Jose Mongrell Y Torrent

MEASUREMENTS 75 by 60cm., 29½ by 23½in. DESCRIPTION signed and dated J. Mongrell / 1921 lower right; inscribed andtitled BOCETO DE MI CUADRO "DESPUÉS DE LA PESCA" on the reverse oil on canvas PROVENANCE Blanca and Laura San Cristóbal Jarpa, Chile (acquired prior to1947), great-aunts of the present owner

signed J. Mongrell l.l. oil on canvas PROVENANCEAcquired by the great-uncle of the present owner from the artist; thence by descent CATALOGUE NOTE In subject matter, displacement of light across the picture surface and the rich impressionistic technique, the present work clearly reflects Mongrell's training in Sorolla's studio. A fellow Valencian, Mongrell shared many of Sorolla's enthusiasms, including the latter's delight in recording everyday life by the sea. Yet in Mongrell's celebration of the sunlit faces in the present work the painter evokes a romantic vision of the daily toil of the fishermen and women of Valencia that was distinctively his own. Mongrell's ability to condense his subject matter into such a tightly focused and intensely lived-out moment was in part due to his frame of reference. Unlike Sorolla, who travelled widely both within Spain and beyond, Mongrell lived locally and limited his output to Valencian subjects. And from a working class background himself, he had a particular appreciation for the everyday labours of those around him. Sorolla had a profound influence on many artists of his generation, both within the immediate circle of pupils who worked with him in his studio, and beyond. As José Francés declared 'Sorolla attracted and captivated disciples, dazzling them with his ideology as much with the bright colours of his art' (quoted in Edmund Peel, ed., The Painter Joaquín Sorolla, London, 1989, p. 45). As well as Mongrell, such artists as Cecilio Pla, Enrique Martínez-Cubells, Eliseo Meifrén and Aureliano Beruete were all in some way indebted to Sorolla. Of all Sorolla's followers José Mongrell is considered the closest to him. Underpinning the brilliant Sorollist light of his canvases is his own distinct form of realism and strong attention to form and composition. As Francés observed: 'José Mongrell has painted the sea, fisherfolk, and the beaches since Sorolla did so. But pay attention, he does so in his own way. There is Mongrellism in Valencian painting as there is Sorollism.' (ibid., p. 47).

provenance sale: christie's, london, 15 february 1990, lot 176 exhibited valencia, museo de bellas artes de valencia, josé mongrell, 2001-2002, no. 39 (illustrated in the catalogue) madrid, rafael lozano art gallery, 125 años de pintura valenciana, 2005 (illustrated in the catalogue) literature and references museum no. 11, barcelona, 1915, vol. iv, p. 414, illustrated catalogue note painted circa 1910. in subject matter, displacement of light across the picture surface and the rich impressionistic technique, the present work clearly reflects mongrell's training in sorolla's studio. a fellow valencian, mongrell shared many of sorolla's enthusiasms, including the latter's delight in recording everyday life by the sea. yet in mongrell's celebration of the sunlit faces of the young couple in the present work the painter evokes a romantic vision of the daily toil of the fishermen and women of valencia that was distinctively his own. cropped close in along all four edges, in la vuelta de la pesca mongrell focuses the viewer's attention on the two figures striding forcefully across the picture plane. there is no extraneous detail; the subject has been reduced to its bare essentials. a sizeable coil of rope hangs nonchalently from the young fisherman's left shoulder, a wooden baton swung confidently across his right shoulder. the young girl, her head bowed before the wind, sports a richly decorated headscarf and top and carries the distinctive baskets of the local fisherfolk (fig. 1). to the right of the composition the warm azure waters of the mediterranean stretch out into the distance. mongrell's ability to condense his subject matter into such a tightly focused and intensely lived-out moment was in part due to his frame of reference. unlike sorolla, who travelled widely both within spain and beyond, mongrell lived locally and limited his output to valencian subjects. and from a working class background himself, he had a particular appreciation for the everyday labours of those around him. sorolla had a profound influence on many artists of his generation, both within the immediate circle of pupils who worked with him in his studio, and beyond. as josé francés declared 'sorolla attracted and captivated disciples, dazzling them with his ideology as much with the bright colours of his art' (quoted in edmund peel, ed., the painter joaquín sorolla, london, 1989, p. 45). as well as mongrell, such artists as cecilio pla, enrique martínez-cubells, eliseo meifrén and aureliano beruete were all in some way indebted to sorolla (see lots 153, 160, 163, 165, 166, 189, 201 & 230), leading francés to conclude that 'sorollism equals valencianism'. of all sorolla's followers josé mongrell is considered as the closest to him. but underpinning the brilliant sorollist light of his canvases is his own distinct form of realism and strong attention to form and composition. as francés observed: 'josé mongrell has painted the sea, fisherfolk, and the beaches since sorolla did so. but pay attention, he does so in his own way. there is mongrellism in valencian painting as there is sorollism.' (ibid., p. 47). fig. 1, joaquín sorolla, pescador, valencia, 1904, oil on canvas, 75 by 104cm., private collection signed and inscribed mongrell / (valencia) l.l. oil on canvas

JOSÉ MONGRELL VALENCIA 1870-BARCELONA 1937 ESPERANDO LA PESCA (WAITING FOR THE CATCH) Hammer Price with Buyer's Premium: 142,400 GBP 50 by 70cm.,19 3/4 by 27 1/2 in. signed J. Mongrell l.l. oil on canvas Purchased by the present owner in 1998 Valencia, Museo de Bellas Artes de Valencia, José Mongrell, 2001-2002, no. 38 (illustrated in the catalogue) Madrid, Rafael Lozano, Evolución de la pintura valenciana en los últimos 125 años. Del costumbrismo a la contemporaneidad, 2004, no. 64 (as Pescadora) Diccionarios de Pintores y escultores españoles del siglo XX, Madrid, 1994, vol. IX, p. 2737, illustrated in colour Painted in 1907. José Mongrell is regarded as one of the foremost Sorollistas. Sharing Sorolla's delight in recording everyday life by the sea (see fig. 1), Mongrell nevertheless developed his own distinct style. His paintings display the strong attention to form and composition that he learned from his teachers Pinazo and Domingo. Fig. 1, Joaquín Sorolla, Después del Baño, 1902, Private Collection

the thick gestural brushwork combined with the vibrant colours of fisherwoman on valencia beach reflect mongrell’’s training under sorolla. sorolla’’s energetic personality and bright luminist style had a profound influence on other valencian artists of his generation. of all of sorolla’’s followers, josé mongrell is regarded as the closest to him. born in valencia, he was a pupil of ignacio pinazo, francisco domingo marqués and later of sorolla himself. mongrell shared many of sorolla’’s artistic preoccupations, including the latter’’s delight in recording everyday life by the sea. yet mongrell was very much an artist in his own right, as the present work attests. cropped close in along all four edges, fisherwoman on valencia beach focuses the viewer's attention on the exertions of the figure who, laden with her baskets, struggles against the sea breeze, her feet sinking into the wet sand at every step. catalogue note j. mongrell signed description l.l.