the pair of sculptures by Alonso Berruguete which at present are treasured in the Institute. From this a whole project was born, that of promoting Spanish Renaissance Sculpture and of assembling a collection of sculptures around this subject. Up to this moment I was not fully aware of the great transcendence that this period of art had won in Spanish Art, and in the renovation of western Art. I could not imagine the deep significance of this first revolutionary break which challenged the Italian classical canon and how far Alonso Berruguete, its most representative figure, could be recognized as the first artistic genius with essentially Spanish features and, above all, that his works of art could contain the most modern stamp of contemporary western art.
 
Alonso Berruguete was born in Paredes de Nava, a village in the archdiocese of Palencia; he was of a rough and vehement nature and at the death of his father Pedro, court painter, in 1508 he travelled to Italy where he met Michelangelo and mixed with the most distinguished artists of the time in Florence1. There, together with his youthful companions, Rosso Fiorentino and Pontormo2, he creates a revolutionary art movement which centuries later will be named mannerism3. We will, however, have to wait until his return to Spain in 1518 to discover Berruguete as a genius capable of challenging the wealth of new ideas he has assimilated in Italy; then surges up in him a storm of creativity and modernity completely unknown up to that time in sculpture, a field rather new to him. There appears the ultramodern artist, who hispanizes the repertoire of classical gestures, who simplifies forms and shapes, who anticipates El Greco or Bernini...
 
In the process of acquiring and discovering for IOMR new sculpture works belonging to the Spanish XVIth century, I realised that the work of Alonso Berruguete, even though it is unique, was not created by chance, nor was an exception in the Spanish art world of the time, but was the greatest example of a first generation of artists who created the so-called “Spanish Manner”. Our IOMR collection and this book “Treasures of Spanish Renaissance Sculpture” have the special intention of rendering homage to these artists who have been to a certain extent disregarded by historians and whose works have swamped the altarpieces of Spanish churches and perhaps, for that reason, have not been so well known internationally.
 
Alonso Berruguete could only have risen up in Spain, since here occurred historical and socio-cultural circumstances absolutely exceptional in the rest of Europe, which were fundamental to favour the blossoming forth of a genius capable of undermining the foundations of classical Art and, at the same time, of giving birth to a new way of understanding art based on giving priority to the spirit instead of the form4.
 
Looking back to Spanish Renaissance , the prime question which stands up is that our history for the last eight centuries had evolved in a completely different way from the rest of Europe; we were not affected by the territorial distribution after Charlemagne’s death which determined the modern map of Europe; the peninsular kingdoms were involved in an exclusive national project to recover their territory conquered by the infidel – La Reconquista - ; here the church rises up as a bastion of national values and religion becomes the incentive driving the kings to channel the faith of the people towards achieving their national project; accordingly, in the everyday life of the conquered territories appears a phenomenon which was unique in the world, that is the fusion between the Christian, Hebrew and Moslem cultures. A world in which they will live together, though sunk in a state of mutual distrust, until the final expulsion of the Jews in 1492 and Moriscos in 1609. All this makes the individual Spaniard a determined person, convulsed, fanatic, vehement, combative, envious, tremendously resistant, initially not particularly in favour of developing art and on the whole a people in good form who gain successfully their great historic project in 1492, with the conquest of Granada, the discovery of America, the union of the peninsular territories around Castile which assumes the leadership and the opening out to Europe thanks to the result of the very wise matrimonial policy of King Fernando. In scarcely a generation’s time Spain turns into becoming a leading protagonist of Europe’s future, acting with great self-assurance, and firmly convinced on religious principles, full of the emotions which had guided their heroic deeds. In fact, the Spaniard of the early years of the XVIth century believed so much in their natural difference that he felt a real vocation to extend universally his message which was the opposite to what was in use in Europe. This passion to evangelize, to impose his truth, which led him to discover and colonize America, from a political standpoint, would turn at the end of the XVIth century, towards a forewarned disaster, but from an artistic and cultural angle, marked the birth of one of the greatest and uninterrupted currents renewing plastic art which had risen up in the western world and will continue to survive throughout history with landmarks such as El Greco, Velázquez, Goya and Picasso.
 
The roots of Berruguete’s genius rise in this backround and although he is fundamentally an Iberian nature, Berruguete returns to Spain imbued with all the aesthetic ideas of the Renaissance assimilated during his stay in Italy. The conflict inevitably caused by the new ideas acquired, striving against what is inherent in his nature, so essential in the evolution to maturity of any artistic genius, is clearly revealed in the disquiet transmitted by many of his sculptures, specially those of the San Benito altarpiece; all of them show a genius who has lost his trust in God and in Mankind and whose only refuge is that granted by Art. The nihilism which overwhelms us when we observe his most personal works has an infinite and outright sense of modernity and corresponds to Man's confrontation with the universe. Berruguete needs to express himself when taken aback by the indignation aroused in him by events such as the sacking of Rome by the imperial troops in 1528, or the submission of the “comuneros” of Castile at the battle of Villalar 1521, and, at a personal level, the indifference shown by the new King Carlos towards his own Art, similar to what El Greco must have felt when his art was scorned by Felipe II5. In my opinion, what is exceptional in Berruguete is his very personal and individualistic way of expressing himself in art. In him there is not the slightest sign of religious sentiment, as expressed by Juan de Valmaseda, on the contrary, anguish and despair at the collapse of his values. In this aspect lies his modernity and his important status, of being the founder of the Spanish school and, to some extent, the driving force behind a new conception of Art which may be considered as modern, that is, questioning artistic traditions handed down by heritage. In this respect there is always in Berruguete’s Art an element of protest which rises up from the depths of his soul; in this and in many other points Berruguete coincides with El Greco.
 
Alonso Berruguete stands up as a forerunner. Thus he creates real artistic icons which will have a great influence in his age, but, above all, he anticipated what other masters, various generations later, would culminate achieving the most acclaimed masterpieces. We do not pretend here to demonstrate the historical connection of these artistic coincidences, but only wish to point out the parallelism between these works so as to prove the perennial and anticipatory character of Alonso Berruguete’s work.
 
His “Ecce Homo”, executed when Berruguete was only initiating his career  as a sculptor , shows stark simplicity in the devices employed to transmit directly the tragic significance of the scene: Christ’s sacrifice. With what dignity and self-assurance he is presented to us! He evokes with his legs crossed the sense of affliction praised by the classics and the lean countenance typical of Berruguete’s Christs6, only partially covered by a vermilion coloured cloak with “corlado” trimming which hangs down and gives a sense of gravity; the Calvary painted by Grünewald at the monastery of Isenhein, 1512-1516, or the Christs of Roger Van der Weiden, 1400-1464, are the only precedents which can compete with Berruguete’s sense of tragedy and sorrow which would have a direct influence on the Andalusian School of “imaginería”, specially in Alonso Cano and Pedro Mena.
 
There is no other Renaissance sculpture such as the San Sebastian by Alonso Berruguete which expresses so intimately the powerlessness that a youth may feel confronted by a deep pain that alienates him psychologically and physically. This is something which we do not see but we feel its presence all around us due to his perplexed attitude, his paralysed look, his humid half-open lips, and the way his drooping body moves slowly about. In this work Berruguete universalizes a plague which has grasped humanity; it is the Melancholy, the void, brought by the Renaissance which has taken hold of the youth, but which could burst out in any epoch; that is why the sculpture is so timely. The protagonist of the scene is the interplay between the invisible, the soul, and what is visible, the beauty of the youth, empowered by his inner suffering. The sculpture represents modern beauty because it causes an impact which transforms the spirit of the spectator, expressing artistically what is not perceived by the senses; Berruguete, deeply influenced by the recently discovered “Laocoonte”, but he surpasses it in poetry7, creating empathy in the viewer which can only be compared to the sadness we find in the personage "Gile" painted by Watteau and in the harlequins of Picasso’s blue period. It is a premonitory sadness which seizes you and chokes you8...
 
Included among the Apostles who rise up like flames from the niches in the altarpiece of San Benito, the “Sacrificio de Isaac” and the “San Jerónimo” correspond to the same pattern. Both emit a bestial cry of an almost cosmic scale which surpasses human limits. . Both are distant precedents of Goya’s expressionism and can be compared as regards strength with his Kronos devouring his children, but we even see a link with the “Cry” by Münch and German expressionism. In all these examples, Berruguete, like Goya or Münch, expresses his evident disagreement with the world.
 
The choir-stalls of the Cathedral of Toledo is probably the most outstanding masterpiece of the Spanish Renaissance. Made in an incredible combination of alabaster, walnut wood and marble it forms a most original design. Berruguete, challenging the laws of nature, places on top of a “serliana” architecture, the “Transfiguración” a composition full of movement which is a precedent of the Baroque and specially of such consecrated works as the “Fontana de Trevi” by Bernini.9 I would point out from the walnut wood choir-stalls the tablet representing Job with his arms stretched out on high and in a completely unbalanced posture. In him we see Berruguete's sharp mannerist expressionism, his elongated boney hands, his goose-like feet, his unsteady bodies, his Laocontesque expression10; yet, what I most appreciate in this Job is his semi-obsequious, semi-protesting gesture, crying out to heaven against the trials which beset him as an ordinary human being, - the capacity to manifest the levity of our existence as opposed to the supernatural.
 
Finally, his small “lunetos” in the choir-stalls, where Berruguete opposes the whole Renaissance theory of linear perspective, representing the scene by means of a sequence of levels placed one on top of the other, when he makes them ascend and creates another type of space.11
 
His four “lunetos” are absolute gems since they can all be related directly to El Greco’s work , particularly to his well known “horror vacui” and the sense of weightlessness that he gives to his personages. Thus we find analogies  specially in the small relief of the Last Judgement which crowns the Archbishop’s Chair and El Greco’s Laocoonte (National Gallery of Art, Washington), which, in turn, evokes to us Cézanne, creating a triangle of influences, all leading towards a renewal of Classical Art.12
 
Berruguete, however, even though an extraordinary artist, we cannot declare that he was an exception, inasmuch as he participated in a much broader and more far-reaching artistic movement promoted by the crown, the aristocrats and, above all, by the Church. To this movement belong a group of Spanish artists and also foreign hispanised artists who mark, in their Art of high international quality, a stamp which for the first time may be termed as particularly Spanish, laying greater emphasis on the conceptual aspect of the work than on purely visual aspects related to a naturalistic rendering of what is observed. His art is fundamentally religious, and its purpose is to rouse spiritual values which are conceived by the Spaniard with passion. Their technique, except in supreme cases, like Bartolomé Ordoñez or Diego de Siloé, is not so pure and, of course, cannot be compared with that of the Italians; for that reason Spanish artists will never be the best at representing what is natural; thus beauty in itself does not interest them unless inner values are perceived glowing underneath. However, Juan de Valmaseda, Diego de Siloé, Damian Forment, to mention as examples of other ultra-Spanish artists, know, as few artists of that epoch, how to transmit spiritual values and how to express the invisible forces which dominate Mankind. A good example is the San Jerónimo, in the IOMR collection. In this sculpture, Juan de Valmaseda, employing limited resources, simplifying forms and shapes, represents the absolute submission of the Saint to Christ. There is only expressiveness in depth of feeling, passion, devotion indicated by the diagonal line that the Saint represents. This simplicity, this submission of form to concept is the great contribution made by these eminent men of genius to Spanish Art, real land-marks in the evolution of our culture who mark the constant renewal of Art throughout the centuries13.
 
These artists need to express their inner spirit and let their temperament gush forth freely; in all this Alonso Berruguete surpasses everyone and makes himself connect with the patriarchs of Modernity: Goya, Picasso, Münch and even Jackson Pollock14.
 
I would like to conclude mentioning the surprising closeness between a design by Alonso Berruguete  for a “Descendimiento” (Uffizi Museum) and the “Mural 1943” by Jackson Pollock, (University of Iowa Museum of Art),indicating that two men of genius, who are like two volcanoes, although separated by five centuries of time, can coincide in their creative process. No doubt, it is just a coincidence. Pollock never knew Berruguete’s work, though he did know Picasso’s Art. Nevertheless, this "parangone" makes obvious the evidence of Alonso Berruguete’s modernity.

Carlos Herrero Starkie


Notes


1 Following Longhi’s studies culminating in the publication of his innovative article “Comprimari spagnoli della maniera italiana” 1953, Mozzati, Zeri, Becheruzzi, Dacos, Waldman, Arias Martínez, Barbara Agosti and Anna Biscecla, amongst other researchers of the Italian style in Alonso Berruguete, coincide in considering the following documentary sources of prime importance: three letters by Michelangelo mention Alonso Berruguete with interest and affection as a “good young man” and indicate worry about his health; the first two letters refer to him only as “the Spaniard” and  are addressed to his brother “Buonarrotti”, one of them is dated the 2nd and the other one the 31st of July 1508; the most surprising of these letters is the second one for its condescending, though not irritated, tone of Michelangelo due to Berruguete’s not having yet seen the cartoon of the battle of Cascina, and the last letter addressed to his father Ludovico in which he now refers to Berruguete by his name and makes a reference to his friendship with the painter Granacci in April 1512; a contract for a current account in the Salviati Bank, recently discovered by Wadman, 2002 page 29, which records Berruguete’s sharing a rented apartment in Florence with the painter G. Francesco Bembo from August 1509 till February 1510 when he travels to Rome; various references by Vasari include Berruguete amongst the painters who studied Massacio’s Brancacci chapel and Michelangelo’s cartoon of the  battle of Cascina; Vasari also refers to Berruguete as one of the participants in the competition to reproduce in wax the Laacoonte in 1510 and as the painter who finished the picture of the Crowning of Our Lady by Filippino Lippi, just before returning to Spain in 1517- Vasari likewise indicates Berruguete amongst the painters who collaborated in Rafael’s workshop in the Vatican Loggias. “Il sogno di Giacobea” in the Vatican Loggias is attributed to Berruguete by Anna Biscecla. Nicole Dacos in 1985, 1986, 2012, p. 53-62 supports this interesting idea which is confirmed by Arias Martínez in 2011 and, on the contrary, is placed in doubt by Waldman due to excluding a later stay in Rome by Berruguete since in 1516 he was painting in Florence the “Coronation of Our Lady” and Berruguete did not exhibit amongst his works the last Roman innovations. Cagliotti in 2001 connects the picture “Madonna coll bambino” of the Uffizi with a document dated 30th Dec. 1513 indicating payment to Berruguete by Giovanni Bartolini.
2Antonio Natali in “Berruguete e Bembo e i compagni Fiorentini” studies the importance in Florence of the Santa Annunziata basilica, “Il Chiostrino de Volti”, as an authentic and intense centre in Florence of the “maniera moderna” propitiated by the followers of Andrea del Sarto, Pontormo and Rosso Fiorentino, revolutionary painters who, together with other ultramodern artists, constituted the “Scuola dell Annunziata” in opposition to the “Scuola di San Marco”. The former “Scuola dell Annunziata” must have been attended by Alonso Berruguete as his friends Francesco Granacci and Giovanni Francesco Bembo were also habitual members, due also to revealing in their later work the same innovative character. There is a similarity to Berruguete which is evident in their eccentricity and incisive expressionism which is still evident in Pontormo’s and Rosso’s development, once he returned to Spain (cat. “Norma e Capriccio”, 2014). Longhi and Arias Martínez reached similar conclusions. Mazariego Pajares, cap. II “Alonso Berruguete y el Manierismo” p. 50 and following pp. In accordance with Azcárate 1961 who expands repeatedly on the extraordinary influence which Berruguete exerted on Rosso and Pontormo who were much younger than him and who, together with the Sienese Domenico Beccafumi, formed the first generation of “manierista” painters. In fact, Azcárate considers Berruguete the first entirely and essentially mannerist artist due to his essentially gothic medieval roots which, in his opinion, is a key question in the mannerist renovation and its eclectic development which causes its opposition to the Renaissance.
 
3HAUSER Arnold, El Manierismo, La Crisis del Renacimiento y los origenes del Arte Moderno. Ediciones Guadarrama, 1965, pag208, 280.
4There now comes to mind what may be considered the origin of the Spanish Genius: the pertinent words of Azcárate 1961 p.14 and following pages, regarding the resistance of the Spanish people to lose their medieval tradition in favour of the cult of the pagan ideas which idolized apparent beauty. The Renaissance in fact opposed the religious and political ideas which were in force in the Spain of the Catholic Kings which considered itself the Defender of Christianity. This idea which was wrought throughout the centuries thanks to the determination with which the various Spanish kingdoms fought against Islam and which culminated in the conquest of Granada and in its own union as a nation and a State. This messianic sentiment continued with the evangelization of the recently discovered American territories, thus causing to rise up a fundamentally Christian Renaissance, in opposition to the Italian Renaissance which was basically pagan in its origin. This movement, however, has all the fundamental roots required to give a great impulse to the artistic renovation of the modern age which would lead to the mannerism of Trento and finally to the Baroque. This Spanish Renaissance, whose greatest representative in sculpture is Berruguete, and later El Greco, following in his tracks, scorns external form and subordinates all its valuation to the level of its expressivity in its desire to move its spectator’s soul which is led from the visible to the invisible by means of the intellectual perception of eternal beauty. All this partially explains the unreal suffering of Saint Jerome and the pathetism of his Saint Sebastian. Berruguete seeks refuge in the world of ideas, in the intellectual conception which is coherent with the neoplatonic currents of thought, though never loses contact with reality, with the world of sensations and sentiments, which is precisely where the “Barroquismo” and the modernity of Berruguete has its roots. It is this wilful deformation of visible forms in order to create a new world of forms which advances parallel to the schism of the cubist and abstract painters from the sensual vision of the impressionists.
5 María Bolaños investigates deeply in Melancholy in her article on the occasion of the catalogue for the exhibition of the National Museum of Sculpture in Valladolid “Tiempos de melancolía, creación y desengaño en la España del Siglo de Oro”, 2015. Here she alludes to how Berruguete lived through the decline of humanistic optimism in a sense which harmonised with the nature of the artist identified by Felipe Vergara in his comments on painting 1560 as “a melancholic, Saturnine type of man who doubtless was of an irate, bad tempered nature, and who, although he wished to paint angels and saints, his natural disposition .... forced him inevitably to paint terrible and heart-breaking situations.” María Bolaños, p.22 analyses deeply the culture of melancholy, a refined spiritual tragedy which is converted in the sign of the metaphysical talent of the modern creator of his mental energy, of that “pazzia” of which Michelangelo, Pontormo... and also Berruguete have left us evidence. The special anguish through which all the artists had to live after the sack of Rome in 1528 and which implied their exile is, doubtless, the cause of the decisive expansion of the exaggerated mannerist ideas throughout Italy, Bohemia, France and northern Europe, forming a second generation of artists who will gradually lose that profound sensation of suffocation and anguish of the early years of Pontormo, Rosso and Beccafumi in favour of a more decorative and superficial activity. These styles were convincingly and effectively rejected by the “escuelas emilianas” of the Carracci and the Caravaggists (Fig. 13).
 
6 María José Gainza comments on this movement which Berruguete shapes in art, for the first time, in the “Ecce Homo” at Mejorada de Olmedo; she refers to Winkelmann who considers it a symbol of affliction for ancient classical artists. This is the attitude with which Antilochus announces Achilles´death to Patroclus. Berruguete correctly takes his inspiration from this source to express Christ’s affliction.
[1] Parrado del Olmo sees many classical connotations in the altarpiece at Mejorada de Olmedo, specially in its composition which he believes was inspired by the drawings of Roman buildings done by Giugliano di Sangallo. These drawings also inspired Giacopo Fiorentino in the composition of the altarpiece of the royal chapel of Granada, according to Gomez Moreno and Parrado del Olmo “El retablo del renacimiento y los Jerónimos, Mejorada de Olmedo y el Parral de Segovia” (2000). This interest in antiquity is equally revealed for the first time in his “Ecce Homo” in a similar movement of legs as in the Mercury of the Uffizi which we have documentary evidence that it was at the Belvedere in 1536, so Berruguete could have seen it there beforehand. For a summary of historical opinions on the “Ecce Homo” in which all coincide in that it is supremely disconcerting and admirable the way he expresses moral suffering (see María José Gainza p. 20). See also Orueta 1917 and Azcárate “Alonso Berruguete cuatro ensayos”, Salamanca 1988.
 
7 J.M. Martínez refers to Winkelmann and Lessing on the expressive force of suffering in order to define the pain. Laocoonte expresses, the controlled suffering shown by his body and his face, but quite different from the rage and fury Virgil attributes to Laocoonte. Laocoonte’s sculpture does not utter any terrible cry. His open mouth indicates rather a controlled and smothered sigh. This is what Winkelmann considers regarding the poem which Saboleto wrote in 1506 on Laocoonte in which he expresses himself like Virgil in intense terms, which is the contrary of his artistic ideals. Lessing culminates Winkelmann’s interpretation based on “la noble sencillez y reposada grandeza del arte” in his Laocoonte or on the limitations in painting and poetry” (1766) and he wonders if suffering should be expressed with violence or with moderation and solves the dilemma considering that the poet allows himself to be convinced by anger whereas the artist is drawn by harmony in his search for beauty. The Laocoonte expresses suffering, but above all acceptance, which allows himself to be a correct model and a spiritual Christian. J.M. Martínez p.461. In this sense Berruguete is more a poet in his reaction to Abraham’s terrible suffering, but in his representation of Saint Sebastian he attains supreme beauty, such as that conceived by Winkelmann, when he expresses in a contained manner the silent and intimate suffering of the young Saint.
 
8 Orueta, p.55 It is emotion in nature which our artist’s soul perceives and places in his work with a fire which has no equal example in art..... the suffering Berruguete expresses is a universal sorrow which he feels as the result of having lived through years of unrest (sack of Rome 1528) and a crisis of humanism. Following F. Holanda, Orueta and Pajares write about the soul which pervades their sculptures, a sense of anguish and suffocation which has no apparent cause, but is something existing in the artist himself and which, according to Longhi, we also see in Pontormo and Rosso.
 
9 It is very appropriate to mention in defence of the “barroquismo” of Berruguete the constant references made by Orueta to the artist’s desire to act in accordance with the spectator’s sentiments and Mazariego Pajares’ allusion to this conception of space and composition, sublimely expressed in his “Transfiguración”, where the figures are free in space and where light plays a fundamental role. All this gives Berruguete his Baroque character. Georg Weisse, in one of his chapters referring to Spanish sculpture, extends himself on this question “Berruguete y otros maestros del Barroco temprano”.
 
10 Orueta makes reference to transversal ligaments in hands and feet which give great expressive strength to mechanical contraction and nervous force. Orueta. P.64 considers them an example of his work and usually marks them with a vigorous projection.
 
11 Arias Martínez (2014) studies deeply the fact that was most cherished in Spain by the Church, principally on account of its realism and naturalism; this gave Alonso Berruguete the opportunity of developing his genius in a complete synthesis of artistic areas, allowing him to imprint on wood concepts which the most revolutionary Italian painters of his generation, like Pontormo, worked on panels or on canvas. Arias Martínez connects preparatory studies by Pontormo for the frescos of San Lorenzo (1546) with small relief works “El Diluvio. “La serpiente de bronce” and the “Juicio final” in the Archbishop Chair of the Toledo Cathedral carried out by Berruguete in 1548, as he had not found any other example in the Spanish world of such daring composition, with no order or perspective. “La serpiente de bronce” and the “Diluvio” have an evident connexion with the cartoon of the “battle of Cascina“ by Michelangelo in accordance with M.C. García Gainza’s indications p.17.
 
12 The influence which Berruguete could have exerted on El Greco is corroborated by Orueta, Azcárate 1961, p.15 and by Julián Marías who, however, surprises us indicating the indifference and almost apparent dislike which El Greco showed towards Berruguete as he made no greater note in his book “Lives” by Vasari than just indicating the presence in Italy of El Greco “History of an exaggerated painter” 2013, p.290. His terse comments on the artist stand out in blatant contrast to the words of praise which Tristan inscribes in the book. Such coldness might perhaps be justified by El Greco’s proximity in artistic style to Berruguete which might have diminished El Greco’s fame as a revolutionary painter and initiator of new forms of art, all of which would turn contemporary criticism in favour of Berruguete. El Greco’s envy of the artistic gifts of others, as demonstrated by his apparent contempt for the frescos of the Capella Sistina are sufficient proof. The same occurred in Picasso’s case with his stubborn silence when facing Goya, his most immediate precedent in art. Nevertheless, the parallelisms between Berruguete and El Greco are evident in character, education, entrepreneurship, the cultural background where their creativity grew up and their determination to break with the traditional Italian models developed. Their temperament rooted in the Judeo-Christian world in contact with the Islamic world, their common combative characters as proved by the fact that both were accustomed to solve their disputes by means of litigation, the special importance both gave to a broad education, but after their sojourn in Italy both maintained themselves absolutely up to date regarding modern tendencies, the great importance they both gave to their rise in social standing and their right to social recognition, a characteristic also shared by Velazquez, their multicultural Castilian background mixed with fanaticism, their late development as artists of genius, combined with a special technique, their capacity as entrepreneurs to create an extensive workshop, and, above all, their absolute necessity to break with what was traditional, creating new forms which would claim  the spectator’s attention: all this induces us to consider these two Masters as constituting  a corpus of similar artistic connotations and permits us to view Berruguete as an evident precursor of El Greco, even though this would lessen the innovative character which for the last century is attributed to the Cretan artist. Nevertheless, the fact that Berruguete’s painting was not as revolutionary as his sculpture, would grant exclusively to El Greco the merit of being the first in the art of painting to break radically with the principles which guided the Renaissance, that is, breaking particularly with traditional perspective focused in depth and to introduce its typical “horror vacui”, all questions which El Greco could contemplate in Berruguete’s work, specially in the small relief works in the Archbishop’s Chair behind the choir- stalls already mentioned. Thus Berruguete’s style, still alive in the most cultured Toledan circles, specially in the ecclesiastical ones, could probably serve as an adequate cultural medium enabling El Greco’s painting to be understood and facilitating his acceptance as principal painter of the Archbishop’s city, due to the previous generation having already assimilated Berruguete’s exaggerations .
 
13 Santiago Amón, in his book on Picasso, wonders whether there exists a Spanish school or only Spanish Masters imbued with the Spanish genius, and arrives at the conclusion that, since they are all rebels, the key to them lies in their inimitability which prevents them from creating a school and makes it impossible for them to form a stylistic succession amongst themselves; regardless, of course of the rise of the “Berruguetesque”, “Velazqueño”,”Goyesque “and indeed of the “Picassiano”. Hence, we must deduce that the lack of disciples of importance left by these Masters is due to their possibility of being superseded only by other artists of equal genius.
 
14 In my opinion the line in common which unites Berruguete, El Greco, Picasso and Pollock is that which gives all the modernity to the Corpus of Alonso Berruguete and their perfect interaction, is the best demonstration of how up to date he is. What unites El Greco and Picasso is their obstinate urge to break away, to simplify forms and their imperious need to express their ideas and inner sensations through Art, which doubtless also applies to Berruguete and Pollock.
Rupture in Berruguete and El Greco means breaking away from all they had learnt in Italy, specially from Renaissance composition which was always treated in depth and perfectly balanced. As Malraux says with reference to El Greco “he freed himself from Italy”, substituting the figure of Apollo for that of Dionysios. Picasso breaks away from tradition as he is the one who “throwing a resounding stone, the “Demoiselles d’Avignon” at the face of traditional painting, changed figurative painting into an art based on concepts, separate from visual reality, distorted, which forms an authentic declaration of rupture. Pollock makes the break in his own way, giving creative priority to gestures rather than to their final consequence, liberating the subconscious as the only creative source. Simplification is a process observed in the design of Berruguete’s sculptures of the upper part of the altarpiece which are sketchy and where importance is only given to movement, so as to cause a greater impact on the spectator. El Greco follows this idea specially in his “Quinto Sello del Apocalipsis”, where appear unexpectedly in the foreground spectral, evanescent figures. Picasso reaches simplification destroying completely form by means of decomposing and recomposing new images dissociated from reality, questioning the spectator who, under the guide of the Master’s genius, must give them a meaning. In Pollock simplification is treated as part of the creative process in itself, in the first instance, with his bright idea of dripping, that is applying the paint in drops, or splashing it (by means of throwing cans of paint) on the canvas, stressing its casual nature which rises from his instinct imbued with ferocious intensity, and indifferent to its artistic result. Pollock in fact simplifies art, reducing it to its most essential expression of his psyche and depriving it of any intellectual or cultural content. The will to express oneself is common to all artists and, in the case of a genius, becomes an imperious necessity to reveal his preoccupations, his suffocating inner anguish, as Berruguete does in “Abraham’s Heraclitian cry, or in his San Sebastian’s mute groan”. Picasso expresses his intimate self in his blue painting, whose infinite sadness could only burst out in his “Demoiselles d’Avignon”, as an act of rebellion demonstrating his superiority as a genius and his Nitchean triumph over the misfortune and submission of the common people. In Pollock, his subconscious leads him to flood his pictorial space with a skein of nervous Berrugetesque lines, continual turns and obsessive rotative movements which, surprisingly, form a work equally great as Picasso’s, El Greco’s and Berruguete’s masterpieces. This, of course, has not occurred by chance, but is the consequence of a common volcanic psyche which forces them to break with all their acquired culture, and thus is the essence of their genius. For them creative inspiration and intuition have `priority over talent, technique and skill, regardless of the fact that, above all in Picasso, they may have these qualities in plenty.
 

Reflections and comments on Tefaf Maastricht 2019

Reflections and comments on Tefaf Maastricht 2019

Tefaf started off on Thursday 14 in all its splendour facing an environment of uncertainty which was kindling countless questions from all the collectors and lovers of Art who every year wend our pilgrim’s way to Maastricht.

It is therefore worth while, before  simply enjoying commenting on the works which have caused the greatest impression on me this year, to make a digression on how I consider the state of the Old Masters Art market at this time.

Without any doubt, Tefaf is the Art Fair which gathers together the most distinguished dealers in classical and modern Art, so it can be pointed out as one of the most trustworthy barometers for registering the reaction of the market facing the evident change which has been taking place during the last few years and has affected Art collectors. If we exclude the highlight sale days of Christie’s and Sotheby’s there is no other event which causes more expectation in this sector.

It is a widely recognised fact that the collectors have made an absolute change, much sharper than could have been expected, catching unawares many dealers. Some of these have simply disappeared from the public scene due to being unable to adapt themselves to the change, partly protected by a golden retirement thanks to years of abundant profits; others have reacted immediately, though not as a result of a considered decision, but coinciding with a change of generations; and a few others have broken into the market taking advantage of the evident weakness of competition in this sector. The latter will be the great protagonists of the future. Because, although it may not seem to be true, now is the right moment to enter the Art market of the great Masters. I say that it is the most suitable moment because only now is the moment when one may calculate exactly the magnitude of the change and of the errors committed due to a hasty reaction by the market operators confronted by sociocultural events which have overwhelmed them. The dealers are going through an identity crisis due to their lack of confidence in the future of their profession and due to having left aside their passion for Art which characterised them so much, partially due to having remained without qualified clients with whom to communicate and partially due to having participated in artistic styles alien to their tradition. Disappointment or just resignation has defeated many of them who thought they saw in their revolutionary actions the solution to the problem of the Old Masters Market. Facing the evident risk of fatigue caused by excessive action off the point and with evident lack of results, we should at least beg the question if they have given the right answer to the challenge which the world of Art issues today.

If we analyse the situation of the Old Masters market, it would be a therapeutic exercise of humility to begin by declaring that it has not at present the capacity to create a tendency, at the level it was doing it at the end of the XXth century, due to a lack of demand and offer of Masterpieces. Furthermore, its market previously was international although its scope was really reduced to two continents and to a few purchasing countries. The Old Masters dominated complacently the western world and the sophisticated collectors of those days fought amongst themselves for the Masterpieces. That is why we cannot be surprised that the Old Masters are exhausted; it is not just the case of a change in taste but, to a certain extent, that we have forced classical art to a globalization which on account of its own nature it cannot offer, nor all cultures understand; this is a question, however, to which contemporary Art adapts itself perfectly and for that reason the investors have selected it as a real panacea. This present trend towards globalizing everything so as to widen the markets, though it has been welcomed by some dealers in Old Masters as a solution for the shortage of traditional clients, is one of the basic reasons for the stagnation of the Old Art market which is directed to an intellectual and financial “élite”, not towards the millionaires of today who make their presence felt in the Art world as a real social class which imposes its criteria, its manners and its archetypes, which mostly have very little to do with the subtlety of eternal Art.

In the long run, the solution of this problem will come by linking the financial and the cultural factors; and thus were created the great western  Art collections. The idea spread by contemporary Art that its market is a limitless well, with boundless demand and offer on a global scale and based on supermillionaires who guarantee its price more from investment criteria than from a passion for Art, is a financial entelechy which, at the risk of explosion, has led to the disappearance of Artistic genius, such as we understood it, and its extrapolation to classical Art is an illusion which leads to frustration. Only by means of promoting culture in collectors, can the latter wish to have access to classical Art. All efforts must be focussed on this. At first sight it would appear that the world of picture galleries can do little to confront this situation which clearly overwhelms them, although if we examine a bit deeper, it certainly can be done much better than just adapting to the new situation searching only in the financial side of the potential clients for a solution to all the problems.

In the first place the actions should be directed to market niches where one can operate and not confront the market from a global perspective. The best approach to a client is through his close cultural connection with art. The response must not rise from a surrender of our ideas, in short, from a renunciation of our identity as lovers of classic Art in confrontation to new art, but rather from a conviction of the importance of what they represent, adapting their business to a new reality which will lead to preserve the past and to transmit its essence to the new generations. Furthermore, the Art lovers, collectors and dealers in Old Masters we ought to be prudent regarding how to survive, be true to ourselves, and not kill ourselves with crazy ideas which the market nowadays is in no condition to carry out without an irreparable loss of quality ....All this would lead to frustration.

We must not forget that everything changes and that only by keeping the sector safe and sound and by “cultiver son jardin” for the enjoyment of just a few, a true valuation of the past will arrive, because the world advances looking forward to the future, but does not fail to look back sometimes to the past, analysing those moments in a completely autonomous manner. For this moment, which will surely take place, above all one must still be there alive, and prepared to understand the new collectors who will arrive wishing greatly to know about Old Masters, with great interest, but also armed with new types of knowledge, new concepts and ways of appreciating Art. For that occasion, we must have made a big step forward in our understanding of the Contemporary world, searching in our art what the new collectors want to see in it. This advance in our comprehension will not occur if we are not open to new ideas and if we do not try to understand the society we live in and the Art it produces. Only in this way, we will be able to influence all these collectors in the right direction and they in turn will begin to look back to us, full of modern ideas such as immediacy and conceptualism...

I would like to end this digression contributing at least one idea which might straighten the Old Masters Market and to some extent revive the vitality of Fairs like Tefaf: give a greater protagonism to collectors as a way of promoting the offer and demand of masterpieces.

The idea which I suggest is to study how we can give more space to the great collectors, inviting them to have a stand with at least a work up for sale. Not only showing the works of art, but demonstrating how collections are formed and, if possible, getting the collector himself, or his heirs, to explain their reasons, and passions shared with other colleagues. This is an idea which auction houses have been doing for countless years when they present a whole collection for sale. Only this year the auction of the Rockefeller Collection at Christie’s is a landmark in our history. Why don’t we include in Tefaf a section for private collections? Why don’t we grant the urge of protagonism to collectors?
Anyway, let’s cease pondering on abstract concepts which bore the lover of classical art, who is much more sensual than intellectual. Let’s now enjoy a stroll through Tefaf.

First of all, we must congratulate Tefaf for the magnificent vertical flowering garden with which they greet us at their Entrance Hall every year. This time it is a homage to Monet. Here amongst ushers sent by the galleries to lead in the longed-for clients, are gathered crowds of persons who respectfully await the moment to have their photograph taken before the floral tapestry of cloudy tones of mauve, grey and white.

Immediately afterwards, acting as a “repoussoir”, Daniel Katz’ stand presents to us a relief work: the arrest of Christ which strikingly claims our attention. This is a “pièce unique” of Florentine late XVth century Art, with reminiscences of Verrocchio and Donatello, the great artists of the Italian quattrocento. What strength, what immediacy these founders of the modern manner offer us! The scene is expressed with such a sense of drama, in such simple lines, such sober colours; the patina which time has left is such that at first sight it seems to us to be bronze and only when we approach closer do we distinguish that it is wood covered by polychrome painting worn out by the hand of time. As it was to be expected, the work was sold a day later, just like three or four others belonging to this representative of the veteran guard of Tefaf which is Danny Katz.

Just opposite, we find ourselves at the Parisian gallery of J. Kugel where, we distinguish a room decorated with wall-panels by Sert. That great Catalan artist who in mid XXth century created an artistic formula which captivated American and European sophisticated millionaires. Following on Tiepolo’s footsteps and influenced by Chinese screens, he was able to transfer to wall-panels the representation of persons rendered in “grisaille” on gold backgrounds and framed with vermilion curtains, all painted in metallic colours. Sert’s compositions, both on account of his drawing and the “bravura” of his paintbrush, are by no means less striking than the Venetian painters from whom he received plentiful influence as also from the Spanish “veta brava” style. Now, however, endowed with a refined cosmopolitan air which leads us to the interior decoration of Rockefeller Center in NY and to his palaces in Paris or Buenos Aires which belong to this group of decorative work. How much we miss the refinement which the “élites” of that epoch have left us.

I am now turning left, “noblesse oblige” along the “Champs Élysées” where four imposing stands greet us side by side, presented by today’s Tefaf patriarchs, Richard Green, with his traditional and highly didactic presentation of the best Flemish painting in one room, and the most attractive examples of pre-impressionist painting, such as Eugène Boudin and a trilogy of Pissarros, in another room. We continue strolling and stop at the stand of the Tomassos Brothers who again impress us with their magnificent presentation, this time completely diaphanous, with transparent curtains which filter the light, like sky-lights, and mark out the space for their splendid sculptures. A small panel by Gérard David and Studio captures, however, my attention amongst pedestals and statues which remind me of the Grand Tour. I am enchanted by the simplicity of the presentation, its small size, the quality of his pictorial calligraphy, his rendering of the tears which we scarcely perceive with very fine veiling and the skill with which he foreshortens Our Lady’s arm. It is a pity that there are countless versions of the same work and that its value depends on a most difficult operation of connoisseurship carried out by debate between the scholars Peter Van der Brink and Till Horcher Borcher.

Next door, and in complete contrast as regards presentation, we enter the shadowy stand of Colnaghi where we are entertained by an interesting live representation of clearly Spanish faces, commanding looks, high pitched voices, downright affirmations in conversation with other people of a northern physique, a smiling face and diplomatic attitudes. All worthy of being rendered by Velázquez. This magnificent performance is interrupted when an exceptional composition by Mattías Pretti appears at one side of the stand; this is, in my opinion, one of the best works I have ever seen by this Neapolitan caravaggista. In this work he surpasses himself using tones of colour of a delicacy comparable to French painters like Georges Latour. We move away from these young stars of the Market to rub shoulders with another young representative of the new generation of dealers who dominate Tefaf, Filippo Benappi, fourth generation of the celebrated family of Old Masters and fine Art dealers of Turin. Benappi’s physiognomy surprises me, as it is so similar to the Venetian portraits, specially those by Lorenzo Lotto, with that penetrating look, which is both tense and, at the same time, self-absorbed. In Italian art there is always an elegant softness which enchants us, whereas in Spanish art we feel dominated. Filippo presents to us a fine choice of fundamentally Italian paintings set in a sober blue frame which bears the stamp and brand of Benappi’s style. One work, a magnificent Valerio Castello, specially captures my attention: it is a paradigmatic composition of mid XVIIth century Genoese painting where we can see the traces left by a Genoese Van Dyck, blended with the Venetian and Bolonian influences creating a magnificent example of Baroque painting, full of balanced movement and warm colour.

I must cease rendering homage to this “allée” but, first of all, converse with my friends CD Dickerson and Andrew Butterfield who are much in demand here for being the organizers of the exhibition of Verrocchio and Alonso Berruguete at the NGA, real land-marks of the American artistic Fall. Before losing myself in the labyrinth of Tefaf, I give a sideways glance and see a monumental panel of the early years of this century, a magnificent example of European modernism with Klimt and Shiele as their prime artistic examples. Of course, I couldn’t be anywhere  else but facing the stand of Sascha Mehringer Kunsthandel, an old Bavarian gallery of Austrian origin. Next to the panel stands Sascha like a page in a Nativity scene by Dürer, wearing a perfectly close-fitting suit of Viennese tailoring and with a completely relaxed manner and the complacency of a person presenting an authentic work of Art, which is an example of one of the periods of greatest cultural flourishing in Europe. I asked Sascha who was the artist of the work and he replied that it belonged to Jean Dunand, a Swiss decorator, who had settled in Paris at the beginning of the  XXth century.

From that moment on I decided not to follow any logical order because, in my case, logical systems reduce inspiration. Soon after, I focus my attention on a small size portrait which I know well due to its appearing recently in the Spanish auction market. It was by Sanchez Coello or perhaps by Sofonisba Anguissola and represented a young princess. I look around and find myself surrounded again by sharp looks, full of fieriness. No doubt, I am now in another of the historic stands of Tefaf, Galería Caylus. A sharp eye and courage are what José Antonio de Urbina has shown with this picture for it isn’t long in selling at a splendid price thanks to the label which humbly only attributes to Sanchez Coello the work. The Fair smiles and rewards those who are courageous. I greet Mark Weiss; to me he is an ikon and the indisputable dealer of the European Old Masters portrait. This year, as it couldn’t be less, he is exhibiting a very attractive portrait by Villen Van Mierevelt which presides the cover page of the Tefaf catalogue.

I continue wandering and begin to appreciate how the Fair has wished, with a great sense of opportunity, to render homage to Rembrandt on the fourth centenary of his birth. A monumental Willem Drost is already sold at the preview and I see close to him a well known picture by Aert de Gelder in the stand of another of the patriarchs of Tefaf, the Swiss Koestler gallery; a work exhibited publicly on many occasions. I have always been surprised by its capacity for showing the excellence of this disciple of Rembrandt who, without reaching the depth of the Master, moves us by the modernity of his brushstroke, and his simplicity, far from the rich soft texture of many Rembrandts and closer to what Goya will do centuries later. His play with light is simply entrancing. Yet no sooner do I arrive at Nicholas Hall’s stand than I become conscious of the greatness of the Dutch Golden Age. In the best possible environment, which is both modern and sensational, combining walls of titanium white with others of Hermes orange, he presents to us two “pièces majeures” of Tefaf: one personage with a beard, painted in profile, wearing a turban of an indetermined tone and mother-of-pearls shine and bearing an emerald green cloak. It could not have been painted by anyone else but the only rival of Rembrandt during his early years at Leiden, Jan Lievens. On another wall hangs the portrait of a peasant woman which is technically a “tour de force”, as if the painter wished to astonish us by using all the resources at the disposal of pictorial art: a real masterpiece of its own “genre”,

Returning to the “rond point” of the Fair I pause before two pictures: a magnificent portrait, autograph work by the great painter of the Habsburg family, Alonso Sanchez Coello, whose tradition could only be surpassed two generations later by the modernity of Velázquez. We are at the stand of Robilant Voena, the representative of the finest tradition of Milanese dealers, where we observe the physiognomy and demeanour of their Milanese hosts, manifesting an elegance worthy of French XVIIIth century portrait painting as found in Ingres, David or Baron Gérard. Now, at the end of the tour, wishing to have a coffee and worn out by so much excitement, I stop before a composition of “genre” painting representing children blowing up a balloon. How skilful the painter is in depicting the children’s expressions, and how excellent his mastery in showing to us the moisture on their lips! How their looks kindle when they start to dialogue, uncertain whether to smile or be astonished, as only at a very particular age can a human being be in doubt. There is something of Chardin and his children’s lost-in-thought glances, also something of Terbrugghen and Coster; and of Shalcken and his “tour de force” with lights; but, without any doubt, there lies all the tradition of English portrait painting which begins with Van Dyck in his representation of children, which, in this case, takes the form of a “genre” picture of clearly Dutch influence. This nature, so hybrid in its fusion, could only have been painted by the very refined English painter David Wilkie, unknown to the general public, but tremendously sought-after by connoisseurs and lovers of English culture. The painting was taken down after only a few days of exhibition. We can only congratulate the purchaser and the dealer who granted us those unique moments of artistic satisfaction.

What a show we have been attending! Next day I shall return with my friends and patrons of IOMR, Verónica Rivas and Ignacio Lasa, so we can continue enjoying it all...
Can we renounce to enjoying such beautiful works of art, such an authentic environment, even in its golden decline?
Not at all, we neither can nor should renounce to any of this, on the contrary, we must protect it so that it will never disappear. The best way, as Voltaire said in the years preceding the Revolution: ”il faut cultiver son jardin". So when the world of Art turns to look at us we shall captivate it again…

CARLOS HERRERO STARKIE

Alonso Berruguete and Bartolomé Bermejo universalize the Spanish Renaissance Art

Alonso Berruguete and Bartolomé Bermejo universalize the Spanish Renaissance Art

The exhibitions of Bartolomé Bermejo in London’s National Gallery and of Alonso Berruguete in the National Gallery of Art in Washington programmed for 2019 offer a unique opportunity for raising up from the oblivion into which the Spanish Renaissance Art has sunk, something surprising bearing in mind the enormous interest aroused by Goya and our great Masters of the XVIIth century.
 
Our Golden Age is, however, the climax in the process of forming the Spanish artistic soul which initiates at the end of the XVIth century coinciding with historical events which influenced a generation during which Spain changed the course of the western world. This process led by artists risen up in a world completely different from the European Renaissance, a society founded in what had become a symbiosis of Christian, Jewish and Moorish cultures, where arose the artistic genius which, from a present day perspective, we perceive as Spanish. A genius characterized by its expressive strength, its starkly simple shapes, giving priority to concept rather than to appearance. A modern genius since its origin, in the sense that it has grown in rebellious hearts, strident personalities which need to express themselves, without adapting to any moulds except those that rise from their subconscious.
 
In this world, first Bermejo and later Berruguete, rise up as the bearers of the Spanish artistic DNA which will survive in El Greco, Ribera, Velázquez, Goya and Picasso, a gen which seems to make them immune to external influences ; although they affect their artistic work, they never conquer their soul that rises up in an absolutely particular way, sometimes stridently, as in Bermejo, Berruguete, Goya or Picasso and at other times with a delicate melancholy and with the most advanced pictorial technique which captures sensations in a magical way, as in Velázquez or even Murillo.
 
We thus find ourselves facing two paradigms of Spanish artistic genius. Both are eccentric with regard to classical rules; Berruguete, together with Pontormo and Rosso Fiorentino, is the founder of mannerism but, at the same time, forerunner of the Baroque and direct precedent of the great Bernini. A passionate Master of movement as the expression of the inner energy which his personages radiate. Berruguete and Bermejo, both essentially vanguard artists, inasmuch as they practise a kind of rebelliousness, an art which rises up with the intention of causing an impact on the spectator, and of creating in him feelings of anger, passion, devotion, oppression, or a stifling sensation which are precisely the feelings which surge up from his subconscious. Both of them are great interpreters of the repertory of gestures in use at the time, classical in Berruguete’s case, and northern in Bermejo`s case.
 
Because the Spanish manner is above all a particular vision of universal concepts which assault a tormented soul and which Berruguete expresses, in a stormy way. This character, so essentially Spanish, based on a rough rock-like temperament which the artist bears when he follows foreign models, makes him never copy, but rather interpret their artistic language. There lies the eternal modernity of the Spanish genius, in the way in which he questions his artistic background. In this sense the great Spanish genius does not create schools, it is unique and sets unrepeatable standards; for that reason we talk about “Berruguetesco”,”Velazqueño” and “Goyesco” when we refer to artistic styles, and not to exact followers ; and yet their influence is universal inasmuch as it brings with them a modern slant, a renovation in Art which only repeats itself when another equally great genius arises.
 
In this respect the IOMR has since 2015 been forming a collection of Spanish Renaissance sculpture because if there exists a medium in which the artistic genius of our nation has flourished it is surely that of sculpture. You only have to observe the altar-pieces of the churches which crowd Spain. In "La Rioja" there are dozens of churches with Renaissance altar-pieces, all of immense sculptural wealth. This is generally ignored and should be made known during this year.
 
In accordance with our objective to rescue from oblivion old Masterpieces, using our roving eyes as the main incentive to discover the excellence of a work which usually is covered by brown varnish and successive restorations which mask its high quality, stands IOMR’s vocation to rediscover periods of the history of art which are at present ignored or undervalued, giving back to them their lost gloss, turning them into an endless mine of future Masterpiece discoveries which we intend to spread internationally. This is no doubt the case regarding the Spanish Renaissance.
 
The idea of entering in this period coincides with the discovery of a pair of sculptures of Alonso Berruguete, Saint Peter and Saint Paul, to which must be added the information we had that there was going to be organised in the National Gallery of Art in Washington an exhibition on this great figure of Spanish Art. This is a fundamental question for us, as we are conscious that nowadays the world of classical Art needs to vitalise itself with the rediscovery of new figures which have this halo of modernity which permits them to impact on new collectors or on simple spectators who belong to a global multicultural world and are ever more easily captivated by immediacy and by the universal conception of artistic shapes. Alonso Berruguete fully responds to this profile and for this reason we coincide completely with the NGA in the purpose of rescuing him from an exclusively Spanish world and giving him a more global extension , because his figure transcends national boundaries, as he represents the origin of a new concept of Art which has been blossoming for centuries up to now and reaffirms itself in an exclusively Spanish slant of modernity and whose milestone marks we find in El Greco, Goya and Picasso.
 
Armed with this international vocation, our project starts with the aim of turning the IOMR into a reference not only to Alonso Berruguete, but also to the Spanish Renaissance as a whole, as the expression of a particular vision of Art which, due to its very particular interpretation of the Italian canon, anticipates the new currents which would triumph later, created as a result of the Council of Trento. We are surprised at the analogies found in Berruguete’s work with artists as revolutionary as Bernini, El Greco, Goya and even with others belonging to more modern times, such as Picasso, Munch or Jackson Pollock.
 
The collection which the IOMR has formed throughout three years, in whose development Spanish experts have fundamentally participated, has risen from the discovery of a pair of sculptures by Alonso Berruguete. This has been the source of our inspiration and has established our quality standard which will have to be maintained by the rest of our discoveries. This continuous search for what would best accompany our sculptures and which would explain Berruguete’s transcendency, his Alma Mater, has come to us containing with a surprise when we appreciate that Berruguete was not an isolated genius working in an artistically hostile world. He was not an exception. His vehemence moderated in Italy did not rise up by chance, but responded to a particularly Spanish spirit blended into something which made him different from the rest of Europe ; that is, the fusion of the three cultures, on top of a rock-like temperament created by years of warfare and by the firm conviction that our truths were the only ones. This was the special way of being of a Spaniard at that time and his Art could not avoid this particular psyche when shaping it according to a completely unique and original interpretation of the Italian Renaissance models. The purest example of this innovative spirit is found in Juan de Valmaseda’s sculpture, specially in our "San Jerónimo", which is his Masterpiece. Both Berruguete and Valmaseda were Castilians of probably Basque origin; Berruguete’s work reflects a conflict between his Italian experiences and the atavistic principles which lie beneath his ego and finally blossom forth in the works which best define his Art: his San Sebastián, his Saint Jerome and the Sacrifice of Isaac, situated on the altar-piece of" San Benito" , all of them reveal suffering, anxiety, uneasiness, all infinitely human sentiments. Valmaseda, is a pure Castilian man, certainly rough and totally devout who in his Masterpieces, like the “Calvario” in Palencia cathedral, or our San Jerónimo, show his capacity for transmitting religious sentiment which we will only see generations later in El Greco.
 
The collection of sculptures which we have gathered together during these three years is a faithful reflection of our conviction that the sculpture of the Spanish Renaissance is the starting-point of what Spanish Art means today, the moment when it contains a special significance of its own. That is why this Corpus responds to our strong interest to reveal ,by means of the quality of its works , the excellence of this period. On the other hand, it intends to be an evident demonstration of the Institute’s capacity to discover and catalogue work in sculpture and is our best accreditation to present us to world Museums as a reference on this period, so as to assist in bringing up-to-date the cataloguing of their stock and to help them to acquire new important masterpieces, since their stock of Spanish sculpture is very scarce compared to Italian, French or North European sculpture.
 
In this task of rediscovering what is different in the Spanish Renaissance and of spreading it internationally, we intend to collaborate intensely with Spanish museum institutions, and universities, promoting cultural agreements, specially between scholars of sculpture whose Spanish colleagues are not sufficiently recognised, probably due to their research not being translated. Only thus, as occurred, with Murillo, Velázquez or El Greco, will Alonso Berruguete be able to enjoy the consideration of an exceptional figure of universal Art.
 
We understand that Spanish heritage, and specially something so disregarded as the sculpture of the Spanish Renaissance, if we intend its knowledge to be spread in a fairly proportionate extent to its importance in the development of the history of art, its works must be much better represented in the principal Museums of the world and even in private collections.
 
Only thus, by encouraging international collections of this period of art , will traces be laid , so that it may be justly valued on an international scale and enjoyed by future generations. The impact of Spanish Art would have been much less intense if it were not for the great lovers of our Art that were Omazur, Stirling-Maxwell, Steward Gardner, Huntington, Hearst, Meadows and nowadays Jonathan Ruffer, not counting the diaspora created by the sale of the Collection of King Louis Philippe to many world collections, nor the discovery of El Greco by the Germans at the beginning of the XXth century, promoted to a certain extent by the polemical" Marqués de Vega Inclán". It is true that this reduced our patrimony, but the final result has been enormously positive for the transcendence of Spanish Art. In this sense, El Greco is perhaps the greatest rediscovery of the XXth century and has exerted the greatest influence on modern artistic trends.
 
The presence of Spanish works of art abroad, specially belonging to the Spanish Renaissance, is something which should be promoted as a priority by Spanish authorities, even, I would suggest, within the framework of the project “Marca España”. Exhibitions like those which are going to be organised this year on Alonso Berruguete at the NGA in Washington and at the Meadows in Dallas, or the exhibition on Bermejo at the National Gallery in London, or those programmed by the Hispanic Society in various U.S. cities, should not only serve to study more deeply and from a more universal standpoint the work of an artist or a period and to spread it to the public in general, the more the better, but also, to promote public and private collecting and kindle an interest in other important examples of Spanish Art, so that they may form a part of foreign collections and thus contribute to the permanent enjoyment of the general public.
 
In this multicultural and ever more internationalised world, the Art of the Old Masters cannot be overprotected because this would prejudice its transcendence, its cultural impact, and it would find itself at a clear disadvantage compared with contemporary Art which has no frontiers. In this respect, what would be best for Spain would be to find a just balance between the determination to maintain its Heritage intact regarding what is fully representative of this patrimony, and the no less important responsibility of divulging it to other countries, facilitating the export of works of art, whose representation in Spain is already guaranteed by the presence of the most important works made by its artists. Of course, a painting like the “Condesa de Chinchón” by Goya must be declared not exportable and immediately afterwards be purchased by the State as was exactly done. It is certainly the most excellent jewel of Spanish portraits, by its most universal modern painter. It is, however, worth asking oneself if all the Goyas, Murillos, or even the Velázquez have the same status. I was glad to hear the other day that a basket of flowers and fruits by Juan de Zurbarán was acquired by the National Gallery of London coincidind with the purchase by the Prado in 2016 of another work by the same painter. Only thus, carrying out in a reasonable way the reciprocal principle of free movement of Art , does one nowadays enrich collections, fill historical gaps and give collections a more universal scope. In this respect, an over-abundant representation of minor examples in public collections, even though the works are by the most celebrated artists of each country, is not justified in the present day; nor does it contribute to internationalisation that only those works which do not bear the Master’s stamp of quality are exported, because in that case, they would not be authentic examples of the creative richness of our Art. The success of a correct policy regarding the conservation of our Heritage will depend on our deliberate consideration between protecting our patrimony or giving it its indispensable internationalisation.
 
Following along these ideas, one of IOMR’s priorities is to assist in internationalising the stamp of Spanish Art and specially of those periods which at present do not have an impact on the cultural media corresponding to their importance in Art history; included among these neglected periods is Spanish Renaissance Sculpture.
 
With this objective in mind, IOMR will undertake  the following  actions :
 
1.- Continue adding new works of Art  to the Corpus of sculptures which constitutes our collection , by means of searching for other pieces of sculpture which may offer the most complete and truest vision  of the Spanish Renaissance, sharpening our eyes in our quest for the excellence of artists fallen into oblivion, finding examples of the characteristic Spanish expressivity which rises up from religious fervour.
 
Since our whole collection turns around the figure of a genius like Alonso Berruguete, our intention is to show how far he was in advance of his time, a real forerunner favouring an artistic language of his own, as founder of what was later named “Mannerism”. In this respect, what reason is there in leaving to the Italian artists Pontormo and Rosso Fiorentino the aureole of being the only founders of this  sophisticated anticlassical movement ? and, in any case, even if they were, didn 't Alonso Berruguete participate with them in their blossoming forth in the “Chiostrino della Santa Annunziata” in Florence ?  as he contributed with such a particular interpretation of the classical models that his designs in Spain become the clearest precedents of El Greco and Bernini. Why don’t we challenge this trophy so well saved by Italian historiography? Why don’t we delve deeper in its modernity, in its capacity to express the sensation of drowning, of stifling, of giving life to one’s soul, to the human psyche, a sentiment so applauded in other Spanish artists at present considered stars of modernity, like Goya and Picasso ?
 
2.- With the object of leaving documentary evidence of a collection whose pieces, due to the international vocation of our project, will certainly end up dispersed in public collections throughout the world, the IOMR is, on the one hand, active in making the collection visible through audiovisual means and, on the other, in editing, in collaboration with the maximum Spanish and international experts, a catalogue in which special importance has been given to obtaining exceptional photographic material. Finally, we hope to publish by the end of the year a monography in English on Alonso Berruguete.
 
3. - Continue publishing periodically in our web the results of our research and our discoveries, as we have just done regarding the sculpture of “Our Lady and the Child” by Juan Bautista Vázquez el Viejo and will be done regarding the sculpture of the prophet by Gabriel Yoly, recently integrated in the collection.
 
4.- Coinciding with the Berruguete year, we would like to propose to the Curators of sculpture of the Museums to sign up for the artistic visits along the routes where there are works by Berruguete and his followers, that is, visits to Valladolid, Palencia, Toledo, Úbeda, Sevilla, Aragón, La Rioja.
 
5. - Finish forming a library representing all that has been published on Spanish Renaissance sculpture, including an archive of articles, studies ... etc, with particular emphasis on the artists represented in our collection and specially on Alonso Berruguete.
 
6. - Arouse the interest of Museums by establishing contact with their Old Masters Departments so as to promote the acquisition of sculptures of the Spanish Renaissance and the revision of the cataloguing of the works in their collections.
 
7. - Observe the Market identifying works of the Spanish Renaissance whose quality could allow them to be considered of Museum interest for the purpose of acquiring them or intervening in their acquisition with the object of guiding their restoration and adequate cataloguing.
 
8. - Continue in contact with all the great experts of the Spanish Renaissance so that they may participate in the cataloguing of the works and, if possible, obtain that they participate in forums leading towards a greater impact of the Spanish Renaissance.
 
9. - Financial aid for the publication of works on the great figures of the Spanish Renaissance.
 
10. - Give special importance to maintaining permanent contact with the directors of the exhibition on Alfonso Berruguete in Washington, C.D. Dickerson and Manuel Arias, and also with Mark Roglan, Director of the Meadows Museum, due to the enormous repercussions derived from a knowledge of Berruguete. The IOMR, on having widened its collection of works of art to include other artists of the Spanish Renaissance, will be able to contribute a more ample vision of the transcendence of Alonso Berruguete in his epoch.
 
There was a time in our history in which various writers, philosophers and scholars of Art devoted themselves to dig deeply in the essence of the Spanish spirit, in the origin of our history, in its roots; those were the days of intense debates on ourselves. Our project also wishes to pay tribute to the generation of the ’98, of the ’27 and to the generation who lived in exile, to Unamuno, Ortega y Gasset, Americo Castro, Claudio Sánchez Albornoz, Marañón, Gómez Moreno, Azcárrate, Cossío, Orueta, Camón Aznar, and to so many more who strove to find an identity for our culture. They lit up with their wisdom the Art hidden in our cities, our Cathedrals and our Museums, giving significance to the Art sheltered therein. Because there is no more rewarding way to live Art than to comprehend its “raison d’être”, only thus will we feel the throb of the creative impulse of our Master creators. The IOMR has reserved a special space in its library for these patriarchs of Spanish culture, because on reading their writings we have been able to go back to our origins and has served as a guide to our task of reinterpreting the Masterpieces of Spanish Renaissance sculpture.
 
Art without passion has no significance, and although some people may try to convince us of the contrary, without culture Art does not attain its fullness. Even Contemporary Art, no matter how rupturist it may be, follows faithfully this principle; perhaps that is the clue to understanding it... That is what we are trying to do, but meanwhile, I propose something simpler, let us enjoy everlasting Art, the beauty of our historical cities, the landscapes which surround them, in short, all that has been kept unchanged or which is covered by the patina given by the passage of time.

Carlos Herrero Starkie

Imagen publicada:
Alonso Berruguete.
San Sebastián, Retablo Mayor de San Benito el Real, hacia 1526-1532
© Museo Nacional de Escultura, Valladolid.
Foto: Javier Muñoz y Paz Pastor
CE0271/016

Reflections on the market: Art or Performance

Reflections on the market: Art or Performance

I would like to inaugurate with our readers the year 2019 with a few reflections on what have been the most significant events of the year just ended.

Without any doubt it has been less glamorous than the year 2017 if one bears in mind the sale of the “Salvatore Mundi” by Leonardo at 450 M $ in Christie’s; a coup de scène played by an Old Masterpiece in a market permanently dominated by impressionist, modern and contemporary Art. An event which, however, had no continuity during 2018; indeed, on the contrary, with the capacity for self-destruction which sometimes features the Old Masterpieces market, we have reached the point of openly speculating on its attribution, giving credit to certain doubts held by a small group of scholars, when the debate should have been resolved before its spectacular sale. All this may have contributed to the fact that the work is not yet exhibited in the Louvre of Abu Dabi, although we all hope to see it in 2020 on the occasion of the 5th centenary of the death of Leonardo.

Furthermore no high-light has appeared this year comparable to “Lot and his daughters” by Rubens, sold in December 2016 at 50 M£ in Christie’s as the result of a market characterized by an ever-growing scarcity of masterpieces, which is, together with the change of taste of succeeding generations, the principal cause of the decline due to starvation which Old Masters market suffers since the outset of the last century in opposition to Contemporary Art.

Which have been the milestones of the year 2018? I would indicate from my point of view two positive and one negative.

The auction of the Rockefeller collection, symbol of the wealth, but also of the good taste of the XXth century, has been the event of the year, monopolising the current interest of its first few months. Christie’s took the greatest pains over what has been considered one of its best Art collections still in private hands; the result was a great success although the magical figure of a thousand millions, which the market considered possible, was not reached; this did not prevent four works from reaching prices included in the “top ten” of the year: one of the best Picassos of Blue Period, a sculpture masterpiece by Brancusi, a version of the “Nympheas” by Monet sold at almost 85M $, (which beat an individual record of the artist) and an odalisque by Modigliani.

The second milestone appeared in November when two successive records were broken at Christie’s by two of our most important figurative artists of the XXth century, Hopper (91,9M $) and Hockney (90 M $), who cast an almost hypnotic attraction on collectors, like that which Bacon continues to do, whose triptych was another of the star sales of the Rockefeller collection. Three artists whose roots lie deep in the study of the old Masters, each one with its own particular analogies, Hopper to Vermeer, Hockney to Piero della Francesca and Bacon to Velazquez. In this respect it is important to indicate as highly significant three revealing data regarding the Top Ten sales during 2018: First of all that there are only two works which are purely abstract, one by Malevich and the other by De Kooning; second, the fact that a figurative work by Hockney “Pool with Two Figures” stands as the most highly priced by a living artist and finally the record of the year reached by Modigliani’s “Nu couché” selling at a rather disappointing 154 M $ in Sotheby’s New York. This return of figurative Art merits a reflection on my behalf as it may signify that contemporary market Art is beginning to look back to the spirit of the great figures of eternal painting.

The modern artistry vanguards in their urge to break with tradition have removed Art, specially painting, from line and shape, rejecting representation, and this has brought with it the decadence of the plastic arts in favour of other means, such as the so-called “installations” or “performances”. Following on this development, deep artistic knowledge has been lost, as well as technique, drawing, the capacity to criticize the execution of one’s work, the sense of quality in shaping; all these qualities have been sacrificed with the excuse of giving priority to the idea, the conception of the work, to its message whose interpretation nowadays is left almost entirely to the spectator, as if he were the only person who grants to the work its real value. We have arrived at the point that anything can be considered as Art, that anyone can be an artist, that in New York there are more artists than lawyers. In short, Art has been socialised profiting from the arrival of new technologies which have completely withdrawn the hand of the creator, and from the cultural globalization and massification of ideas which turn into stereotypes their content and messages.

All this avalanche of artistic work is sifted by the market; only a few privileged artists gain access to the most sophisticated marketing strategies created by the principal auction houses, fairs, art galleries, and Museums with their monographic exhibitions. The interplay between all these actors creates a force which launches the quotations of the artists and converts contemporary Art, on the one hand, in a lively investment asset open to speculation and, on the other, in a prize coveted by multimillionaires due to the status symbol conferred by its acquisition. The art market has created value around contemporary Art which History has not confirmed and thus it may not be worth anything in the future, but while it is supported by a favourable consensus the market will consider it a safe investment whose value is likely to rise.

The modern and contemporary Art market acts increasingly in a similar way to other investment assets, seeking stable values which may grant immutable worth to the artistic work such as transparency in business transactions, absolute guarantee of authenticity, exact registration of the exhibitions organised, of the provenance, information on artist’s sales, “catalogues raisonnés” effected on the artist’s work, etc... All these data accepted as infallible by the market are a safe defence for contemporary Art work against the judgement from History which could reduce the true artistic value, and, in consequence, its economic value. This reveals the need to substitute the ideas of quality, beauty, uniqueness of a Masterpiece, all of them values which are the true essence of classical Art. On the other hand, current creative process is closely linked to Art business where the artists adapt their tendencies to the market, who search new ways of increasing the volume of business without diminishing the value of individual works, maintaining a constant offer so as to increase prices. Therefore such traditional concepts as the uniqueness of a Masterpiece or the priority of the original against a replica have been substituted by the idea of series and furthermore the recent idea of dividing the property in microshares which would in the end explode the traditional concepts of collectors as possession and personal enjoyment of Art. This strategy has culminated recently with the integration in the Art market of the new technology, block-chain, already used for the bitcoins market, which guarantees the immutability of all the consensuate truths and data in encrypted files.

Has Contemporary Art become a virtual reality?

 A reality created by the market to satisfy the speculative urges of man nourished by his self-worship which previously he would satisfy with his capacity to discover beauty and possess Masterpieces and now is centred in an almost obscene obsession with prices and financial value, the more the better. That is how Christie’s and Sotheby’s, thanks to their exceptional capacity to call us together, due above all to their eminent prestige and universal brands, manage to assemble together all over the world a selected audience where the trillionairs carry out their sensational purchases.

There is a consensus among scientists that the world is destroying itself, that we are ruining the ecosystem; well, something similar is happening to Art which is today being supervalued due to factors which are external to itself and pervert it. This prevents one from distinguishing what is really good.

In consequence, it is reasonable to ponder over what I consider the third milestone of 2018, that is to say, Banksy’s performance during Sotheby’s Night Sale in October when, before all the public gathered at the auction, he destroyed his own work “Girl with balloon” which had just been “knocked down to him for 1,2 M £”.

Was that a market strategy to raise the painter’s price? Arranged only by the artist?, as he confirmed. Did Sotheby’s know this? Was the buyer, who saw that the work he had bought was self-destroyed, informed of the strategy? It has been thought that the seller, or even a gallery, may have been the owner of various Banksys and was who decided to sacrifice one of them so as to raise its price. Many reasons are possible, but nevertheless there exist certain questions which cannot be easily explained. The fact that the work was not destroyed at the exact moment when the picture was knocked down, but just after, and that this picture was the last item presented at the Night Sale, that its estimated price was rather high, that it had passed all the security tests of an auction of Sotheby’s level, raise more doubts than certainties regarding the participation of various actors, and not just Banksy, in this performance.

What is serious is not that this show would have been produced, after all it is one more of those to which Banksy has accustomed us, but that the market had valued positively the public destruction of a picture, doubling the value of its remains the selling price knocked down at Sotheby’s. If this is really true, we take it seriously and not as a new virtual reality of the market created for increasing the price of the artist. Then there will be people who would agree that this performance is the clearest indication that contemporary painting as such has no value and that it can only rise up through ideas and actions more or less correct, including among these its own destruction.

In conclusion, I would like, entering the zone of pure science fiction, to imagine what would have been the reaction if the “Salvatore Mundi” had been destroyed by its owner as a reaction to the doubts which have risen up recently on its attribution to Leonardo. Assuredly the world would have assaulted him because this indeed is a great work of Art, one of those which remain and will always be admired, although, as often occurs to Old Masters, we cannot have absolute certainty  regarding its attribution, due to the sequence of its provenance not being perfectly linked up. What is beyond discussion and immutable is the pictorial quality of the work, even at the risk that the consensus of the scholars of Leonardo may for one moment be broken.

CARLOS HERRERO STARKIE

The most Human Image of Jesus is triumphant in Sotheby’s Night Sale

The most Human Image of Jesus is triumphant in Sotheby’s Night Sale

A study in oil painting of a youth portrayed as Jesus by Rembrandt is sold at 9,5 million £ and a Child Jesus asleep by Murillo is the protagonist of the most spectacular rise in price of the night.
 
The auction of Sotheby’s Old Masters Night Sale on December 5th, although not the most successful one due to its volume of sales, has represented a surge of optimism in the Old Masters market which seems to show symptoms of resistance against the pushing glamour of contemporary art. I will just indicate that 85% of the pieces were knocked down, that 30% rose above their highest estimated price, and that none of the star lots failed to be sold. It is, without any doubt, the result of the diligent work undertaken by the specialists in Old Master paintings of this centuries-old Auction House that, without renouncing to their traditional values, they managed to bring together a selection of pieces of exceptionally high quality, confident that there still exists a level of public and private collectors who appreciate the magic subtlety of eternal Art.
 
In Christie’s, however, the Night Sale of December 6th had a higher global total of sales which nevertheless left us with mixed feelings since the bids rose with greater difficulty. Though achieving two world records prices thanks to Frans Hals’ unsurpassable pair of portraits and Judith Leyster’s very appealing genre painting, many works of arts, including even some of the most important ones, were sold at their initial valuation price and more than 30% of the lots remained unsold.
 
On Wednesday night, Sotheby’s inaugurated its sale on Bond street with one of the most important rises which reached its climax with a Mary Magdalene by Ambrosius Benson at more than 730.000 £, which is more than double its highest estimated price, thus confirming the value of this painter considered as second rate in the last generation of early Flemish painters. For me, of course, it was the cause for rejoicing that night, since from the first moment that I contemplated the picture I became fascinated by the peacefulness which emanated from the painting, by the originality of its composition where the person is portrayed with a slight foreshortening; I was also enchanted by the brilliance of his pictorial technique, shown both in his manner of painting the flesh and in the finishing touches of his brushwork on Magdalene’s jewels and her prayer-book. The way of presenting the picture for sale, in what appears to be a good state of condition, free from any recent restoration, yet showing a light shade of rusty varnish, is, in my opinion, the ideal way of doing it, leaving to the buyer the decision to go deeper in cleaning which might brighten the tones of colour, or continue the more Mediterranean tradition of maintaining the shading left by time.
 
Included among the list of works presented in the section of Spanish painting, a magnificent Child Jesus asleep by Bartolomé Esteban Murillo stood out in a wonderful state of condition. The fine blending of the general colouring of the work, which ranged between a greyish white of the drapery around him and a background of Venetian garnet, bathed in glowing light, very much according to Spanish taste; all treated with very delicate transparencies and veilings, authentic touchstone of Murillo’s technique, as observed in the Master’s best works during the decade of the 60’s when Murillo enters in contact with the royal collections in Madrid. No doubt the collectors appreciated in the picture the recognised and exceptional capacity of the Master to express the figure of Jesus in the gentlest form of a child, the result of natural observation, and, at the same time, they were spurred even more by the exceptional royal provenance of the work, which granted it the most sensational rise of the night, trebling its highest estimated rate and it was sold at 610.000 £.
 
The star bid of the night reserved its pre-eminence to one of the most human representations of Christ that have ever been made. Rembrandt’s work, small in size, caused an impact on the spectator in a wonderfully arranged solitude. Boldly estimated by Sotheby’s at between 6 and 8 million £, together with its sketchiness and its relatively doubtful state of condition, all these factors were no hindrance for its being sold for 9,48 million £. This fact confirms the stability of a market which is constantly raising not only  the estimated prices  of masterpieces, but also , from a much more modern viewpoint, the value of works which are the true expression of the special creative process of the great figures of European painting. In this respect, this small-sized study painted in oil made directly from life of a youth, represents the dauntless search carried out by Rembrandt, to show us the human figure of Christ which we find in an unsurpassable series of seven sketches among which most experts coincide in considering this sketch as one of the two most convincingly autograph by Rembrandt.

The presence on the market of this work is also a magnificent example of the silent work of the historians and curators of Museums which culminated in 2011 in the exhibitions Rembrandt and the image of Jesus at the Louvre Museum, the Philadelphia Museum of Art and the Detroit Institute of Art; it reflects the value of new aspects discovered in a genius of painting so universally studied and recognised as Rembrandt , all of which provoked the sensibility of the collectors of Old Masters leading them towards new paths of great modernity.
 
No doubt there is no image more modern than this one that Rembrandt chose to represent Jesus Christ, a Jesus that is close to us, humble, specially human and imbued with the inherent weakness of a man conscious of his original sin which, however, has the unique capacity of raising his spirituality thanks to his capacity for devoting himself in such a wonderful way as represented by the look of absolute generosity and deep pathos which only Rembrandt knows how to express through his pictorial sensitivity which can adapt itself to the emotional state of a young man and thus moves us with the immediacy of a monstrous modernity. The psychological undercurrent of this series of oil sketches lies in the painter’s obsession to detect and express in his painting the goodness of Man, the anguish felt by his existence and his need of transcendence. Thus, this work is one of those which can rouse passions among new collectors because it corresponds to any period and any place in our universe and reveals to us the most profound depth in ourselves, in our soul... It is a work which should make us oblivious to relative values, such as those connected with economy, finance, or status in Art and would take us back to a more absolute way of understanding Art, such as that of admiring the exceptional capacity to create beauty as the supreme expression of spiritual values; because if we lack that passion for beauty in itself which should act as an inner driving force in the collector, Art would then fail to attract us and would lose its exceptional capacity to renovate, to free us from the daily routine, enabling us to enjoy our life, in short, make us happy...
 
We hope to be able to contemplate this work of art next year in one of the exhibitions which will take place in various cities in Holland on the occasion of the 350th anniversary of Rembrandt’s death.
 
Other great protagonists of the night were the two portraits painted by Anton Van Dyck during the last months of his dazzling and successful life, which was on the point of being cut short when the disaster of the civil war in England and the overthrow of Charles I were approaching. For this reason an air of sadness pervades both works in which are expressed the painter’s anxiety due to his rapidly developing illness mingles with the agitation caused by historical events. The first picture to be auctioned, the portrait of Charles II as Prince of Wales, very delicately painted and in an excellent state of condition, a completely autograph work by the Master, was sold for 2,6 million £, thus confirming the rating of the best works of the most prolific portrait painter of the Monarchy and, with due proviso for his distance from Velazquez, the greatest  portrait  painter of the XVIIth century. The other royal portrait auctioned that night at Sotheby’s represented his sister, Princess Mary, just after her marriage to William of Orange in 1641, by Van Dyck and workshop; it was sold within its estimated price. This work had a special significance for connoisseurs due to coinciding with another version, this one totally autograph by the Master which was presented at the same time by Christie’s with an estimated price 10 times higher. The almost morbid nature of the technical comparisons between both works caused a stream of visitors between Christie’s seat in King Street and Sotheby’s in Bond Street, such as I cannot recall even on few occasions, and gave rise to real debates on the subject between experts and also mere lovers of art, all of which is certainly the best way to sharpen the eyes of connoisseurs and encourage the love of Old Art amongst visitors.
 
Christie’s night of December 6th shone brilliantly due to the presentation of the unsurpassable portrait by Van Dyck previously mentioned, and also, above all, due to the excellent quality of the lots from the Erick Aldama Jelgersma collection, whose star pieces were the incomparable pair of portraits by Frans Hals. Yet in spite of all the merit due for such a distinguished list of works presented, the high price estimates adjudicated by the auction dealers House may have discouraged collectors who failed to bid with the enthusiasm expected.
 
The star Lot, a magnificent pair of portraits painted by Frans Hals in 1639, his best period, and perhaps the highest example of this Master still in private hands, achieved a world record price for these paintings though selling at its low estimate of 8 million £, the same as a copper of the finest velvety make and of a good size by Jan Brueghel the Elder, sold for 3,6 million £. It was a pity that a magnificent seascape by Willem Van de Velde, the best I have lately seen for sale, was withdrawn at the last moment. The highlights of this auction ended with the sale of a Peter Brueguel the Younger at the by no means disdainful price of 7,3 million £, which is excellent news for the work by this artist, so sought after by Russian collectors a few years ago, that after their exit from the Old Master's market, his rating was affected by various resounding failures in auctions.
 
The portrait of Princess Mary by Anton Van Dyck, presented with all due pomp, dominates the view at the end of the magnificent staircase in Christie’s seat at King Street, and was the object of constant scrutinity by visitors. Its absolutely exceptional quality is reinforced by its supreme state of condition, which encouraged Christie’s to give an estimated rate which may have been excessively high. The excellence of the portrait could not be greater, and its general view on arriving before it encouraged us immediately to study it with special optimism. The subtle delicacy of the way Van Dyck painted the sitter, who though representing the royal bearing of a woman, was still a child and therefore timid in her look and gesture, was absolutely enchanting. Only if one might have had the opportunity previously to contemplate it and take a photo of the other version on sale at Sotheby’s, we could have appreciated the difference in quality, not in face and hands, both painted by the Master, but in the rays of light reflected on the orange satin of the dress, and in the various beams shining from the pearls, of the lively painter’s touch on the bows, on the lavish display of material and energy employed and even in the way the green curtain in the background is treated.
 
 Both pictures were sold, but they did not surpass their estimated prices, and yet they were the main attraction for the visitors to both auction houses, thanks to the enthralling game of interpreting the techniques of painting; free, downright and bold are the brush-strokes of the Master; rather monotonous and repetitive are those of his workshop. A real exercise of connoisseurship which attracts and educates collectors and lovers of the painting of the Great Masters.
 
It would be worthwhile, in homage to these two legendary Auction Houses who bear the responsibility of maintaining the market of Old Masters, to do a monographic blog on both versions, pointing out their similarities and differences, with the purpose of sharpening the eye of our readers.
 
I extend in this blog my praise to all those who collaborate in making these auctions possible thanks to their care and passion in integrating these works which rightfully deserve their aid, under the pressure encountered in difficult environments, with problems of stagnation if not recession of the market. Their efforts on many occasions are not sufficiently recompensed nowadays by some collectors who have turned into investors, more closely related to contemporary taste than to a passion for Art itself. The specialists, educated in a love of Art, are those who maintain alive the flame which illuminates the Old Masters for the collectors, and seek occasions for dialogue with modern taste, as we have seen in some presentations by Christie’s, or advancing deeper in very carefully selected, constantly more up-to-date presentations by Sotheby’s, who do not reject tradition which is one of the vital essences of Art.

CARLOS HERRERO STARKIE

Link a Sotheby's - Old Masters Evening Sale - Auction result
Link a Christie's - Erick Albada Collection - Auction result
Link a Christie's - Old Masters Evening Sale - Auction result
 

Bartolomé Bermejo: The first Genius of Spanish Painting

Bartolomé Bermejo: The first Genius of Spanish Painting

The monographic exhibition of Bartolomé Bermejo is no doubt the best prologue to the acts of homage to the bicentenary celebrations of the Prado Museum inasmuch as this artist is for many people the first genius of Spanish painting. A genius who has risen up from the centuries-old living together in Spain of Christian, Moslem and Jeewish, cultures, all of them dominated by religious fanaticism, and who has reached artistic excellence when he absorbs the XVth century Italian and north European ideas and techniques. Bartolomé Bermejo’s greatness is rooted in his particular capacity of continuing to be faithful to himself and, at the same time, assimilating better than anyone else the most advanced foreign artistic influences, confronting them with his strong realism and religious expressionism, employing his capacity for idealizing human forms and creating deep, translucent colours which are only comparable with the transparencies of the great Masters of Art of northern Europe. There is no doubt that the originality of the Spanish Renaissance rises up from this duality between an art rooted in an absolutely theocratic society and the taste for foreign artistic currents enjoyed by eminent patrons of Art who favoured the important transit of Flemish and Italian artists who brought with them the new concepts of the Ars Nova.

We therefore celebrate that the London National Gallery has programmed this exhibition for 2019; the year when the National Gallery of Art of Washington will organize the exhibition of Alonso Berruguete. Both exhibitions give to these two Spanish geniuses the glory they deserve, rescuing them from oblivion. Two geniuses not sufficiently acclaimed in the international world who are imbued with an absolutely personal interpretation of the Renaissance models and whose closeness to us and capacity for communicating with the spectator are the reason why their works of art seem to us so contemporaneous.

The exhibition is organized with the habitual thoroughness of the Prado Museum, showing 17 of the 18 works which constitute Bartolomé Bermejo’s catalogue, including three outstanding works about which I take the liberty of expressing the thoughts they have inspired in me.

The Saint Michael triumphant over the Devil with the Donor Antoni Joan (1468) of the National Gallery is definitely a pièce majeure and represents better than any other the decline of the gothic principles which give way to the Renaissance. This work is pervaded by a sense of melancholy so characteristic of transitional periods and shows the ostentatious pomp expressed in its rich colouring as well as in its fluctuating shapes, so as to make the spectator feel a purely aesthetic experience; it is a work lacking in intensity regarding the traditional values concerning religion and warfare which still held their sway in the Hispanic kingdoms and attains all its greatness thanks to the beauty of its forms. An Archangel Saint Michael whose origin we may probably find in the one painted by Hans Memling in the triptych The Last Judgement (1466), but which I prefer to compare with another work which, though it is of a later date, has a similar meaning: Young Knight in a landscape (1510) by Vittore Carpaccio, in the Thyssen Bornemisza Museum. Both scenes seem to be episodes of the same story, with a soldier in armour as the only protagonist, surrounded by a symbolical vegetation which defines the aesthetics of the medieval knight who has lost all his war function, the decline of an arch-type which was treated for the first time in such a masterly way by Simone Martini in her Portrait on horseback of the Condottiere Guidorriccio da Fogliano (1328).

The Saint Michael Archangel by Bermejo symbolizes the triumph of the new values brought to life in the representation of the scene where the beauty of the saint overwhelms the stereotyped ugliness of the demon. This devotion of Bermejo to beauty in itself as an expression of Divine Grace placed in contrast to the horrifying monster, symbol of evil and heresy, represents, in its artistic aspect, something absolutely new in the Hispanic environment which the painter himself only occasionally offers; as, for example, in the central panel of the Triptych of the Virgen de Montserrat in the Cathedral of Acqui Terme. In these two exceptional works the passionate sentiment of tragedy, so Spanish as northern, surrenders before another one which is purely aesthetic, more Italian in style, rather colder, and even announces a certain mannerism which I would even attempt to relate to works of the Pre-Raphaelite movement of Dante Gabriel Rossetti (1828-1882) and Edward Colley Burns-Jones (1833-1898) with special reference to Saint George killing the Dragon. In this respect, it will not be by chance that at the end of the XIXth and beginning of the XXth centuries Bermejo was rediscovered and converted into the Spanish Gothic painter par excellence.

The triptych of the Virgen de Montserrat (1483-1489), whose central panel is outstanding due to the modernity of its composition, inasmuch as that following the models of Bouts, the landscape shares protagonism with Our Lady and the donor. A painting dominated by two converging lines leading to a maritime view which is, in my opinion,  more Italian than Flemish and reminds one of the Mediterranean with its bright light and its calm, and is in perfect accord with the nationality and activity of the donor, the well known Italian merchant settled in Valencia, Francesco della Chiesa. The landscape, though rendered in great detail in which Bermejo carefully represents the multi-coloured flowers and two monasteries built according to a complicated architectural style, mixing romanesque and gothic features, is composed in an idealised way and quite different from the standard rocky models of other Virgen de Montserrat paintings.

In this work Bermejo conquers us with an idealised conception of beauty in harmony with the diaphanous light which bathes the whole composition transmitting spiritual values. The beauty of Our Lady attracts the spectator like a magnet and symbolizes Divine Grace; the two paths represent the essential part of the message, the camin di nostra vita, the dilemma of Man’s life, to which the painters of the North continually refer. The path which sets forth from the Virgin Mary symbolizes our advancing decline which frees us from the material world and leads our soul towards a calm and silent sea which, after merging with the sky, ascends to eternity amongst the glorious clouds. The other collateral path rises up to a ridge and leads us to a cliff, a precipice which may threaten the end of our life. Two interpretations of a scene which nowadays conveys us to a universe belonging to Dalí where the elements, both real and symbolical, only make sense thanks to the subjective interpretation granted by the spectator.

La Piedad Desplà, painted for the Cathedral of Barcelona in 1490 under the patronage of the Archdeacon Luis Desplà is for many people Bermejo’s Masterpiece employing in this work all the resources which as a genius of painting he has experimented throughout his life. It is his last known work and the climax of his artistic talent.

This large work (175 x 189 cm) breaks into the spectator’s scene with an absolutely present-day rotundity and immediacy due to the highly correct combination of the protagonism given to the Virgin Mary, deeply sunk in grief, and to an immense landscape which serves as a frame and, at the same time, grants overwhelming greatness to the scene.

Our Lady captures immediately our attention by her agonising expression to the point that the recumbent Christ would seem a secondary figure if it were not for the gash on his side from which flows thick and deep garnet coloured blood which the Virgin Mary seems to show to us so as to move us even more. The composition reflects certain iconographies and above all the aura of melodramatic expressivity of Roger Van der Weyden. I would, however, like to point out analogies between this work and the Pietà of Villeneuve-les-Avignon by the French painter Enguerrand Quarton due to their predominantly horizontal forms, and specially to the particular position of Christ with regard to the Virgin Mary. Luis Desplà, portrayed as the donor, situated in a masterly fashion two steps behind the Pietà, seems to be imagining the scene, deepening its dramatism with his profoundly self-absorbed expression. Saint Jerome, on the Virgin Mary’s other side, is a supreme feat of artistic virtuosism thanks to the sumptuous folds of his garments, the colour of his cloak and his special expression of a scholar deeply absorbed in his Bible; all this, in fact, duly accentuated by the spectacles which the saint wears in his careful reading and by his delicate hand which seems to point to an episode in the book.

If the Pietà moves us by its dramatism, the landscape gives a cosmic greatness which manifests to us the immensity of God’s work and the reason for Christ’s sacrifice. It is difficult to find a precedent, the closest ones being the Crucifixión painted by the Flemish artist settled in Valencia Louis Allyncbrood, and the San Jorge painted in Mallorca by Pedro Nisart; both paintings have high horizons and the sea is protagonist; they remind us of the landscape of the Virgin Mary of Montserrat. It is, however, the kind of atmosphere found in some landscapes by Memling which is closest to this painting by Bermejo, although none possesses the immensity which years later will appear in the work by the great Master of landscape, Joachim Patinir, or in the water-colours of Lake Garda, painted by Dürer on his first trip to Italy in 1510, or later on, in 1529, in the magnificent Battle of Alexander (1529) by Albrecht Altdorfer. In all these works we reach a virtuosism in painting representing the universe in all its extent which combines a telescopic and a microscopic effect, reaching in the case of the Pietà de Desplà an intellectual content due to the symbolism expressed in each of the scenes described in the composition. In the foreground there are all the flowers and plants, each with their own symbology. In the middle-ground two paths lead, one to Babylon, the city of evil, sunk in a storm, the other to Jerusalem, bathed in a luminous dawn, both cities separated by a mysterious flock of birds. All this is an enigma which is impossible to solve, but which doesn’t lessen an inch of the realism of the scene.

In conclusion, I can only express my deep satisfaction and my most sincere congratulations to the Prado Museum, the Museo d’Art de Catalunya and specially to Joan Molina Figueras, for the great result of this exhibition which shows ever again that Art, with its capacity to create enthusiasm and express our culture, can smooth out our differences and explain so many things... Manuel Azaña has said indeed: El Prado es más importante que la República y la Monarquía juntas.

Carlos Herrero Starkie

Link to the Prado Museum - Bartolomé Bermejo's exhibition
 

A Watteau for Auction at Christie’s, New York

A Watteau for Auction at Christie’s, New York


In Christie`s-New York October Old Masters Auction and coinciding with Tefaf Fall, there appears a work which has captured my attention more than any of the rest. What, however, was most surprising was that it starts at an estimated price of only 60.000-80.000 dollars. This is a portrait by, in my opinion, the greatest genius of French painting and without doubt one of the most outstanding artists of world painting: Antoine Watteau.
 
Few figures can even approach the level of pictorial sensibility of Watteau and very few have been able to reveal visibly in their work the essence of the epoch in which they lived, in Watteau’s case, the Regency of the Duke of Orleans after the death of Louis XIV, initiating the century during which the highest level of refinement has been reached and which was, at the same time, affected by a premonition of abyss and barbarism, reflected in the arts in a melancholic optimism; a century which had many features similar to our past XXth century, with its blind faith in progress and knowledge combined with a permanent sensation of a fatal destiny and the lack of adaptability of the individual persons to social changes. Very few artists attain a Master`s level in their work from which to represent the culture of a period or a nation at a specific time. Velazquez is perhaps one of those, with regard to the Spanish XVIIth century, also imbued with that aura of sadness and melancholy of the decadence of the Austrias; Van Dyck, during his English period, also knew how to express to the same extent this premonitory aspect of decline of certain values that only men of genius with a sensitive soul and the finest technique have been able to capture. Goya and Picasso, endowed with a personality and artistic resources so different from Watteau’s, both capture the catastrophic magic of their respective epochs, and closer to us, Hopper and Bacon are those who have known best how to represent the loneliness of ordinary persons, which was the deep-rooted illness of our modern, falsely optimistic society of the second half of the XXth century.
 
Yet Watteau’s pictorial work, like that of Velazquez, has perhaps something which is more desirable for the collector, since his artistic life was cut short by an early death. How many indisputable Watteaus are there in the world? The maximum number must be about 100 paintings, almost all gathered together in the Recueil Julienne, and fortunately many more drawings. Therefore the appearance in an auction of a painting by Watteau should be hot news, but unfortunately it is not all the more so, bearing in mind its low estimate at 60000 to 80000 $.
This doubtless should make us think...

What’s happening in the Art Market? Why is a world organization so supposedly well informed, so flagrantly mistaken? Why is the present Market so opposed in such a disrespectful way to the stamp that the History of Painting has given to a Master such as Watteau? Is it a question of taste? Or of the state of condition of the work? Is it because it is not a work sufficiently representative of the artist? As it is a portrait and that few people nowadays like to have the effigy of an unknown person in their sitting-room...
All this, may be correct, though certainly not entirely so, and, in any case, what does it matter? It is a Watteau!!!
And the Museums... How many of them haven’t even got a drawing by this Master? Are they waiting for Godo, that is to say, waiting for the work to come in a perfect state of condition, something almost impossible for a Watteau, and that it is comparable to his most eminent works like his Pèlerinage à l'île de Cythère which inspired so deeply Proust, or his famous Gilles, both in the Louvre; meanwhile they allow an opportunity such as this to pass by disregarded, with arguments which, in my opinion, are questionable since this picture is the unique and unrepeatable testimony of the best interpreter of the Century of Enlightenment. They are all mistaken... I don’t mean the Louvre, or the Gemäldegalerie of Berlin, obviously, but definitely the non-European Museums, almost all of which haven’t a single work by the artist. They should all take advantage of the opportunity presented to them in this Market dominated by private collectors who are ever richer and supposedly better informed, though massively imbued with the taste of our time which seems to reject what is sensitive, subtle, hidden, merely suggested yet beautiful, and for that reason they completely ignore the century of delicacy in favour of immediacy and what causes an impact in Art.
 
While I am writing this blog, I am even more convinced that the IOMR ought to be present at the bidding of the auction and therefore I am conscious of the great contradiction to our interests to spread information on this opportunity. But does that matter?... Paris vaut bien une messe...and Watteau certainly deserves it... Anyway we ought not to be successful because our resources, which are strictly concentrated on other projects, do not allow us to surpass the estimated price announced by Christie’s and that would mean that the work would have been badly sold. That is not fair for Watteau. We would, however, be delighted if one of our wealthy friends and patrons of IOMR would acquire it.
 
But let us get back to the picture and try this time, if our love of Watteau allows us, to be more objective. In this attempt to free ourselves from our passion, let us analyse whether the objective reasons that have driven an auction house as prestigious as Christie’s to assign to this picture such a low rating are really valid at the present moment.
 
The first and most important reason is the at least questionable state of condition of the work because this affects the work itself. The painting has zones which show erosion to the extent that in many places the imprimatura is evident and the top layer of the marvellous transparencies, so characteristic of Watteau’s clothes, has disappeared and we can glimpse drawing underneath and flashes of light. There is also, undoubtedly, overpainting due to two restoration campaigns which, at first sight, do not appear excessive. But none of all this conceals the composition. The drawing and the colouring, although lessened, are there: Watteau’s fluid paintbrush is still there; the melancholic expression of the portrayed lady captivates us just as much, and the dog which gazes at us with a fixed stare so typically Watteau’s has not lost a whit of its strength; the other hound pokes its snout affectionately in the delicate hand of the lady, seeking a caress and creating a fusion of delicate communication which so captivates us in Watteau. Furthermore, the state of condition of almost all Watteau’s paintings is, to say it benevolently, precarious when not actually bad, to the extent that Museums almost prefer not to intervene in restoration. Their colouring does not usually correspond to the tone of the time of creation, and usually have excessive craquelés due to the use by the painter of too much material (obtained by blending ground pigments), though, in other areas, the contrary is what occurs, caused by using too fine transparencies which consequently disappear, leaving visible the imprimatura, as is the case of the painting we are now commenting. Its state of condition is therefore not an exceptional case, nor does it prevent us from perceiving the enormous quality of the work.Though it is a fact that from the present market’s point of view works in an excellent state of condition are what above all are appreciated ,in Watteau’s case, however, it is almost impossible for a work to appear thus and anyway we have flagrant cases like the Salvator Mundi by Leonardo, with a much more important loss of the original paintwork, which reached 400 million dollars this year, precisely at Christie’s.
 
The second reason is based on the fact that XVIIIth century painting is considered at the lowest rating of contemporary taste. This prejudice is absolutely real at present, though, in my opinion, the works of the great Masters should be considered above the artistic tastes in fashion during every epoch. The great Masters have a quality granted by history and that is their value.
 
Lastly, the third reason lies in the fact that we are dealing with a portrait, a subject which is not at all the preferred object of contemporary taste and furthermore is not representative of Watteau’s great Masterpieces which are, without any doubt, his Fêtes Galantes. In my opinion, this portrait goes beyond the special iconography of a portrait, in strictu senso, inasmuch as Watteau paints a huntress with her hounds, her shotgun and her trophies. The picture bases its excellence in the way he paints the interplay between the primary and secondary elements of the painting. The dog on the left which gazes out fixedly is what gives all the mystery to the scene and the communication with the portrayed lady, shown by the other hound, is what confirms Watteau’s similarly fine delicacy in the highly sought-after Fêtes Galantes. In my opinion, the composition in itself is a feat of originality, with the woman seated at one side, and the intimate communication between its elements, the sky, and the hounds, which is more characteristic of a genre picture than of a portrait; this is the touchstone which describes the autographic character of the work. On the other hand, we find ourselves facing one of the two indisputable portraits by Watteau which, according to Christie’s catalogue, is the only one representing a woman resting after a hunt. All this should increase its artistic value and in a normal world which respects quality and uniqueness, these criteria should be reflected in its market price.
 
In conclusion, this work is an opportunity for anyone who wishes to enjoy a unique work in his collection or hanging over his mantelpiece in his house, as well as making a magnificent long-term investment; and no doubt for Museums which don`t have a Watteau in their rooms, it is a real bargain. I would recommend them not to mind bidding high. I would, however, advise those who have only a short-term vision, both art gallery owners and investors, they should only be interested if the work keeps within the estimated value because its prospects of revaluation unfortunately may be smaller than what is desirable.
 
Carlos Herrero Starkie
 
 

Notes on a Lamentation of Christ by Francisco de Goya y Lucientes

Notes on a Lamentation of Christ by Francisco de Goya y Lucientes

It is no doubt unusual for a work of Art by Goya, already included in all the pertinent catalogues raisonnés, to be selected for study by IOMR since our mission is precisely that of rediscovering forgotten works of Art, and restoring to them their recognized authorship and lost splendour.

In the case we are now commenting we are facing a picture representing a Lamentation of Christ whose authorship is unanimously assigned to Goya in the catalogues by Gudiol 1970 n8 /1980 n5; Gassier & Wilson1970 n8/1984 n12; De Angelis 1974 /76 n19; Camón Aznar 1980 pág. 42; Xavier de Salas 1984 n9; J.L. Morales 1990 n6 / 1997 n3; Arturo Ansón "Goya y Zaragoza" 1995 pág. 61; catalogue online Fundación Goya y Aragón, año 2012. All these authors coincide in dating this work between 1768 and 1770, just before his journey to Italy, and in considering it one of the devotional paintings young Goya carried out at Fuendetodos. This would coincide with his origin of having belonged, according to Gudiol, to a family of Fuendetodos.

We all, however, know that Goya’s work has lived for the last twenty years, through a period of constant revision urged by the Prado Museum; and even works as deeply part of Goya’s oeuvre as the portrait of Marianito, in the Albuquerque collection, or El Coloso belonging to the Prado itself, which has now been down-graded to an anonymous work, or La lechera de Burdeos, recently investigated for doubt regarding its authenticity as a Goya, although up to the present it has not lost its attribution to the Master. Furthermore, as a result of the exhibition Goya and his Aragonese roots 1746-1775 held in Zaragoza in 2015, Manuela Mena, Head of Dept. of XVIIIth century Art, Prado Museum, ratified the recent revision of Goya’s work carried out during his youth. On the one hand, she has supported the opinion of the recognised professors Juan Carlos Lozano and José Ignacio Calvo that certain specific works assigned up to that date to Goya’s authorship, such as the pechinas of San Juan el Real of Calatayud and the Hermitage of La Virgen de Muel painted before his journey to Italy as well as the pechinas of the church of San Juan Bautista of Remolinos and the groups painted belonging to the palace of Sobradiel carried out immediately afterwards, were not painted by Goya; yet various new discoveries corresponding to the period of Goya’s return from Italy acquire the status of works effected by the hand of the Master, principally due to reasons based on his style and pictorial technique. All this leads us to the conclusion that there is a predominant idea among contemporary scholars which rejects attributing to the young Goya works previous to his journey to Italy, dated the end of 1769 when he was already 23 years old and when we may suppose him to have gained some artistic experience mainly because they consider that there do not exist sufficient reasons to make a pronouncement on his authorship. Such a situation is the cause that this period, which is biographically relatively well documented, is almost completely an untracked land from an artistic point of view since there are scarcely any works to represent it. From this restricted viewpoint only three works are recognised as belonging to the period, including one which is lost.

We are thus lacking a project of catalogue raisonné which would make Goya’s oeuvre up to date, and the institution responsible for this task can be no other than the Prado. This project could encourage curators to give their opinion regarding works historically considered by Goya and would grant security to collectors and the Art market, who are too dependent on experts who are often reluctant to respond in writing or even to emit their judgment orally. We have two fortunate examples of cataloguing projects on artists as prolific as Goya in the Corpus Rubenianum and the Rembrant Research Project.

With regard to the Lamentation of Christ we are now commenting, I cannot conceal my first impression as a lover of Goya’s work when I first held in my hands this small picture; it was like a hunch, feeling that this work goyeaba at one’s first glance. After this intuition, I embarked on an exercise of attribution, doubtless not free of risks, and set myself to analyse in depth the reasons which, according to my understanding, were the basis for my initial enthusiasm.

May this analysis serve as an example of how a collector-connoisseur observes, has an intuition and connects an artist with a specific work of Art:

The immediacy and reality with which the painter treats the scene so that one may feel it close to life and real, where the artist reveals the human pathos of death with no conventional mannerisms, excluding figures of the celestial world, such as angels, which might confuse his pure sense of reality so that what first surprises one in the picture and what, in fact, makes it closer to Goya and therefore reminds one of the engraving, Desastre Nº 26 No se puede mirar and Nº 14 of the same series, Duro es el paso in which Goya treats death with a completely contemporary closeness.

The sensation of vigour, dynamism and natural movement shown by Saint John, the assistant who covers Christ with a shroud, is dressed according to modern times and reminds us of so many peasants in the tapestry cartoons and the series of engravings and of whom we only find precedence in the spontaneity of some of the lads of Luca Giordano. All these figures are in contrast to the monumental strength of the soldier or apostol, who stands immobile behind Christ; this figure presents certain similarities to the ones painted in the frescoes of the Church of the Cartuja Aula Dei and to certain classical sources, probably inspired in the Hercules of Farnesio; the hieratical character of the torso and neck of the recumbent Christ, free of any mannerism, representing death simply as it is, with scanty concessions to any conventionalisms typical of Corrado Giacchinto’s style, and whose dead countenance slightly set in relief by light is so typically goyesque that it reminds me of the picture of the etching Agarrotado (1778) and the moribund person in the picture San Francisco de Borja y el moribundo impenitente (1788); such a work as this, full of changes of rhythm and dramatic movement, typical of Beethoven 's symphonies, we do not find in other painters of Goya’s period, least of all amongst those of Zaragoza totally influenced by the Rococo movement and Italian Classicism and yet, we decidedly perceive it in Goya’s paintings in all its epochs when he endows his work with this lively spirit which makes him the best documentalist of his time and even a forerunner of the cinema.

The creation of a sense of space , fostered by the fusion and interaction of resources perfectly integrated in a work of such small dimensions presupposes to some extent a technical feat which does not save it from certain errors which are also typically Goyesque and characteristic of an artistic spirit not yet mature. This question is perhaps that which most facilitates the comparison of our picture with his work during the years 1771-1773, such as Anibal, Santa Bárbara, the frescoes of the Cartuja de Aula Dei and the recently discovered Huida a Egipto . On the one hand, the holy men, so correctly diffused and subtly illuminated with an inner glow which seems to spread out from the background at the right, with a halo which is more akin to Tiepolo than to Giacchinto and certainly similar to the figures which appear under an archway at the left of the Desposorios de la Virgen at the Cartuja Aula Dei, (1774); furthermore, in the background, to the left, some soldiers who are merely sketched, render a sense of distance to the scene; these figures are given importance in a marvellous way by a feature which Goya frequently uses, marking them out with a pale line as in the sketches of Aníbal (1771) and in the Santa Bárbara (1772) which surprise us. On the other hand, the recumbent Christ, placed in an almost foreshortened position, and represented with a tomb-like rigidity, appears natural and very different from the mannerist code which ruled the artistic circles which Goya frequented and which only in the way he would cross his legs, there could be perceived a certain mannerism of classical sources, or even derived from Bernini (Cupid and Psyche). All this, as Goya does in his engravings, giving priority to the foreground, as well as imbueing a sense of reality and immediacy which is so inherent in Goya’s painting and whose closest precedent can only be found, perhaps, in Tiepolo. The composition is the result of a great technical originality following what Goya himself said in his brief autobiography, written in Bordeaux, that in his youth, after copying the Masters and the models of Luzan, he let himself be led by creativity.

The combination of a light which rises up within the picture towards the exterior, out of that deep darkness already so characteristic of Goya in the seventies on his return from Italy, created by certain transparencies painted in oil over the reddish imprimatura in harmony with the flashes of another vertical light overhead which is separate from the rest of the scene and which falls on the Cross and above all on Christ, specially on his lifeless features and on the brutal spasm of his body, such as only Goya would do; all this is what definitely gives the sense of drama to the picture and is our touchstone when we study the authorship of the work.

The colour palette is an essential element of the picture, as long as it does not correspond to the cold, mother-of-pearl tone dominating the rococo Giacchintoesque style, followed faithfully by José Castillo, the Bayeu, the Gonzalez Velázquez and Maella; on the contrary, it is dominated by a range of warm colours much closer to Luca Giordano and to late Baroque Neapolitan painting. In this work earth-coloured tones can be appreciated under a greyish nocturnal sky, which is partially lightened by streaks of blue. Both these tones blend with the reddish imprimatura that surges up from the canvas, (This effect would be strengthened by an opportune cleaning of the picture), favouring the funereal atmosphere and setting corresponding to the Lamentation of Christ. What, however, really captures the attention of the viewer is the contrast between the typically Giordanesque yellow and blue of the cloaks of Mary Magdalene and Our Lady which stand out all the more thanks to the red touch of St. John’s sash, creating a special foreground view which gives this particular goyesque closeness and scenographic sense.

From a technical point of view the way he illuminates the salient pleats of clothes so as to draw attention to them, alternating real chains of light with hollow shades, giving the composition the monumental grandeur which we always appreciate in any work by Goya. Finally, the special bravura when he treats with only four brushstrokes St. John’s red sash, reminds me of the one he painted in the full-length portraits of the Duchess of Alba years later.

All this makes us believe that we are facing the work of a genius, not of a mere follower of Italian rules, but rather of someone intent on creating the reality of a scene, just as he would have seen it if he had been present like a privileged spectator. In this sense Goya was doubtless a forerunner and this picture, if its dating is confirmed, would be the first in which Goya shows his authentic artistic individuality, marking his distance from not only his Masters Luzan and Bayeu, but also from Corrado Giaquinto and even Tiepolo, surpassing them all in originality and modernity.

Carlos Herrero Starkie
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In Homage to the Prado Museum on the occasion of its Bicentenary: Goya and Modernity

In Homage to the Prado Museum on the occasion of its Bicentenary: Goya and Modernity

The opportunity of studying at the IOMR a Lamentation at the Death of Christ, attributed to Goya, has given rise to finding myself facing this genius of Spanish painting and making me conscious of the outstanding importance of the Prado as an institution, not only for preserving the works it treasures, but for safeguarding and spreading the spirit of Spanish painting. I have returned to the halls which hold most of Goya’s masterpieces with the special predisposition to value how the Prado has assumed its historical responsibility to transmit the visual message, both particular and universal, of Spanish pictorial genius which we find par excellence in Francisco Goya, its most modern painter and thus confirming even more the extension and the immense vitality which the Prado Museum exerts in the international artistic field.

In no other Museum do we have the chance of contemplating almost the entire Corpus of an artist as occurs in the Prado with Velazquez, Goya and, to a certain extent, with Rubens and Titian. In no other museum does one feel a more complete sensation of the pictorial taste of a nation when one visits the Prado, how the Spanish artistic genius develops, how it breaks models, and how the great foreign Masters influence it, and in fact how develops a national artistic identity. In no other Museum does one perceive a similar clash of Titans, not only because of the excellent way each Artist is exhibited, allowing us to visualise the real landmarks in the history of our painting, but also showing how they are united by means of a common slant which makes them belong to the same root, much more than to a school, inasmuch as, since they are unique and unrepeatable figures, they do not have disciples, but only followers; this perhaps is because their talent is essentially rooted in their spirit, in their capacity to anticipate and in their revolutionary character which guarantees that eternal modernity which is their distinctive feature. It is for this reason that we say Velazqueño or Goyesco as if their followers have no personal identity since they lack the aura which distinguishes the Master. In the Prado, the foreign schools turn around the Spanish genius since their two main axes, the Flemish and Venetian schools, are inexhaustible sources which have nourished Spanish painting. On this firm coherence rests the identity as well as the universality of the Prado and in this respect it differs from the MET, the National Gallery of London, the National Gallery of Art of Washington and the Louvre.

The Prado fosters its own identity concentrating itself on enriching its own idiosyncrasies rather than filling the vacant spaces which are evident in some of its foreign schools, especially its Dutch and English schools. Since the Prado received in 1991 the legacy of Manuel Villaescusa, most of its purchases, save in the case of great exceptions such as The blind man and the Zanfonia by Georges LaTour (2001), Wine and the Feast of San Martin by Pieter Brueghel, the elder (2000) and Our Lady and the Pomegranate by Fra Angelico (2010), have been guided by the wish to encourage in scholars, the connoisseur or simple visitor a greater knowledge of Spanish painting. I shall only mention the works which directly come to mind: The flight to Egypt by El Greco (2000) which shows clearly his amazing pictorial change on arriving in Spain: The Pope’s barber by Velazquez, acquired because the Prado lacked a work belonging to his Roman period; Goya’s Italian notebook (1993) which has facilitated a deeper study and cataloguing of Goya’s young period; The Resurrection of St. Lazarus by José Ribera which explains his youthful work, only recently discovered (2001); the portrait by Goya which without doubt most enchants us, La Condesa de Chinchón (2000); the purchase of a panel by Alonso Berruguete whom many consider the first representative of Spanish artistic genius, and yet there was no example of his work in the Museum (2017). The Prado has not neglected artists considered less important and, just recently, has acquired, amongst other purchases, the small picture A woman asleep, magnificent example of eighteenth century melancholy by Luis Paret (2013), or the portrait which best represents the elegance and candour of Agustín Esteve (2017) and one of its latest acquisitions, the wonderful portrait of the Marquesa de la Espeja by Madrazo (2018), outstanding painting of the Spanish XIXth century. To this vision corresponds the Prado’s objective of connecting with the historical past of its collections incorporating El salón de los Reinos of Buen Retiro Palace*, in the artistic triangle constituted by the Prado, the Thyssen and the Reina Sofía Museums which can only be compared with the Museumsinsel of Berlin. Perhaps the idea of opening itself to the present and future of Art is what guided its most daring projects; some of these culminated in success such as that of inviting Caí Guo-Quiang to develop a completely innovative project as was his spirit of painting and others which failed, however, at their outset, such as the idea defended by Miguel Zugaza of receiving permanently the Guernica, a project which many of us considered the best homage to the eternal modernity of the Prado, but which weighty considerations such as the state of condition of the picture and its being the principal icon of the Reina Sofía Museum rendered inadvisable.

For all these reasons and coinciding with the bicentenary of the creation of the Prado Museum we must offer a just homage to all its directors and curators, with a special mention to its patrons for how they have carried out their role of guardians of the temple of Spanish painting. This recognition should be reflected in an increased patronage since, incredible though it may seem, this immense heritage counts on ever diminishing state support*; moreover, the world of business and the Prado are also distant one from the other. Perhaps we ought to seek in that area the clamorous lack of external financing. In this respect it is admirable to socialise Art with the purpose of making Art reach everybody and everywhere, but, in my opinion, one of the Prado’s priorities should be to strengthen the links with Spanish business firms, arousing the interest of their leaders in Art, in the significance of the Prado and Spanish painting in the world today; making them see the benefits they may obtain, not only financially, but also in the valuation of their image, as well as in the cultural enrichment of their employees so as to strengthen their creativity and capacity of observation. This difficult activity of convincing is not simply a question of tax exemptions, but rather of arousing individual emotions, appealing more to one’s heart than to one’s mind and this can’t be done in the office, nor at cocktails, nor in lecture halls, or press conferences, but rather sharing with these leaders the collection, inviting them to the Prado to enjoy enthusiastically the masterpieces exhibited. We must not forget that Art has always been linked with patronage and without patronage it would have been difficult for Art to reach excellence.

If there is an artist to whom the Prado has devoted all its attention for the last few years that is Goya, and the reason for this is largely due to the fact that Manuela Mena, with her strong personality, has been head of Goya’s department since 2001. Now, doubtless, a few months before her retirement, is the time to recognise that, beyond all discussion, Goya’s fame has been greatly reinforced due to the number and the quality of the acquisitions of his works made by the Prado during the last twenty years, the countless conferences that Manuela Mena has given, spreading knowledge of Goya’s genius and, although here we are embarking on troubled waters, we must appreciate her systematic study of his paintings, drawings, and graphic works, bringing up-to-date Goya’s catalogue; in short, her turning the Prado into the indisputable and, by all generally accepted guardian of the quintessence of Goya. There are, of course, those who will agree and others who will definitely disagree with the removal from the catalogue of certain works by Goya, with the use and abuse of his name as the creator of modern artistic currents, but no one can criticise the care, sensibility and closeness with which the Prado has approached Goya during the last few years.

In this respect, on my return to the halls which exhibit the works by Goya I could not fail to be surprised by what is for me fundamental in a Museum; namely, the way in which these treasures are exhibited, a subject which is often neglected by institutions in spite of the fact that this is one of the aspects where the creativity and sensitivity of those responsible are clearly manifest. The Prado has been able to combine in a masterly fashion both the aesthetic and didactic criteria without following a strictly chronological order in its presentation. The Goyas to which one has the tendency to approach first, on entering by the Jerónimos door, are two of his closest works to us and of great modernity, the El dos de Mayo and Los fusilamientos de la Moncloa el 3 de mayo. In both pictures the scene occupies our vital space as if we were part of it. From here we pass to a rectangular hall where all his frightening black pictures are exhibited; these are the origin of the veta brava which is so Spanish and the source of the European expressionist movements. In a room situated on the floor above, as if pertaining to another painter, at the end of a central gallery where the Rubens and Italian baroque paintings hang, we arrive at a room over which presides the family of Carlos IV, which, noblesse oblige, marks clearly the end of one of the principal outlooks of the Prado Museum. In other rather narrow adjoining rooms we find Goya, the portrait painter of the aristocracy and the majas; the latter, we must admit, claim, with all their rights, but with no success, the privilege of enjoying a more intimate space, even a room reserved for themselves , as they had in their previous abode, Godoy’s Palace, which, like the Prado, was accustomed in the old days to exhibit Masterpieces. Finally, we have to go up one more floor, by lift, to reach the celestial world of Goya and his cartoons. There we instantly have a premonition that we shall be immersed in something superior, difficult to explain, Goya’s play with light; an almost scientific study of how humans become alive by means of light; in this case, simple everyday scenes are transformed into vital axioms. This is something which Goya will continue to do till the end of his days in different ways, in his portraits, his caprichos, his disparates; he will give form, better than anyone else has ever done, to the dark inside-out world which are our dreams, our nightmares transferred to real life in the disasters of war where reality is greater than fiction. The Prado has treated with special care these rooms and for this reason we say that it looks after Goya, it loves him, it feels that he belongs only to the Prado and that is why it understands him better, empowering in a real triumphant exhibition these cartoons of tapestries; although they are not the most significant collection which can facilitate a comprehension of the modern Goya, it certainly is the one which allows us to approach the daylight world of his painting, and to some extent, get closer to him though not yet penetrate his anguish. Everything here is broad daylight, the neutral colour of the walls, the general daylight which bathes the rooms, the diaphanous texture in which the work is presented to us in a world of perspectives, combining axes, forming pendants, creating groups of cartoons which correspond to specific commissions and different subjects. We even remember how well appeared in the Pardo Palace the tapestries for which these cartoons were made. What better homage could be offered to the Age of Enlightenment, so optimistic in all its fragility; and how wise that we should have been induced to view just before, in an inverted chronological order, his horrors of War and the black paintings, in a sequence which I would describe as Picassian, contemplating the beginning of Goya’s work after having lived through his conclusion, in a new kaleidoscope outside time or type.

I would finally like to express what remains in my mind when we finish our visit to a museum like the Prado or after contemplating the work of a painter like Goya. We have enjoyed sensations which remain in our visual memory; now we must think over them and entertain ourselves with the ideas transmitted by the painter, interpret them and, in my case, wander about in that Proustian wilderness which spurs my sensitivity to seek new slants that Goya, the painter, may have in common with other painters. The first question I ask myself then is:

How does Goya outshine other great geniuses?

Goya is considered by all one of the great artists consecrated by the History of Art, by lovers of painting and by simple visitors who once in a while walk around a Museum. There is not an instant of doubt. Everyone knows his name which is synonymous with modernity, change, rupture, as are equally El Greco or Picasso. His revolutionary character is only comparable in painting to that of Giotto, Leonardo, Michelangelo, El Greco, Rubens, Caravaggio, Rembrandt, Velazquez or Picasso, in the sense that all of these felt the need and broke up against the conventionalisms of their epoch, creating a new language. In Goya, however, there is something which makes him closer, more up-to-date, or to say it somehow, make him the last of the Old Masters, the only one who was able to imagine the future, who brings along with him the development of later painting of the XIXth and XXth centuries. In this sense, most of the isms trace their origin back to him: romanticism, realism, impressionism, expressionism, surrealism, even dadaism... Perhaps only cubism, due to its conceptualism, seems to have escaped, though, of course, the expressivity inherent in Picasso gives him an eminent space apart.

Goya inaugurates a new way of transmitting a pictorial message giving priority to expression as opposed to the natural form which is usual in the external world, whether this is describing a personage or the action effected in the picture, thus involving the spectator who becomes the principal protagonist of the scene. This brings us to the immediacy of his representations, which are so alive and real. On the other hand, Goya is always present in the picture, his mind dominates all his work and an authentic need to express himself lies underneath, something which is doubtless the key to an analysis of his modernity. Like Picasso or Pollock, Goya reveals his subconscious and shapes it in his picture in an almost Freudian exercise which gives greater force to his expressiveness.

Goya’s personages may sometimes lack strict corporal likeness and, even when he was still painting cartoons for tapestries, the figures may appear just like puppets and nevertheless how real they are to us. Everything about them is energy, light, movement, and expressivity. This is something which we appreciate continually in all his work. Reality is not perceived for what it is, but rather for how we feel it and in Goya we always feel it very present.

Another constant in Goya is the almost bestial expression hovering between panic, surprise and furious impact encountered in the expressionist pictorial world and specially in Münch; it represents in some ways disagreement, a declaration contra mundum something which is tremendously contemporary; it will turn into disillusion, from satire to the grotesque, without any censure and in accordance with its new language, like Picasso later on with Demoiselles d’Avignon or his Guernica.

How shall we describe the light which floods all his work and becomes the touchstone of his originality in pictorial technique. A natural morning light which rises up from the suffocating sun of Spain which bathes the everyday scenes of the tapestry cartoons. A nocturnal light, dramatic and full of premonitions like that of the Fusilamientos de la Moncloa el 3 de Mayo, sometimes zenithal as in one of his first caprichos, Vuelo de brujas painted for the Palace of the Dukes of Osuna. A light which creates space as in Velazquez, but more expressive and perhaps for that reason less natural, because it is a light which goes beyond its purely pictorial function and is bent on transmitting a message to the spectator.

It is in this intimate fusion between the viewer, the artistic work and the spirit of the genius that lies the problem of the modern understanding of Goya’s painting. He never tried to adapt himself to the taste of his epoch; not even when he paints cartoons does he completely adapt himself, although he follows Meng’s and Bayeu’s instructions. In his work there always underlies that special halo of expressivity so typically Goyesque and, even when he paints portraits, he never manages to disconnect from himself. Many of his portraits of royalty have a particular smorfia which instantly distinguishes them from those copied by Esteve, which are always a bit rigid and have rather mouse-like features. Only children and the portraits of friends are free of this rather caricaturesque style. This tendency is emphasized when Goya becomes deaf after a long illness and there rises up in him the need to give visible form to the thoughts which assaulted his mind during his recovery in Sanlucar de Barrameda, underlying strange, incongruous dreams, which human reason cannot explain and which gives rise to Goya’s most modern phase. His art evolves, on the one hand, on his questioning reality, in so far as he perceives it through his satirical and grotesque spirit and, on the other, in revealing to us our human subconscious. His genius takes shape and his work becomes ever more introspective and profound. He paints and engraves caprichos as a diversion, but in all of them he transmits a message. Goya, unlike Velazquez, has an absolute need to express himself through his pictorial language and to give his opinion about the world surrounding him. In this period his work reaches the climax of his modernity in art. Just as Pablo Picasso or Jackson Pollock will do later on, he frees his subconscious in painting made for himself alone. For this reason Goya’s works belong to the world of dreams and are perceived as nightmares, and as expressions of a fantastic universe, lived or imagined in the introspective world of a deaf person. A deafness which was like a premonition as his dreams foretold the most terrible reality to mankind: war, cruelty, panic...

In conclusion, it is no exaggeration to affirm that in the history of Western Culture, with the exception of our protagonism in the discovery of America and the importance of our language, there is no other aspect in which Spain has exerted greater influence than in the development of the visual arts. El Greco, Velazquez, Goya and Picasso are considered today the pillars on which is founded the conception of Modern Art, inasmuch as they constitute the spiritual poles which gradually separated the world of natural shapes and forms from the pictorial world, ever more autonomous and dominated by the mind of the artist, which acquired at the end of the XIXth century, a universal dimension which turned it into its principal innovative force and has impelled Art onwards to our present day.

For this reason the Prado, as the shrine of the flame of modernity, manifests a privileged position in the recent history of painting and its bicentenary is a magnificent opportunity to recognise the true value of this artistic genre in its present day creative context, in which for the first time its historical supremacy in the world of the visual arts is placed in doubt due to the appearance in the digital era of new alternative media and in consequence the progressive loss of pictorial talent among our youth. We ought to bear this in mind because as long as the Prado maintains this flame alive it will continue to be the source of inspiration for future artists and the principal safeguard of pictorial genius in our contemporary world.

Carlos Herrero Starkie

* Yesterday the government announced that it would contribute in four years 30 million euros to finance the extension of the Museum. We shall wait to celebrate the inclusion of this magnificent news in the next State budget.

Dialogue between Old Masters and Modern Art

Dialogue between Old Masters and Modern Art

The IOMR has the firm intention of participating in the polemic debate which is raging at present between classical Art and Modern Art. For this goal we must sharpen our eyes so as to find associations, exchange of ideas, elements in common so as to be able to appreciate similarities, sometimes created on purpose, sometimes occurring only by chance or discovered when one tries to analyse their origin.

Visual Art contains a special language and vocabulary based on elements which are commonly valid in all the epochs. Space, material, volume, colour, tone, texture, scale, balance, light and movement are elements which are common to all works of Art and we would add mass and sense of gravity as special elements in Sculpture. As for the approach and the particular combination each artist may have regarding these elements there lies the consequence, no doubt, of his talent, inspiration and on them will depend the final artistic result of his work, marking tendencies according to every epoch, country or artistic movement.

Following on these elements common to modern and classical Art, although consisting of artistic interpretations almost completely opposite, we may extract from what is apparently antagonistic the common grounds of the two Arts, which is what we are interested in pointing out. Thus, taking Picasso, for example, as the supreme modern genius, consecrated during his lifetime and historically, with a greater capacity for looking back to the past, we distinguish (among many others) a link between his “rose” period and the work of Louis Lenain which consists of a similar use in his compositions of different scales and masses for the persons depicted though they do not correspond to a natural reality but are used only to attract the spectator’s attention. The persons in both works are as if turned into stone and have a sort of halo of sadness. Another parallelism in Picasso, which Miguel Zugaza calls “geometrical”, we find in his relation to Ingres’ painting, due to the importance both artists give to the line, to the outline of the persons depicted, to the edges of objects; an element, certainly, which is very decisive in the valuation of the quality of a work of Art by those of us who consider ourselves “Connoisseurs”. It is needless to mention the widely commented link between Picasso and Velazquez, their obsession with space, with their conception of void and also with the solidity and sense of gravity of objects.

On the other hand, there also exist sociocultural factors and the dynamic force itself liberated by the creativity of genius which indicate its own landmarks and tendencies, distinguishing, in my opinion, a classical form ( in the widest significance of the term), based, to a great extent, on the technique and manual skill of the artist and, on the other hand, what we may call modern Art which grants priority to the concept and to creative process, giving less importance to the final result. These two ways of conceiving Art are not exclusive of an epoch or a territory, but are, of course, perfectly identifiable and only on very few occasions do we find artists imbued, to the same extent, with both qualities: Leonardo, Michelangelo, Velazquez, Rembrandt, Vermeer, Picasso and Anselm Kiefer are magnificent examples of this special symbiosis.

Thus the modern tendency in Western Art evolves by means of a progressive simplification in the forms which tend to illustrate the visual appearance of things, giving greater importance to the concept of the work of art, under the influence of its daily use, which leads finally to the elimination or even breaking up of the form, thus creating a new visual language, as opposed to the classical one, much more intent on reflecting the natural existence of the external world. From the Renaissance we perceive various artistic currents which are opposed to the traditional Art which had risen in Italy and the territories of northern Europe, and it was in Spain, due to its special idiosyncrasy and attachment to the concept, as opposed to the form, that we find a greater association with modern and contemporary Art where simplification and conceptualism have become a rule.

In the history of Art various geniuses stand out for their revolt against what is traditional, for their anticipation and their capacity for creating rupture and, when they are great figures, they create new forms and become in themselves new landmarks. Phidias, for being the first to humanise Art; El Greco, for his exaggerated expressionism; Velazquez, for his ability in painting what is apparent and in creating a new concept of aerial perspective in which the emptiness of space is revealed; Rembrandt, for his mystery and rough impressionistic technique; Vermeer, for being the first to reflect mimetism between a person and his environment by means of an almost “pointilliste” technique and the use of light and space which was absolutely revolutionary at his time; Goya, for being the first modern painter in all the meaning of the term; and Picasso, for inventing a new language and for hurling the Stone which smashed to pieces the concept of Art held up to that time. All of them are consecrated geniuses, creators of tendencies and recognised as such in the history of Art.

In post-war and contemporary Art, artists like Pollock, Rothco, Bacon, Kiefer or Zao Wou Ki, to give as examples artists consecrated during their lifetime, must still face History in order to clarify to what extent their work is relevant. In their capacity to renew the artistic panorama and, at the same time, to be integrated and link up with the great Masters of the History of Art, lies the very essence to be considered great for all eternity. Artistic geniuses, both classical and modern, whose creative personalities, their need to express themselves and their will to break up forms and create new ones, do not vary essentially among themselves. For this reason it is important to distinguish common grounds, to discover geometric similarities which in their volcanic creativity, link Alonso Berruguete with El Greco, Goya, Münch, Picasso and Pollock, or that which with its insinuating melancholy is distinguished in a Giorgione, Tiziano , Van Dyck, Watteau, Turner and Zao Wou Ki, or the translucent colour of a Van Eyck, El Greco, Rothco, or the fully integrated introspection of the viewer of a Velazquez, Manet, Picasso or Bacon, and the intimate association of a Vermeer with a Hopper, both enclosed in a tomblike silence, because each of them responds in a particular moment to the same type of artistic sensitivity. For this reason it is important to analyse the capacity of the Old Masters to be forerunners, but also, conversely, to look backwards to the traces of the past in the modern genius. In our opinion, in this ambivalent potential to invent and to look back to the past, lies the touchstone for distinguishing the Masterpiece which will survive as such throughout ages.

In short, the authentic genius must feel free and has always been independent; this isolation, this, in certain cases, almost autistic nature of the genius is essentially what, in my opinion, protects and safeguards him against influences and, doubtless, for this reason he would hide himself, as Vermeer and Van Gogh, or, in another context, as Rimbaud did. In fact they hid themselves so as not to be corrupted and to continue to be authentic. On occasions, the artist may only appear a genius in some of his works which, thanks to History’s judgement and his almost divine character, will be considered Masterpieces. This lack of comprehension which has usually plagued some geniuses during their lifetime may be even greater in the present world which in one moment globalizes everything, spreads knowledge universally so as to influence it and not to let anything escape; but the authentic Genius is the one who, in many cases, without having even sought it, establishes the guide lines and rhythm of Art, the Art which survives; the genius is that which opposes what is established from his artistic wealth and the freedom of his creativity so as to surprise us all, crushing and subduing us by something really great due to its novelty and depth. To Art critics, to Art collectors, to viewers of Art, it corresponds the humble, though fundamental, task of comprehending these forerunners, of analysing their reasons, their classical or contemporary backgrounds, something which to the genius, as Picasso affirms, is of little importance because of their obsession with their work, their stamp, a work which surpasses themselves and society and is engraved forever in history. Thus, the present challenge consists in knowing how to distinguish what is unique, what is outstanding, what will really remain as Art in a world which has the pernicious tendency of trying to govern the artist’s creativity and his inspiration by means of imposing styles closely linked to the luxury market, to high prices, promoting brands, all of which belong much more to the decorative arts than to Art itself, where the quest for beauty, the urgent need to express oneself, to break with the present and to create something absolutely new, are the principal forces which impel it, and not its commitment to society or to the taste of collectors.

The IOMR proposes “revenir à nos moutons”, to the classical parameters of the great eternal Masters , searching for common grounds and where one can link with those whom we consider the points of reference in the history of Art, with the purpose of counteracting the present tendency of banalising Art, that anything is worthwhile, and, on the contrary, of raising up the category of Art, but not to influence its creative process, which must, above all, be free and intuitive, but to give a critical, personal and totally partial opinion of the Present Artistic World.An opinion which may hopefully favour the discovery of this Genius who, we have just said, wanders freely on his own, or of those works which have been ignored or not sufficiently valued and which due to being imbued with the lustre of the past, perhaps for just that reason, have today been laid aside.

For this purpose the IOMR counts on the inestimable collaboration of Veronica Lasa, who is herself a painter and a Bachelor of Fine Arts and contributes to the project the fresh sap, and, in a way, the Alter Ego that this project requires with its interest focused on the daily needs of contemporary art, that is to say, first-hand knowledge of the world today, a world full of labyrinths, spirituality and anxiety, which confuses us with its variety, with its kaleidoscopic nature.

A portrait attributed to Dürer captures my attention during London’s Old Masters Week

A portrait attributed to Dürer captures my attention during London’s Old Masters Week

London, Wednesday 4th July 2018
 
I am writing this blog in Gatwick airport without knowing yet how Sotheby’s Night Sale auction has developed. When the blog is published tomorrow we shall have been able to verify the prices effectively reached by the pictures here mentioned. I prefer however, to maintain the authenticity of my commentaries without giving the up-to-date information which all readers can check in Sotheby’s Auction Results.
 
Included amongst the auctions which are taking place in London this week, I would like to point out first of all a work presented in the Sotheby’s Night Sale of June 4:
 
Portrait of a man attributed to Albert Dürer (lot 11).
 
This work appears to me in itself exceptional, its attribution to Dürer cannot be disregarded and therefore the most up-to-date scholars of this genius should declare their considered opinion on this matter. Sotheby’s catalogue gives us Anzelewsky’s view (1971) that it is an autograph work by Dürer and I wholeheartedly share his arguments. Brodo Brinkmann, however, in 2005 suggests Martin Caldenbach as an alternative attribution, a painter who has left us very little work which, in my opinion, is definitely inferior to the quality revealed in the picture under discussion. According to my humble understanding as a connoisseur, the face, dominated by those eyes whose specially marked lacrimal and pupils pierce the spectator’s heart, is very similar to the ones depicted in the portraits painted by Dürer. It is indeed difficult to find other artists who paint with that profundity the look of a man in anguish.
 
On the other hand, in our picture, the very transparent pigments perhaps a bit worn, employed by the painter in a fluid way, allow us to see the way in which the Master uses a concise and free, but extremely assured drawing to make the features of the person depicted more individual, using as well relatively sketchy, though equally true, brush-strokes; all this induces us to think that the portrait may have been done directly ad vivo and represented a person very close to the Master. Nevertheless, the lack of quality in the treatment of the sitter’s hair, above all in the part surrounding his head, the absence of any trace of naturalism in the way the fur collar is represented, in a rough and clumsy manner, with dull repetitive brushstrokes on a monotonous background which has no depth or play of transparencies, all this calls my attention for its striking contrast to the quality shown in the countenance and makes me think that the Master might have painted only the face of the sitter, leaving the rest unfinished. The lack of quality in the depiction of the suit and the background is so astonishing that even the work-shop of any Master would have painted them better and the use as support of vellum on walnut would corroborate to some extent this hypothesis, since the painters of this epoch frequently used this support in their preparatory work. Studies by means of infra-red and x-ray are obligatory if one wishes to ascertain the lines of the excellent underdrawing of the portrait. If the underdrawing were limited only to the face, and we could have rubbed out the rest of the picture, the portrait, in my opinion, would gain greater strength and would appear to us less confused, better composed and more convincingly attributed.
 
To whom should it be attributed? This decision corresponds to the great authorities on Dürer, but, as a simple lover of the art of portraiture, I wonder which painter can render that look which reveals a nature both introspective and irascible? Who would be able to express equally well the tremendously complex human nature indicated by the person portrayed? To my way of thinking only Dürer, or perhaps another great portraitist like Michel Sittow could have done it, but never a lesser artist.
 
In this respect, allow me to express a simple opinion. When a work shows such outstanding aspects of quality, our study of its attribution should be as positive and brave as possible, not simply negative and ultraconservative, which is a comfortable position to adopt and without doubt saves us from the responsibility that attribution imposes. In my opinion, and even at the risk of being mistaken, the attribution of a work to a Master is the faithful recognition of his inherent and everlasting quality. Attribution to various Masters forms part of the historical richness of Art. This play of attributions increases our love of Art and the economic value of the work should correspond principally to its exceptional quality which is evident and not placed in doubt. These are, of course, merely wishes of a connoisseur collector, a lover of Art and artistic genius. In real life nowadays to catalogue a work as by a great Master is to grant it economic value, and, except in the case of documented works, its attribution may change in the course of time and thus its economic value may fluctuate, though not its artistic value which is only subject to its state of condition and is even superior to the variable tastes of every epoch.
 
It is now 8 p.m. and the work will probably have been already sold. I prefer not to check and to continue believing in my own reasoning. In my opinion, if one has the financial capacity, this is a type of picture for which one can confidently bid. Though this may appear presumptuous, I sincerely hope that the buyer has paid about a million pounds because this would mean that the market trusts that this work may really be a Dürer; a much better investment, though this may seem paradoxical, than if it had remained at around the more prudent estimation given by Sotheby’s of £300.000 to £400.000 because for really good works the higher the price paid the greater the prospects of its being revalued.☆
 
I only wish to add two short notes, one referring to Baron Van Dedem’s collection (lots 22 to 38), also presented by Sotheby’s, which due to their very high quality and good taste should have sold very well, (in particular the sketch by Rubens, worthy of being shown in the Prado’s present exhibition on the subject), and the other one on the magnificent picture attributed to Ribera (lot 56) whose exceptional quality in both pictorial technique and composition gives me absolute confidence in its attribution. I have not, however, completely understood why Sotheby’s does not grant full attribution to this work and gives it a relatively low estimation (£100.000 - £150.000) in spite of it being evident that the painting required the determination of a restorer who understood well the work of this Master.☆
 
Lastly, in Christie’s auction two works caught my attention: on the one hand, Our Lady with the Child by Gerard David represents in a sublime manner the aesthetic values of this great painter: tenderness, intimacy and softness; On the other hand, Portrait of Rubens’ daughter, Clara Serena, an authentic testimony of the tragic sentiment Rubens felt for this most beloved daughter who died a few months, or perhaps days, after being painted. This is a work which strikes us deeply and I hope the great collectors will comprehend it and that its undeniable quality will counteract certain doubts existing regarding its capacity to rise high during the auction due to a lack of absolute unanimity amongst Rubens’ scholars on its attribution, in spite of the fact that it would be included in the Corpus Rubenianum as an autograph work by Rubens. Although this painting gathers together in itself all the virtues of a Rubens, the collectors, frequently more investors than lovers of painting, are more eager to bid in unanimity with the experts than to follow their own feelings inspired by this great work☆☆.
CHS
 
☆Note written on the day after Sotheby’s auction on 4th July 2018.
The portrait attributed to Dürer starting at an estimated price of £300.000 /£400.000 was sold at £1.150.000. The Ribera portrait starting at £100.000 to £150.000 reached £430.000.
 
☆☆Note written on the day after Christie’s auction on 5th July 2018.
The painting Our Lady with Child by Gerard David was sold at the excellent price of £4.886.250 nearly 3 times the estimate but the “Portrait of Rubens’ daughter” unfortunately was not sold.
 
 

Visit to Tallinn for the inauguration of the exhibition “Michel Sittow. Estonian Painter at the Courts of Renaissance Europe”.

Visit to Tallinn for the inauguration of the exhibition “Michel Sittow. Estonian Painter at the Courts of Renaissance Europe”.

My trip to Tallinn on the occasion of Michel Sittow’s exhibition has been a wonderful opportunity to experience the efficacy of a small and recently constituted country like Estonia, which, indeed, is firmly rooted in Europe thanks to its capital city Tallinn, formerly Reval, having belonged to the Hanseatic League, historic precedent of the European Union. Following on these considerations, I feel particularly pleased to observe directly the enthusiasm their inhabitants show at belonging to the EU, no trifle matter in these times of growing European scepticism. I cannot therefore fail to thank Peter Van Den Brink for having given me the opportunity of knowing this magnificent country and of enjoying an insuperable group of paintings by Sittow.

Concentrating myself on the exhibition itself, I would like to draw attention to the imagination shown by the organizers in their use of space, situating the pictures at the innermost centre of the exhibition, within a great oval, and outside of this we can read all the historical and biographical explanations regarding Sittow and his epoch. We reach this octagonal hall after descending a stair-case and following its surrounding wall which rouses in me an impatient urge to arrive at the paintings, which was amply satisfied a few moments later on viewing them all together. This solution exhibitionwise helped visitors to enjoy the pictures shown like gems set in a wonderful greyish-blue background with only the painting’s label showing and thus enhancing its view in an incomparable setting.

Sittow was a peripatetic painter like many others of his time and travelled in 1484 from his native city, Reval, to Bruges in order to train with Hans Memling and afterwards work for the various European courts. His historic fame is due to "Isabel la Católica", as he was her favourite painter together with Juan de Flandes, and to the circumstance that his only two documented works were included in "Margarita of Austria’s" collection, when she acquired many of the panels of the celebrated altarpiece of Isabel la Católica. Thus Sittow is the paradigm of the travelling artist who arrives in Spain in 1492 attracted by the vitality of the kingdom of Castilla and where he remains until at least 1502 when he travels to Flanders to be the painter of "Felipe el Hermoso", (Philip the Fair) and almost certainly to London where he paints a portrait of Henry VII. In 1506, on Philip’s death, he returns to Reval and in 1514 he travels to Copenhagen in order to do a portrait of King Christian II and afterwards returns to the Low Countries as Court Painter of Margarita and to Castilla to collect debts and probably be painter of the Regent, King Fernando el Católico. On the latter’s death, he returns to Reval where he dies in 1525.

Comparison with Juan de Flandes is a passionately enthralling exercise for anyone who has a connoisseur’s eye which is accustomed to the alternative attributive options arising when one compares the two famous panels of the polyptic altarpiece of "Isabel la Católica", representing The Ascension of Christ (cat.4, private collection) and The Assumption of Our Lady (cat.3 National Gallery of Art, Washington), both documented as by Michel Sittow and painted between 1500 and 1504, with the rest of the panels attributed historically, though not documented, to the painter Juan Flamenco. Their differences, generally speaking, lie in that Sittow has a more independent style, his paintings are much more sculptural in his hand-writing and his personages have more serious expressions, following the models of the first generation of Flemish painters, specially Roger van der Weyden and, according to what Peter van den Brink suggests during the visit to the exhibition, are close to other contemporary Flemish artists like Jan Provost. Juan de Flandes, nevertheless, has a softer style, similar to the second generation of Flemish painters, such as Hans Memling and Hugo van den Goes and to contemporary Flemish painters like Gerard David. Both coincide in their carefully meticulous finishings which we appreciate in their gleaming jewels and brocades and in how they use light for outlining the faces, though we must point out that Juan de Flandes is rather repetitive whereas Sittow’s faces nearly always maintain their own individuality.
 
Following on Peter van der Brink’s commentary, we remain pending to go deeper into the attributive debate already opened by Matthias Weniger regarding the oeuvre of painters belonging to Sittow’s generation due to searching for new works by Sittow which may arise, specially religious compositions painted during his prolonged visits to Tallinn and Flanders before his journey to Spain and during the period when he was painter at the court of Margarita of Austria. Regarding the Spanish period, debate is focused on his participation in works also attributed to Juan de Flandes like the altarpiece of Saint John the Baptist in the Cartuja de Miraflores Monastery and in the altarpiece of the Chapel of the Condestable Alvaro de Luna in Toledo Cathedral; the panels of this altarpiece representing Saints Catherine and Mary Magdalene as well as the two Saint Johns are certainly imbued with the gravity and monumentality granted to Sittow’s work. We know many facts of his life, including that he was paid 50.000 maravedíes by Queen Isabel, which gives one an idea of the importance Sittow must have had before 1492 when he was about 24 years old, and nevertheless the work firmly attributed to him during this epoch, up to the present, does not exist.

As a portrait painter Michel Sittow, thanks to his technical quality but, above all, due to his capacity to represent human beings, admits few comparisons. His portrait of a gentleman, dated 1510, at present in the Mauritshuis Museum of the Hague (cat.14) has the strength and the psychological acumen of the portraits by Van Eyck, the sharpness of the few portraits that we know of Jean Fouquet and the depth of the self-portraits of Albert Dürer. The immediacy of Sittow’s portraits is far superior to that of his contemporaries, Gossaert, Joos Van Cleve or Juan de Flandes, who are technically insuperable and have an inherent humanity, though they are often rather repetitive; he is even superior to the portraits of Memling himself, one of whose works is included in the exhibition (cat.7 National Gallery of Washington), an absolute gem of pictorial virtuosism, but lacking in soul, as if one were just representing, and that indeed splendidly, the human body. If we search for comparable examples which may approach the expressive strength and modernity of Sittow’s portraits, we can only find individual masterpieces such as Quentin Metsys’ portrait of a woman (1520) and the portrait of Jean Clouet by Guillaume Budé (1535) both in the Metropolitan Museum of New York, also the portrait of a young student in the Boijmans Museum of Rotterdam which has an equally scrutinising look, similar to the possible self-portrait of Sittow, Young man in a red cap in the Detroit Institute of Arts (1490)-cat. nº 2.

Included among the unbeatable group of works by Sittow which I have seen, I would like to point out the two which have conquered me:

Let us begin with the supposed portrait of Mary Tudor (1514)-(cat.9 of the Kunsthistorisches Museum Gemäldegalerie, Vienna). Facing it, I feel immediately the shock of modernity in the way he concentrates all the spectator’s attention in the face by means of a beam of light which falls directly from the left that reminds me of Antonello de Messina and Leonardo, effacing her absolutely frontal position.
The very original design of the composition, based on a series of fine geometrical, almost cubistic lines which form the portrait, could be the development of a composition derived from other painters like Roger van der Weyden, in his portrait of a Woman (1484) in the National Gallery of Art, Washington, or Petrus Christus in his portrait of a Girl (1470) in the Gemäldegalerie in Berlin, but with a difference which makes this work, if possible, even greater: to portray a person facing front is indeed a real tour de force. A perfectly rounded head-band outlines the oval of her face, meticulously adorned with a superbly embossed gold necklace which ends in a square décolletage which cuts out a mauve coloured dress, now unfortunately darkened. The sitter’s way of looking downwards, as if lost in thought, rendering that air of introspection, so characteristic of Sittow, gives the picture a sign of intimacy suggesting prayer. The soft lines and the point of light on her nose, the excellent technique the painter demonstrates in his rendering of gold work and jewels are done without the least sign of repetitiveness, all this is a true touch-stone of the quality of Sittow in this work.

Another exceptional work considered by connoisseurs as one of the best Flemish portraits of the epoch is the portrait of Diego de Guevara by Sittow, 1515/1518 (cat. 13) in National Gallery of Art, Washington, which is part of a diptych whose twin side is a Madonna and Child, 1515/1518, now in Berlin the (Gemäldegalerie Berlin (cat 12)) and which is situated just beside it in the exhibition. In Guevara’s portrait we find an expression of infinite sorrow and melancholy of the sitter, an extremely authentic and spontaneous, though controlled, feeling of pathos, which can only be compared with what we feel viewing  Christ’s Descent from the Cross by Roger van der Weyden in the Prado Museum where José de Arimatea has evident similarities to Guevara. We are thus facing a devotional portrait where the painter does not try to express individuality or human personality, as seen in the aforementioned portraits of the Detroit Museum or the Mauritshuis, or in the portrait of a man (cat.16, private collection, on loan to the Hertogenbosch Noordbrabants Museum), but rather, in accordance with Roger van der Weyden, this is where Sittow seeks to express the depth of religious feeling as something essentially human. Sittow, with the exceptional simplicity which characterises great Masters, in this diptych, sets up against Death, representing Guevara’s look, life, personified in this wondrous Virgin and Child, full of sweetness and majesty.

Without any doubt, one of the principal achievements of this exhibition is to have managed to hang side by side both these pictures because precisely here, in the way Sittow represents the greatness of human sentiment, resides his own stature.

CHS
 

Arnao de Bruselas and Roque Balduque: two Brabant sculptors who triumphed in Spain

Arnao de Bruselas and Roque Balduque: two Brabant sculptors who triumphed in Spain


The discovery by the IOMR of a relief work representing the prophet Nataan rebuking King David by Arnao de Bruselas and another one of a Lamentation at the death of Jesus Christ by Roque Balduque offers us a magnificent opportunity to give its corresponding importance to the transcendental influence which the artistic currents of the Brabant region have exerted on the development of Spanish Renaissance sculpture, specially two of the richest and most important movements of sculpture which have developed in Spain from the 1530’s: the Navarre-Aragonese-Riojan school and the Andalusian school. This important group of artists coming from a Brabant, already flourishing from the concluding years of the XVth century onwards, became even more fertile during the first half of the XVIth century. In my opinion this is a field of study which should arouse the same interest among researchers of the Low Countries as in Spain where it has always been an object of unanimous recognition.

At the beginning of the XVIth century the exquisite Flemish tradition in sculpture , whose origins spring from Claus Sluter, educated in Brabant and from the work-shops specialised in small altar-pieces of high quality developed in Brussels, will survive and even have a second blossoming in Spain, promoting a symbiosis between the wealth of Italian artistic canons, brought by their artists imbued by the mannerism of the North, and the strength of the local Spanish religious temperament; all this will lead to what is the polychromed sculpture of the Spanish Renaissance, the origin of an artistic tradition, which is almost unique in the European artistic panorama and which will survive until well into the XVIIIth century. This resolute Spanish artistic interest in religious expression by means of polychromed sculpture, born at the outset of the XVIth century, gained greater strength from other currents, such as the Romanism of Gaspar Becerra at mid-century and will continue to evolve till there in the school of Navarra with its Master Ancheta, the school of Seville with the great Martinez Montañés, the school of Granada, with Alonso Cano and Pedro Mena as principal leaders, the school of Castile, always favouring the Italian influence brought by the Eagles of the Renaissance and Gaspar Becerra with his Michelangelesque nuances, who reaches his apotheosis with Gregorio Hernández and concludes in the XVIIIth century with the Murcia school magnificently represented by Francisco Salcillo.

The influence of the artistic movements of Brabant in the kingdom of Spain was not a novelty. During the XVth century Castile was one of the principal importers of Flemish panels and later of painters like, Michael Sittow (1492), Juan de Flandes (1496), favourite painter of Queen Isabel, and Juan de Borgoña, specially patronised by the Church, so that in painting the Hispano Flamenco style and in architecture and sculpture the Isabelino style prevailed, whose greatest exponent was Gil de Siloé, also called Gil de Amberres, a native of Brabant, according to the majority of his distinguished researchers.

This influence was accentuated during the first thirty years of the XVIth century during the reign of Charles V, by the political union of Spain and the northern territories and the notable increase of commercial relations with Spain due to the consolidation of the discovery of America, much more than the monarch’s support whose artistic taste was more closely linked to Italian art than to Flemish style, as may be observed in the unfinished work of Charles V’s Palace at Granada and his own special predilection for Titian.

Therefore, the main causes of the emigration to Spain of Flemish talent in sculpture-making at the beginning of the XVIth century were the religious fervour of the Spanish people, in addition to the wealth of a powerful Church who paid much better, a growing lack of interest for sculpture as a form of artistic expression precisely in the Northern regions caused by a change in the aesthetics of the altar-piece and, above all, due to the growth of a certain repulsion for the representation of sculptures as images of religious cult and a gradual cultural separation in the Brabant. So the kingdom of Spain becomes providentially the principal magnet for European sculptors who seek the important artistic commissions of Charles V and, specially, of the Spanish church; at the same time a profound crisis is created in the Brabant sculptural medium where there only remain active dynasties such as the Duquesnoy or the Verbruggen. During this period their domination in the sculptural field disappeared in favour of painting which prevailed and produced great figures like Frans Pourbus the Younger and Rubens and Van Dyck in the following century; the foreign artists came to Spain like a windfall. From Italy were Pietro di Torrigiano, Domenico Fancelli, Giovanni da Nola, Giacopo Fiorentino, Juan de Moreto and the Leoni family; from Burgundy and Loraine, Felipe Bigarni, Michel Perrin, Nicolas Lyon, Gabriel Joly, Jacques Bernal, the Breaugrant brothers, the Beauvais brothers,the Imberto family and Juan de Juni; from the Territories of the Lower Rhine, Rodrigo Alemán, Simón de Colonia and his son Francisco de Colonia and Alejo de Vahia; from the Brabant zone the most documented were Copin de Holanda, Guillen de Holanda, Cornielles de Holanda, Juan de Bruselas, Domingo de Amberes, Arnao de Bruselas, the Bolduque brothers and Roque Balduque among a number of minor artists. They all brought to Spain, who was just emerging from the Reconquista and from discovering America, the technique which the Spaniards lacked since manual work was exclusively reserved to the moriscos and a virtuosism which amazes the comitents. They established the organization of work in a studio and the idea of specialization of crafts, which had only been initially developed in special cases such as Gil de Siloé and, finally they promoted the recognition of the Master’s hand in works of art, as the sign of the final quality which works must have and which only in the XVIth century begin to figure in contracts in Spain.




Arnao de Bruselas, the most representative sculptor of the Navarre-Aragonese-Riojan school.

If in a first instance we concentrate ourselves on Arnao de Bruselas, the author of the relief representing the prophet Nataan, recently discovered and profoundly studied by Professor Jesús María Parrado del Olmo, we shall realize that he was without any doubt the most representative sculptor of the Navarre-Riojan Renaissance, a region which, as Georges Weiss declares, assembles in scarcely 100 square kilometres a group of the richest and most original examples of European Renaissance sculpture which is maintained in altar-pieces and shows signs, to some extent, of protobaroque style. The figure of Arnao de Bruselas stands out as a result of a documental discovery which vouches that he worked as an official for Damian Forment from 1536 for four years. This would credit him with working at the Cathedral of Santo Domingo de la Calzada in 1537. Furthermore, he is attested to have worked in the churches of Genevilla (1549), Alberite (1550), in the imperial church of Santa Maria de Palacio in 1553 and in the Monastery of Veruela in 1556. Success with these projects permitted him in 1557 to embark on the contract of the Cathedral of La Seo at Zaragoza and later on the contract of Aldea de Ebro in 1564 before his death in 1565. These works are meticulously documented and have been carefully studied by historians of Riojan art, specially by Professor Julián Ruiz-Navarro (1981) and later on by Francisco Fernández Pardo and Jesús Parrado del Olmo .They have been managing to assemble the corpus of his work, entirely concentrated in that area of Spain, which is completely coherent, of high quality and may be considered as a result of the fusion of the author's Flemish roots with the influence of Damiant Forment and of Alonso Berruguete whose genius he attempts to emulate.

We are aware that Arnao de Bruselas is active as a sculptor of images in the work-shop of the Beaugrant brothers and Andrés de Araoz. That is the reason why many of his works before being documented were attributed to Andrés de Araoz who signed the contracts with the clients. Araoz was a entallador who was very active in the Basque-Navarre zone; as a sculptor his artistic gifts were more limited than Arnao’s whose difference between their respective talent was distinguished clearly by Georges Weiss in the altar-piece at the church of Genevilla. The confusion of the work of Arnao with that of the Beaugrant brothers who had a work-shop in the Basque-Navarre zone , which competed with Araoz's and the Beauvais' studios, is a different question altogether. The Beaugrants were very well studied by José Angel Barrio Loza regarding their altar-pieces, with paradigmatic examples like the Piedad of the parish church of Ezcaray, which show an entirely Flemish style without autochthonous influences and an exquisite technique characterized by the excessive movement of his compositions, in rounded and blown up clothing, highly dramatic expressions full of the mannerism of the north ; the opposite of Arnao who is more Italianate and favourable to local influences. Though we have evidence of the work carried out by the Beaugrants for Margaret of Austria's court in Malines in 1526 and from 1529-1532 in Bruges where he makes the famous Franc Fireplace, regarding Arnao de Bruselas we can only assume that he came from Brussels as indicated in the contracts discovered in Spain. In them it is stated that his first documented works were effected as a craftsman in Damian Forment’s work-shop where he was surely introduced by the Beaugrants on the occasion of the construction of the altar-piece for the Cathedral of Santo Domingo de la Calzada in 1537; due to Forment’s sudden death in 1540 Arnao had to finish it basing his work on the highly appreciated designs left by the Valencian Master. In accordance with Parrado del Olmo's considerations, Arnao de Bruselas worked as an independent "imaginero" during long periods of his life which allowed him to have freedom and artistic independence which he openly enjoyed, and which was sought after by the great contractors of the zone, the Beaugrants and the Araoz. In fact, Arnao acts like another great sculptor of French origin, Esteban Jamete, who worked as a travelling sculptor in Toledo and Andalusia until he settled down in Cuenca.

Arnao de Bruselas' style, in his first epoch, reminds one of Damian Forment's with its balanced and leisurely rhythm, and very Italianate whose best examples are his sculptures in Santo Domingo de la Calzada (1537-1540’s). The altar-pieces of the churches in Sonsierra, Abalos and Elvillar belong to this period in which he worked with the Beaugrants around 1545. In 1549 he worked at the church in Genevilla contracted as "imaginero" by Andrés de Araoz; he also worked on contract for the churches of Lapoblación (Navarre) and Busto where, although he still followed the designs of Forment, we can already appreciate signs of Berruguete.

Arnao's second period coincides with his artistic meeting with Alonso Berruguete. Although we do not believe he met personally him, as we only know that Berruguete was in Zaragoza in 1518 on his return from Italy, but probably Arnao may have entered into contact with his style through the Castilian polychromer, Andrés de Melgar, who worked with Alonso Berruguete and who had an important collection of drawings by the Master. Melgar polychromed many of the sculptures of the altar-piece the Cathedral of Santo Domingo de la Calzada and of the church of Lapoblación. From him Arnao de Bruselas will receive his expressionistic mannerism, his original designs, the helical line, the serpentine figure, the rotatory position of figures with hunched shoulders, the importance of foreshortening, half-open lips, frowning brows, longing expressions, grasping hands , which we shall see at the end of the 40's and, above all, from 1550 onwards, but always reserving to certain persons in their compositions an air of solemnity, a sense of majesty which is in contrast with the nervousness of the rest of the figures. He might also have received the influence of Berruguete through Burgos which exerted a strong impact on the sculpture of Rioja and is also very open to the influence of the school of Palencia, particularly of Manuel Alvarez, who worked, when scarcely a youth, on the choir-stalls of the Cathedral of Toledo. Finally Arnao could have also received the influence of Gregorio Pardo, the son of Bigarni, who entered Forment's studio and worked actively in these territories. We cannot overlook the increasing movement of his figures which would point towards a possible influence of Juan de Valmaseda and the excessive movement of his Madonnas, so characteristic of his style; moreover we have evidence of Valmaseda's activity in Burgos during that period. We know that during this second period Arnao rents a residence - workshop in Logroño in 1552 and he carries out works in the churches of Aberite and in the Imperial church of Santa María del Palacio (1553); the latter is one of his principal masterpieces and its altar-piece is insuperably beautiful, not only due to the design of its compositions which are more tranquil and foretell a change of rhythm in his style and carving, displaying a most refined technique, but also due to the magnificent polychromy carried out by Francisco Fernandez Vallejo who, as a matter of fact, was the artist who made the polychromy of the relief recently discovered by us.

From 1556 onwards Arnao begins his third artistic period, a a result of a visit to Zaragoza and his almost certain meeting with Gaspar Becerra who was returning from his journey to Italy, imbued with the canon and rhythm of Michelangelo. During these years Arnao de Bruselas carries out the reliefs of the chappel of San Bernardo at the Monastery of Veruela in 1556 and the trascoro of the Cathedral of La Seo de Zaragoza in 1557. These are Masterpieces in which Arnao softens the movements of his scenes where his personages acquire a greatness and a stature thanks to the form in which there are presented to us, in the foreground, with a slight contraposto which blends delicately with the folds of their robes which become continuously soft and flowing, and their faces show Michelangelesque expressions of self-absorption and contemplation. His compositions give special importance to the inter-play of looks and corporal gestures which announce in a restrained way the Baroque. Our relief is a magnificent example of this epoch in which Arnao de Bruselas made his last works: for the Cathedral of La Seo of Zaragoza, the Monastery of Veruela and for the church of Aldeanueva del Ebro. Professor Jesús Parrado del Olmo, in his study of our work, describes how the characteristics of the relief are specially related to San Vicente Mártir of the cathedral of La Seo of Zaragoza and to various reliefs in the Monastery of Veruela.




Roque Balduque, origin of the Golden Age of Sevillian Polychrome Sculpture

The second relief presented in this article is by Roque Balduque according to the study made by Professor Parrado del Olmo. This is a sculptor born in the capital of northern Brabant, Bois-le Duc, nowadays Hertogenbosch, or Den Bosch.

There exists a certain discussion regarding whether he may have belonged to the same family of sculptors, the Bolduque, who emigrated to Spain in mid XVIth century; according to García Chico, part of this Bolduque family remained in Medina de Río Seco where their supposed brothers, Juan Mateo, Pedro and Diego, who first appear in 1558 in documentary form, as having created in Castile important altar-pieces in the Romanist style of Gaspar Becerra. Following on García Chico’s research, we may presume that one of the members of the family must have chosen to make his way in Sevilla where, in typical Andalusian fashion, they modified the name to Roque Balduque. In any case, in 1538 he appears in documents, much earlier than the Bolduque family, as resident of Sevilla and married to Isabel de Bolduc, though his first works only appear documented from 1550 onwards. Anyhow his artistic importance in this city was decisive and for this reason artistic scholars are unanimous in considering Roque Balduque together with Isidro de Villoldo as the creators of the Andalusian School of Sculpture and Roque Balduque as the first representative of the Golden Age of Sevillian Sculpture, followed by Juan Bautista Vazquez the Elder and reaching its climax with Martínez Montañés.

Roque Balduque’s widespread reputation and artistic transcendency are due to the commission by the Archdiocese of Sevilla, documented in 1554, to make a series of sculptures of Our Lady for the many parishes and sororities of the city. The Madonna of Nuestra Señora del Amparo of the Magdalena parish, where it is known he resided , and the Mother of God, Our Lady of all the Saints of the Omnium Santorum, the most important sorority of Sevilla, are two examples of the Renaissance splendour displayed by these most beautiful Madonnas who, steeped in melancholy, offer an air of modernity hitherto unknown in this land and who nowadays constitute in themselves a prototype recognised throughout the world as the finest representatives of Sevillian art; Madonnas who spend the winter in the parish churches and once a year, during Sevilla’s Holy Week, are taken out in procession by the various fraternities as the sign of identity of a unique cultural heritage . Roque Balduque is also the creator of many images of Christ amongst which stand out the Christ of the Concatedral Santa María la Mayor of Cáceres, work similarly documented, and the Christ of Veracruz in Alcalá del Río; the latter is only attributed to Roque Balduque, but is no less exceptional. In all these works we perceive a gentle and beautiful dramatism which is also observed in the recumbent Christ of our relief “Lamentation at Christ’s Death” where Christ appears to be asleep rather than dead.

Roque Balduque’s participation in various reliefs in both wings of the altar-piece of the Cathedral of Sevilla is also documented; this is certainly one of his first works and gives one an idea of the importance this sculptor must have had in the city. The reliefs Saint Paul’s conversion, Jesus amongst the doctors, The Conversion of Saul and The Last Judgement are all by him. As Parrado del Olmo declares, various styles have been assigned to Roque Balduque which he employs according to the institution from whom he had received the commission; his sculptural images are sometimes carved according to a more primitive pattern, even ignorant of the Flemish mannerism, such as the Madonna in Nuestra Sra. de la Cabeza and the relief of Santa Ana, la Vírgen y el Niño of the church in Alcalá del Río where a deliberate rigidity is perceived which follows closely the lines of the feminine figures of the recently discovered relief. In all of this, however, there is a tendency to create the prototype of a beautiful Virgin Mary, with perfect oval face and features which reminds us even, in its stately majesty, the Madonnas of Bellini, whose countenance is subtly framed by a cloak of finely gathered folds. Included in his ample work, duly documented, but partly lost due to the ravages of the Napoleonic wars and the Spanish civil war, one cannot fail to mention the imposing High Altar-piece carved in wild pine and not polychromed in the Concatedral Santa María la Mayor of Cáceres, where he collaborated with Guillén Ferrán between 1547 and 1551 and whose reliefs work have certain similarities to the Lamentation at Christ’s death which we are presenting here and which both coincide in being carved in similar wood.

Finally, Roque Balduque is recognised as being one of the first sculptors who exported works of art to territories overseas. It is almost absolutely certain that the Virgen del Rosario of the Convent of Santo Domingo in Lima was carved by his gouge which caused his iconography of Our Lady to spread so successfully through the Hispano-American territories, where his influence on local iconography is amply recognised. In 1561 he died leaving various disciples who followed faithfully his style and spread even more his iconography amongst the people; the most important of his followers was the Dutchman Juan de Giralte who concluded Roque’s unfinished works due to his sudden death; other followers were Juan de Villalba, Pedro de Heredia and Domingo Ortega who sculpted Madonnas & Christs which are considered today typically Sevillian works, but whose origins lie 3000 kilometres to the north, in what is nowadays one of the principal cities of Holland, Hertogenbosch, which is also the birth-place in 1516 of a genius of painting, El Bosco, who has left us a message which is poles apart from Roque Balduque.

In my opinion, the enormous capacity for adapting themselves of these artists, how they were able to capture the Spanish religious fervour, making this alien message their own, contributing their technique and artistic talent and absorbing the autoctonous influences, assimilating a culture which at least initially must have seemed foreign to them; and they did all this so perfectly that centuries later they are considered great Spanish artists, though forgetting which was their original country.

In this respect, since the IOMR has a centre in Helmond, a city now belonging to northern Brabant, it feels bound to recue from oblivion these illustrious artists who left behind them their culture, their family, though not their genius nor their talent, in search of new opportunities. Artists who enriched with their artistic gifts a country which at that time was rising up after centuries of struggle to reconquer their country from the Moors and at the same time determined to discover America; a nation which received them and gave them a project which inspired them to embrace their culture and create works of art which have reflected the harshness of the Spanish spirit and for this reason have not been completely understood or valued in its native country. CHS



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ALBARDONEDO FREIRE, Antonio J.:” Un crucero del taller de Roque de Balduque, procedente de San Isidoro del Campo en la colección del Museo Arqueológico de Sevilla”. Laboratorio de Arte, 19, 2006, 85-99.

ALBARDONEDO FREIRE, Antonio J.: “El Calvario del Cabildo bajo de la casa consistorial de Sevilla, una obra atribuible a Roque de Balduque”.Laboratorio de Arte, 24, 2012, pp. 793-804.

Commentaries concerning TEFAF 2018

Commentaries concerning TEFAF 2018

Tefaf 2018 has a very special importance for IOMR in as much as it permits us to share with our patrons and friends a collection of first class works.
 
At first sight, many changes as regards other years, mainly due to the absence of two galleries which are emblematic of Tefaf, as are Johnny Van Haelften’s who, people say, is semi-retired, and that of Fabrizzio Moretti, for unknown reason... By the way, I thought it was a very good idea to have two previews, one on Thursday 8th only for collectors and curators and another one on the following day, in general. This permitted avoiding the crowding of other years at the preview.
 
From the point of view of the design and presentation of the stands, I would point out the modern minimalism and good taste of the Rob Smeets Gallery, where a Velazquezian greige blends the walls in with the floor, making his always correctly selected masterpieces stand out in contrast and thus creating favourable surroundings for individual viewing. But, above all, it is Tomasso Brothers’ stand which captivates us. An absolute ode dedicated to the Grand Tour is offered to us in the exceptional and privileged space traditionally reserved for Johnny Van Haelften, where walls covered with painted paper representing Pompeian frescoes are the background for a splendid collection of marbles of the XVIth and XVIIth centuries, among which I would point out a pair of monumental sculptures by the Baroque artist of the Medici Court, Gian Battista Foggini, which were in fact sold on the first day of the Fair, together with a Roman bust of the  XVIth century, representing a middle-aged man whose exceptional patina evokes poetically in us the spirit of the irremediable passage of time.
 
As it has occurred to me many times with Tefaf, on my first visit I cannot conceal a certain disappointment which is partially relieved by various masterpieces which call my attention: A Gian Domenico Tiepolo 's portrait of the highest pictorial quality, and in  a state of condition not frequently found amongst Venetian XVIIIth century works of art; a portrait by Joaquín Sorolla representing very well his Art, and where one can appreciate his mastery of the paintbrush in representing an instant, which is so  characteristic of this Master amongst Masters; a superb Bernardo Caballino which makes us evoke an Italianate Zurbarán, and an enormous equestrian portrait of the Count Duke of Olivares, which will cause a great impact to any lover of the Spanish XVIIth century , a work of art  by the still not well known great Flemish painter, Gaspar de Crayer. This picture, worthy of being exhibited in the Velazquez Room of the Prado Museum, en pendant to the equestrian portrait of the Duke of Lerma by Rubens, merits a special digression since it represents a magnificent example of how the privileged and intuitive eye of a picture gallery dealer like Mark Weiss restores the value corresponding to masterpieces which have been disregarded by auction houses. This portrait appeared at the end of 2017 in the Paris market at an absurdly low price. Mark Weiss courageously bid up to over 700.000 €. It was presented at Tefaf in a top state of condition and, bearing in mind its absolutely certain provenance from the Collection of the Marqués de Leganés, it will certainly become a landmark for this important court painter of the Cardenal Infante don Fernando whose fame has been historically lessened due to being a contemporary of Rubens, Van Dyck and Velazquez, men of genius in painting who caused a revolution in the concept of Art at that time.
 
On the second day of my visit to Tefaf 2018, following on the commentaries made to members of IOMR, I discover various works of art which rouse in me a feeling of passion for this Fair. Such sudden changes of mood are frequently felt by collectors and curators visiting a particular Tefaf. We start off at Richard Green’s stand where various scenes of the beaches of Normandy by Eugène Boudin catch our attention; a landscape by Monet confronts another one more weakly painted by Alfred Sisley. All this leads me to transmit to my companions how one can distinguish the quality of a work, why one work captivates us and why other works do not enchant us so much; the importance of scrutinizing certain details which often determine the stamp of the artist; how a characteristic Boudin is that of a beach crowded with people enveloped in a breeze which blurs colours and outlines, creating a sensation of space in depth; how Monet’s sky and sea, blended together in myriads of colours, take the shape of a moment of light in a morning which, however, is not expressed in the same way in Alfred Sisley’s picture, hanging next to it, with its rougher brush-strokes and solid, prosaic colouring. As we leave this stand, at the corner, an impressionist landscape by Gustave Caillebote suggests to me to insist on the importance that this painter and patron gives to shadows in his works and how this picture, thanks to its diagonal line of perspective, reminds one of certain compositions of the Dutch Golden Age of painting and specially of  Meindert Hobbema and Jacob van Ruisdael.
 
We continue our visit and we stop facing a Lucas Cranach, a high quality portrait, but considered by the vetting committee as painted by Cranach the Younger and Studio. This permitted me to wonder how one distinguishes the hand of the Master from that of the Studio. In this case the work has all the characteristics of a Cranach, due to the sinuosity of the line which draws the physiognomy of the sitter, the stereotyped acuteness of his look lacking in psychological depth, due to the flatness of the colouring dominated by the aquamarine blue of the background which makes the outline of the flat face of the person stand out without making the slightest concession to naturalism. Nevertheless, if one continues scrutinizing the picture, on reaching the person’s hands, the quality of the lines seems to fail, the outlines become clumsy, the lines of the fingers are not drawn with adequate rotundity and they haven`t got the slightest strength or expressivity and therefore do not carry out any function in the portrait. The hands are, without any doubt, the cause that the vetting committee would have considered that the picture was partially made by the studio.
 
We arrive at Michael Goedhius’ stand, a picture gallery dealer for whom I feel special admiration because he is a true lover of Art who was able to reconvert himself twenty years ago. After being a distinguished reference in the world of Oriental Archeology, Assyrian and Mesopotamian Art, he became an authentic head hunter of contemporary Chinese talent. This type of symbiosis and personal conversion, based on the intuition which leads one to anticipate change and have the capacity to distinguish artistic genius, whatever the epoch or country to which it belongs, is something very difficult  to find nowadays. In Goedhuis’ stand, a drawing by Emilie Pugh effected with a technique which is both ancestral and modern, based on the use of burnt incense, invades my field of vision. The subject is an abstract representation of the invisible energies of the Cosmos, of continuous movement which is not visually perceived. The work arouses in me a sudden presentiment evoking in my mind Leonardo and Rustici, inclining me potentially towards a dialogue on contemporary Art with the most innovative genius of History and, for that very reason, capable of representing in the best way the energies inherent in the human being, Nature and Cosmos.
 
Now already at the point of terminating our visit, a work attributed to the Master of Half-length Figures catches our attention. It is a portrait of a young woman carried out with a magnificent trompe l’oeil technique, with enamel colouring and very detailed brush-strokes, characteristic of the early Flemish painters. There is, however, something in this picture which transcends the stereotyped nature of painting by the Master of Half-length Figures and which grants a special uniqueness to this work: the beseeching nature of the young girl, is naturalistic, and reminds us of Jan Gossaert and turns it into a most desirable work for a collector who appreciates these nuances.
 
On Wednesday I managed to visit Tefaf for the last time so as to rescue from oblivion the works which are always disregarded due to my not keeping to a desirable and correct order during the previous visits. In fact I am surprised that on my successive visits to Tefaf, I always find novelties worth mentioning. Three pictures enchant me: a small Corneille de Lion, the portrait of a French King; another one by the Genovese painter Alessandro Magnasco who is a forerunner of the typical XVIIIth century scenes plenty of small figures; and a Masterpiece by Jean Baptiste Oudry, the great French painter of hunting scenes at the end of the XVIIth century. Regarding the Corneille de Lion picture I am deeply touched by the delicate melancholy expressed by the King, a symbol of French sentiment. With Magnasco the scenes of everyday life are doubtless those in which he shows himself a greater genius and innovator. In these pictures his brush strokes are comparable to those of Guardi and indeed I would say that his pictorial calligraphy is more neurotic than the one of Watteau, demonstrating a modernity which has not yet been sufficiently studied. The Oudry picture in the Stair Sainty Gallery, a true sanctuary of French painting, is a real Masterpiece, according to all the meanings of the term, which moves between a classicism which was dying out and the first rays of dawn of the XVIIIth century Rococo, the most unmistakably French style, as recognisable then as it is now out of fashion; which makes you realise that in not more than a generation everything has changed...

-CHS -

Subasta Rockefeller

Subasta Rockefeller

Christie’s announces for this spring the auction of the famous Rockefeller collection in the centre of New York City. To this effect, they have organized a travelling exhibition consisting of a selection of what they consider its best works. Starting at Hong Kong, it will stop off in London and Los Angeles till its final destination in Rockefeller Center. Needless to say, in view of the display of the communications media and the good health of the Art Markets, we imagine record prices will be met.
 
In compliance with Peggy’s and David’s will, the funds obtained will go entirely to benevolent institutions in which they participated in the past. In this way, the auction gains double its value; on the one hand, it will allow the new purchasers to enjoy the aesthetic pleasure and the possession of works recognized as masterpieces and with this transaction what is most noteworthy and where it is clearly demonstrated the philanthropic nature of this family which is to finance initiatives benefiting Science and Education, thus giving the most direct social service.
 
In the ample review which Christie’s suggests we should read in its web is described the birth of this collection which shared the principles of the MoMa inauguration, the feverish purchases of the Guggenheims, Hay, Whitney and so many anonymous North American buyers who sought in the recently liberated Paris the basis on which to establish the growing Museum of Art of their own country. An important part of this auction corresponds to the collection which belonged to Gertrude Stein who, together with her brother, with Ezra Pound, John Dos Passos, Ernest Hemingway and so many other writers, musicians and painters of the “lost generation” crossed the ocean to drink of the artistic movement in the between-wars Paris and contributed to strengthen the myth of the “Avant-Gardes” whose claims still survive nowadays and which in the culture of the western world have almost the category of a religion.
 
From the lengthy catalogue of this collection the eminent auction house has emphasized a list of works as its highlights and on these I shall allow myself a moment’s reflexion. At first sight, with reference to the visual arts, this selection covers the limited range of twenty years’ production, saving the presence of Edward Hopper and Georgia O’Keefe, both disciples of the subtle colourist William Merrit Chase, a fervent lover of Venice, of the Venice of Francesco Guardi and Giorgione, where he stayed for long periods of time, leaving us a wonderful legacy of "vedute" and portraits immortalised in that city.
 
If we start making comparisons, I think of the exquisite selection of masterpieces belonging to all the epochs that Henry Clay Frick did which any lover of the arts may enjoy just approaching 70th street, facing Central Park. Also, going a little higher, entering deep into Harlem, we find the extraordinarily wide collection of works of Archer Milton Huntington in his Hispanic Society, which covers such an ample range of periods, although obstinately centred in Hispanism. It is, no doubt, certainly true that both these collectors belonged to a previous generation when Utopias were still considered mere intellectual exercizes and did not guide the artists’ paintbrushes.
 
Nevertheless, going back to the auction, in the lots devoted to porcelain and Art and Crafts, I see objects belonging to different centuries living together. This increases the resounding volume of my claim: Does the Pontificate of “Avant-Garde” artists employ a sort of dictatorship, since having been born between doubt and the trick played by Paris and then made legitimate by the purchases of North American magnates, is it capable of arriving at the present day as a blinding deluge so that we are prevented from differentiating between the essence of the Artistic object, a daring search made by German idealism for the Marxist idea of added value, which has nothing to do with that object, but is a mixture of sociology and the technical capacity for reproducing works of art?
 
One of the attributes of the “Avant Garde” movement, which it obstinately insists in presenting as its variable external appearance, is its immediacy (hence also its liability to appear out of date), assuredly derived from the cult of speed which dominated the XXth century. It is enough to remember the speeches of Marinetti and D’Annunzio, the race in space, the development of photography, cinema, television, etc..., antagonistic inertias against the true, slow and attentive communion with the objects the genius of humanity has given us, irrespective of dates.
 
Because I am conscious that the angle of vision is wider on the complete map of time, including the future, I wish that this XXIst century were less urgently pressed for time.
 
Facing the ceramic plate of little fishes by Picasso, I remember an episode known to everybody. On that afternoon when Ernest Jünger, wearing the regulation uniform of the Wehrmacht, paid his visit to the studio of the “witch”, the following was the definition that came to the mind of the entomologist of Heidelberg when he opened the door. After showing to him the works which were there, Picasso confessed to him:”My pictures would cause the same effect if I wrapped them up and sealed them after finishing them, without showing them to anybody. This is about declarations made immediately”. No doubt this affirmation inspired Piero Manzoni to close the tins and to present on 12 August 1961 in Milan his eschatological contribution to the Arts, foreseeing, quite correctly, that it would end up in a Museum. Thus, open and shut, “abracadabra”, Tracey Emin, nearly forty years later, was kind enough to turn down the sheets of “My bed” and was on the point of winning the Turner Prize of 1999.
 
I would have liked to find in the “highlights” of the Rockefeller auction a panel of Cimabue, a warm evening by Claude Lorrain, or a portrait by Sir Thomas Lawrence together with another perhaps by Thomas Eakins, the most North American of the painters, since Singer Sargent and McNeill Whistler were Europeans, as DeNittis was French. Some of the innumerable list of masterpieces which were at the disposal of such powerful collectors.
 
But I shall have to conform and be thankful for the good health of the Arts, once we have collected the money, ascribing to these works of Art their value in cash and even admiring them as they grow greater in our esteem. Just the same as happened with that slight walking figure of Giacometti which as soon as it got into the tight-fitting corset of the thousands of dollars, it seemed to us a youth of much better appearance.
Because there are hours in the day when the shadows produced by objects, due to the particular angles directed by the sun-beams, seem to us “more real” than the objects themselves to which these shadows belong.
 
The “Avant-Garde” posed fundamental questions to our intellect and opened new paths along which we could continue our search, but it comes accompanied by great noise. This is the task of sifting which we are force to do now, if not, History will take charge of doing it.
 
We know that a river at its birth spouts up with a thousand skips and gambols, but when it reaches maturity and is loaded with the water of all its tributaries, we see it flowing slow and majestic along the plain.
 
Art is like a great river which carries on its back, impassive and in silence, centuries of wise decisions
 
-Miguel Angel Ruiz

Art Contemporary in Spain in ARCOmadrid

Art Contemporary in Spain in ARCOmadrid

The IOMR Institute attends the annual meeting of Contemporary Art ARCOmadrid

Happiness sometimes runs freely through art fairs, sometimes it lies still and sometimes it overflows completely; this edition had a bit of everything: “very contented” picture gallery owners, like the Portuguese Pedro Cera who had sold all the works by the United States conceptual artist Adam Pendleton; curators bored on seeing the stream of creativity at a standstill, but with not entirely negative results; collectors like Jorge Pérez, a Cuban-Argentinian patron who came to the rescue on account of the controversy on freedom of speech in Spain by buying works in a few hours’ time in dozens of galleries; and also the public which always flows enthusiastically voicing different opinions on the artist’s imagination and intelligence, virtues which from our IOMR’s point of view were present this year at ARCO.

Visual arts today advance along the path of provocation and a proof of this statement is Folkert de Jong with his work “The Immortals 2012” (Luis Adelantado Gallery). This is a superb work as regards size, colour and figures, made from polyurethane foam which renders it absolutely unchangeable, like all plastics which are precisely so human for being so contaminating and everlasting as they are.

This work leads us to Flemish painting of the XVIIth century, to Rubens and his “Three Graces” due to his composition, to Watteau for his colouring and his delicate neck-line. Indeed, if we close eyes a little we might be viewing a Spanish polychromed altar-piece of the XVIth century.

Another discovery made in ARCO were the examples of masterly veiling by oil on wood of the abstract painter Adolfo Estrada in his work “Painting 1741” 130 x130 cm. (Dan-Brasil Gallery). In this painting one can see the traces of the Old Masters which, although this is a thoroughly abstract painting, has a profundity of colour and subtly transparent brush-strokes, which is the veiling done by a great Master, as belonging to another epoch. We do not wish to fail to point out in this blog a work by a Brazilian artist Lucía Koch who has been presented in ARCO in such a spectacular fashion by US Gallery Christopher Grines with her work “In No more things”. They are photographs of the insides of cardboard boxes, empty packages and bags which reflect the light architectonically and are based on the novel by Paul Auster “In the countries of last things”. Koch explores the feeling of emptiness, vacuity, when things become obsolete and only leave their space behind, letting us see the inevitable fall of a materialistic society. At the same time as we were filled with the conceptualism of these photos, we experienced again in this fair an outburst of happiness at being able to enjoy internal spaces which have windows proudly open to light, despite being poor and naked. Koch’s work transported us immediately to Vermeer and the camera obscure causing in us the astonishment which Art, from the earliest times until today, only occasionally provokes in us.

​- Verónica Rivas

Colloquium - dinner with the Spanish painter, Lita Cabellut

Colloquium - dinner with the Spanish painter, Lita Cabellut

Seldom has a meeting had such an impact on me. I met her a few days ago in her home/studio in the Hague, Lita, the great Spanish Gypsy Painter.
 
Her house, with very high ceilings, low sofas and endless Persian rugs, consisting of wide, open spaces, yet all together warmly welcoming, is an ode dedicated to Velazquez, to air seen in perspective, to the grey of Christian Dior, filtered by the light which falls like a cascade through the countless skylights, sometimes lead-coloured, sometimes blurred, leaving traces in the “greige” of the floor which remind us of the “Meninas” and of some of Sargent’s pictures. This light also enters through French-shaped windows, forming a horizontal space with diagonal rays of light. Lofty windows open onto a patio where the murmur of fountains and the scent of plants evoke Spain, Seville. Little remains now of the factory which it was in the past and which Lita transformed in only six months. She, very proud of her work, showed me a book which is an illustrated account of this transformation and which demonstrates the many-sided nature of her genius, as well as her endeavour, determination and her great love of details.
 
Lita is seated in her drawing-room in a position which is so characteristically hers that it will be fixed for ever in my eye-sight; she presents herself like Mother Nature and perhaps there is something atavistic in her manner of showing herself and this is what attracts us like a magnet. Our meeting is most like the meeting of two copious rivers on the same bed along which they flow and will continue to flow until they reach the sea. From the very outset it was love at first sight between two twin souls. She is overflowing with passion, self-assurance, sensitiveness, full of drive to achieve projects, responsible undertaking, but also a great professionalism, in short, a lavish amount emotional intelligence. Our conversation continues for several hours rolling in an ocean of artistic interpretations, common grounds, correlations and parallelisms which range from Piero della Francesca to Vermeer, from Velazquez to Goya, Bacon, Klimt,... all this under the vertex of her work which integrates the traces left by the Old Masters. We talk about how Art is purely evolution from which no artist can stand aloof; a work made by all humanity in which there are landmarks indicated by genius, culminating points and more monotonous periods; we also talk about respect for the past and about the occasional arrogance of the ultra-modern artists.
 
We decide to enter her studio and view her pictures. There they are like military banners, portraits of personages of universal importance and world power; her sweeping brush-strokes, representing a modernity corresponding to their proximity to us, along with her courage in showing to us reality without humbug, emphasizing occasionally the individual characteristics of a genius such as Charlot or Einstein, but above all, the universal nature of a personage who is the emblem of an epoch, a caste, a lineage, a country, or a race... Everything in her work has the overwhelming stamp of the Old Masters. From Goya of the Black Paintings period until Klimt, who is actively present in some of Lita’s ladies due to her way of swamping the canvas with a thick material colour which by the movement of the robes steeped for years in this hue, shapes the style of the personage, its class, or spirit from whom bursts out a face like a vapour; this is a touch-stone of Lita and sometimes reminds us of Bacon in his way of shaping the figures or alternatively, allows us to perceive an example of Japanese style, filtered to a certain extent by Dutch XVIlth century tradition and specially by Vermeer. All of them indicate a wish to paint what is behind the personage, his spirit, that which is not seen and this is what makes Lita identify herself with the Old Masters, great Magicians of communication.
 
Lita concludes showing me what she is today proudest of all, and which is a reinvention of herself, a change of language. Because in Lita even what is most complex is made simple. From her profound, stimulating faces rises another picture, which is its echo, or trail, free of lines and bonds, where only colour rules, without any known limits, the spirit of persons and things. This alternative is, no doubt, courageous since we recognise Lita through her faces and due to her closeness to us we recognise her as quick as lightning. Nevertheless true artists do not pay attention to what the external world requires, they are only guided by their impulse or even more by their instinct. Lita, like Picasso in 1920, needs renovation for fear of boredom, of what is accommodating, her genius demands a change. Time will tell us which of her two forms of Art will prevail as a sign of identity of her Mastery.
 
Picasso, on hurling a stone at the mirror of figurative realism, broke with an Art capable of expressing infinite sensitivity, countless nuances in figurative representation which only his blue and pink paintings have been able to achieve. But this clash was produced with the purpose of creating a new artistic language which caused a revolution in the history of Art, producing a Beforehand which goes back to the cave paintings of Altamira, and an Afterwards, whose consequences, many of which were not desired by Picasso, we are now experiencing.
 
Lita’s work perfectly represents the values defined by IOMR and we consider them the goal to which the visual Arts should today aspire:
 
1.- Regarding the classical Masters, the Old Masters, we should seek their stamp so as to innovate, that is, to create new models from that base.
 
2.- We should seek excellence in the line drawn, in the visual quality, in the sense of genius expressed in the line, in the beauty of the forms which are not necessarily present in the figures.
 
3.- We should search and reveal the deepness of the work inasmuch as this gives profound significance to all Masterpieces which are distinguished by their combination of technical excellence and the spirituality which pervades it all. Great painters know how to represent what is not visible and which the spectator perceives thanks to his sensitivity, his wide knowledge, his experience and his capacity to create correspondences.
 
The impact of Lita’s soul, her genius and her work, together with the warm feeling she has created by her message has led the IOMR to organise a dinner in her honour which we shall immortalise with this video.
- CHS

 
 

Revealing Spanish XVIth century Sculpture

Revealing Spanish XVIth century Sculpture

Due to the discovery of the Alonso Berruguete pair of sculptures, St Peter and St Paul, we began to be deeply interested in XVIth century sculpture, pinnacle of Spanish History, in which coincide, in less than a generation, the end of the Reconquista, the discovery of the New World and the constitution of the Spanish Empire under Carlos I, three events which change European History. This extremely Spanish influential political period would have an immediate effect on the blossoming of the arts and very specially on the Art of sculpture characterized by a special fusion between a very particular local Gothic style, a mixture of naturalism and expressionism, with a magnificent carving technique, brought by a group of Northern artists who came to Spain in search of the numerous commissions to carve altar pieces paid by the Spanish Church, and with the quest for classical ideals brought from Italy by three exceptional artists, Diego de Siloé, Bartolomé Ordoñez and Alonso Berruguete. The latter, one of the first mannerist artists protected by Michelangelo and close to the Florentine "enfants terribles" Pontormo and Rosso Fiorentino who, once Berruguete returned to Spain, showed his particular artistic genius in extremely expressive and flaming polychrome sculptures, transforming Toledan artistic taste and preparing the path for understanding El Greco’s Art eighty years later.

Due to this convergence of factors, which is a characteristic peculiar to Spain, a sense of national conscience begins to take root and this will create what is named “lo español”, which in Art, and specially in Sculpture, expresses itself in a particular and different way from Italian or North European Renaissance Art. It is an Art which always illustrates religious subjects, in which expressiveness and concept are of supreme importance, instead of being a search for natural human beauty. It is an Art in which Gothic survives as it expresses better the concerns of Spanish artists whose genius is the result of the cultural clash between Christians, Moslems and Jews; an Art supremely national in its origin, which was being polished and refined, as mentioned previously, by the influence, on the one hand, of Flemish, Burgundien and German artists who were forced to emigrate due to cultural changes in their countries of origin and, on the other hand, influenced by the assimilation of the principles of the Italian Renaissance, gathered by the “Aguilas del Renacimiento Español” during their sojourn in Italy. An Art which, in spite of these influences, nevertheless remains faithful to its roots, as long as the Spanish genius prevails by simplifying shapes and lines. This gives to Spanish Art a modern “allure” whose best examples are Juan de Valmaseda and Alonso Berruguete; two artists completely Spanish genetically, although they are different from one another due to the circumstances of their lives, since Berruguete knew the most advanced Italian Renaissance currents “in situ” and Valmaseda never left Castilla in all his life.

Since we have been deeply imbued with the spirit of this period, we have developed an eye which enables us to select other good examples of sculptures from this period, always guided by an obsession to distinguish remarkable design and quality in execution. Thanks to this devoted quest, we discover several other Masterpiece sculptures which form a Corpus which we hope to extend with new discoveries and plan to exhibit during 2018 in our new social address in Helmond (Holland). We therefore propose to undertake the project of revealing Spanish Renaissance Sculpture to Museums, scholars and curators who would invite to visit and inspect our collection and consult our library specialized in XVIth Century Spanish sculpture.