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Joaquin Sorolla Y Bastida

(1863 -  1923 ) Wikipedia® : Joaquin Sorolla Y Bastida
SOROLLA Y BASTIDA Joaquin Algarrobo

Christie's /May 23, 2017
628,987.33 - 898,553.33
991,124.55

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Variants on Artist's name :

Sorolla Y Bastida Joaquín

 

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Artworks in Arcadja
335

Some works of Joaquin Sorolla Y Bastida

Extracted between 335 works in the catalog of Arcadja
Joaquin Sorolla Y Bastida - Spanish Niña En La Playa De Valencia

Joaquin Sorolla Y Bastida - Spanish Niña En La Playa De Valencia

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Lot number: 24
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PROPERTY FROM A SPANISH PRIVATE COLLECTION Joaquín Sorolla SPANISH NIÑA EN LA PLAYA DE VALENCIA (GIRL ON VALENCIA BEACH) Joaquín Sorolla 1863 - 1923 oil on canvas 34.5 by 50.5cm., 13½ by 20in. Provenance Estate of the artist Elena Sorolla García, Madrid (the artist's daughter); thence by descent to the present owner Exhibited Madrid, Salón de Exposiciones Toisón, Apuntes y Dibujos de Joaquín Sorolla, de la Colección de sus hijas Maria y Elena, 1953 Madrid, Cason del Buen Retiro,Primer Centenario del Nacimiento de Sorolla, 1963, no. 77 Madrid, Galería Theo, Joaquín Sorolla y Bastida, 1968, no. 23 Literature Bernardino de Pantorba, La vida y la obra de Joaquín Sorolla. Estudio biográfico y crítico, Madrid, 1970, p. 161, no. 897, catalogued Catalogue Note Painted in the summer of 1916 on the beach at Valencia. Sorolla's time in Valencia that year was limitedby his on-goingobligation to work on Visions of Spain, the commission that he had received from Archer Milton Huntington in 1911.Apart from his miniature apuntes and a number of portraits, for the past five years Sorolla had been working relentlessly on these murals destined to decorate the Hispanic Society in New York, a task thatwould not be completed until 1919. It was ahuge painterly undertaking and entailed extensive travel to all the Spanish regions.But with the project taking its physical and mental toll, Sorolla took a break in 1916,joining his family on the beach at Valencia that summer and painting once more for himself. Over these months Sorolla enjoyed a period of intense creativity, and painted some of his most accomplished works, including a run of paintings, the present work amongst them, that depict children and young girls in the shade of a make-shift bathing hut. (fig. 1). Executed with the economy of means and the painterly flourish that had become the hall-marks of his style, the overall palette that Sorolla adopted was relatively neutral. However, in delineating the space in which the young girl is situated he used a wide range of hues, including greens, pinks and purples as well asa full compliment of ochres.Of particular note is his use ofthe colour violetto convey shadow in the girl's face, a device borrowed directly from the Impressionists and the Fauves, and Matisse in particular. As early as 1909, Sorolla, who deliberately distanced himself from any formal association with the French Impressionists, concedes: 'with all its excesses, the modern impressionistic movement has given us one discovery, the colour violet. It is the only discovery of importance in the art world since Velázquez.' (W.E.B. Starkweather, 'Joaquin Sorolla: The Man and His Work', in A. de Beruete et al., Eight Essays on Joaquin Sorolla y Bastida, New York, 1909, vol. 2, p. 40). Fig. 1, Joaquín Sorolla, La niña curiosa, 1916, Private Collection
Joaquin Sorolla Y Bastida -  Llegada De Las Barcas

Joaquin Sorolla Y Bastida - Llegada De Las Barcas

Original 1903
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Lot number: 111
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Joaquín Sorolla y Bastida (Spanish, 1863-1923) Llegada de las barcas signed 'J Sorolla' (lower right) oil on canvas 11 3/8 x 17 ½ in. (29 x 44 cm.) Painted circa 1903. Painted in 1903 when Sorolla\\\’s style had fully matured, this atmospheric and extraordinarily fluid composition depicts the fishermen\\\’s return and the unloading of the catch. An expressive snapshot which energetically renders the reflections, movement and intense colours of light and water, the painting has all the hallmarks of the artist\\\’s most spontaneous canvases. Sorolla is defined in the public imagination by his paintings of the beach, and the activities, both of leisure and work, which took place upon it. As José Luis Díez writes: \\\“An intense perception of the sea and shore was intrinsic to Sorolla\\\’s artistic personality from the very start. The Mediterranean Sea that bordered his birthplace was always the horizon of his most personal and inner space…His vision of his subjects is characterised by two main thematic axes. First the presence of children and adolescent boys are generally nude while girls wear light tunics in the mixed space at the water\\\’s edge or in the sea. These allowed him to study the way light reflects on wet bodies and also the graceful movement of those bodies under the full sunlight of the Levante…in the living, changing space of the beach, free of the artifice of the studio. Second, the beach was also an ideal location for observing bourgeois social relations. In both of these thematic areas, Sorolla achieved an essential visual and representative unity of figures and their surroundings the beach, rocks or the sea.\\\” (Exh. cat., Joaquín Sorolla, Prado, Madrid, 2009, p. 69). Within a canon of imagery which includes fisherman landing their catches, the billowing sails of their boats, elegant ladies in parasols, and children playing, a virtual constant is the water\\\’s edge. Sorolla was the master of the fluid brushstroke, reflected in his ability to capture subtleties of expression and movement, and to conjure up atmospheric effects, both with the same fluency and economy of means. The present work is notable for its broad, sweeping brushstrokes, which brilliantly describe the swirling eddies of the churning water, and for its impressionistic composition. The picture plane is filled entirely with action, from the movement of water and figures to the large billowing sales overhead. The scene is infused with light from above, which is reflected off the water in a palette of blue, pink, green and purple. We are grateful to Blanca Pons-Sorolla for confirming the authenticity of this painting on the basis of a photograph, which will be included in her forthcoming Joaquín Sorolla y Bastida catalogue raisonné with the provisional number BPS 1430. The present lot has a certificate of authenticity by Francisco Pons Sorolla (dated 27 February 1973 ).
Joaquin Sorolla Y Bastida - Spanish Greek Girls On The Shore

Joaquin Sorolla Y Bastida - Spanish Greek Girls On The Shore

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Lot number: 11
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PROPERTY FROM A EUROPEAN PRIVATE COLLECTION Joaquín Sorolla SPANISH GREEK GIRLS ON THE SHORE 1863 - 1923 signed and dated J Sorolla / 1895 lower right oil on canvas 188.5 by 175.5cm., 74¼ by 69in. To be included in the Sorolla catalogue raisonné being prepared by Blanca Pons Sorolla (BPS 895). Ulpiano González de Olañeta y González Ocampo, Marquis of Valdeterrazo (1847-1928; commissioned from the artist for 2000 pesetas as a decorative panel for his Madrid residence at 67 Calle Hortaleza) Duquesa viuda de Montpensier y Marquesa de Valdeterrazo, Madrid; thence by descent Acquired by the present owners in 1985 Valencia, Museo de Bellas Artes, Sorolla en las colecciones valencianas, 1997, no. 75 Bernardino de Pantorba, La Vida y La Obra de Joaquín Sorolla, Madrid, 1970, p. 178, no. 1301, catalogued (as Mujeres griegas (panel decorativo)) Joaquín Sorolla, exh. cat., Madrid, 2009, p. 122, described; p. 141, catalogued
Joaquin Sorolla Y Bastida - Algarrobo

Joaquin Sorolla Y Bastida - Algarrobo

Original 1899
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Lot number: 37
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Joaquín Sorolla y Bastida (Spanish, 1863-1923) Algarrobo (The Carob Tree) signed and dated \\\‘J Sorolla y Bastida/1899\\\’ (lower right) oil on canvas 19 3/8 by 38 ¼ in. (49.2 by 97.2 cm.) Jávea, a coastal village in Alicante province in eastern Spain, is renowned for its sea and rock formations which produce spectacular chromatic contrasts. Joaquín Sorolla first visited Jávea two years before the execution of Algarrobo (The Carob Tree) and was overcome by the beauty of the location. It is understood that Sorolla's visits to Jávea were largely responsible for the development of the artist\\\’s subsequent command of color and the effects of sunlight on water. On this first visit to the area in 1896, Sorolla wrote to his wife Clothide, \\\‘this Javea has everything I desire and more, if you could see what I have in front of my little house you couldn\\\’t find words to praise it. I am left speechless by the emotion that still consumes me' (Quoted in B. Pons-Sorolla, Joaquín Sorolla, London, 2005, p. 102). It is not surprising that the artist would return to the area in 1898, this time with his wife and three children. The importance of the presence of Sorolla\\\’s family on this visit cannot be stressed enough. To the artist, his family was more important than even painting itself and he was unhappy when separated from them. The sense of tranquility and harmony that pervades the works from this trip, as well as the innovative progress made in the artist\\\’s artistic development, is most certainly due to this peace achieved in the presence of Sorolla\\\’s wife and children. Algarrobo (The Carob Tree) is less a seascape than a landscape with the sea in the background. In the retrospective of Sorolla\\\’s work at the Prado in 2009, Javier Barón refers to the present painting, together with, La caleta, Jávea (fig. 1) of the same year, as examples of the first pure landscapes that the artist painted. (Joaquin Sorolla, Museo Nacional de Prado, Madrid, 2009, exh. cat., p. 260, illustrated). It is clear that the artist felt the significance of both works, for even at the height of his career, he selected them both for inclusion in the important exhibitions of his work at both the Palacio de las Artes e Industrias in Madrid in 1901 and at the Galerie Georges Petit in Paris in 1906 (fig. 2). Algarrobo (The Carob Tree) is a striking example of the artist\\\’s work in many respects. The painting can be viewed as an early manifestation of the artist\\\’s ability to capture the effects of heat, light and stillness of the atmosphere. Executed in a striking horizontal format, the painting displays an almost abstract pattern of light and texture. Sorolla uses this format to enhance the horizontal lines of the composition; the dusty foreground with the sheep and goats huddled at the base of the tree, the shimmering, rich blue of the sea in the middle ground and the thin, luminous suggestion of the distant spit of land with its buildings shimmering pink in the sun in the background. These three distinct horizontal elements are linked together by the giant trunk of the carob tree which connects sea and sky while providing shade to the sheep and goats at its base seeking shelter and sustenance. The overall effect of the painting is one of sensation. The viewer is drawn into the picture plane by the receding horizontal elements, and once inside its environs, can fell the stillness and heat, hear the waves lapping at the shore just beyond the end of the landscape and see the effects of dappled sunlight and shadow. It is also in this work that we see the full realization of Sorolla\\\’s technique both in the chromatic effects and his virtuoso brushwork. The animals clustered at the base of the tree are executed in broad, strong brushstrokes in astonishing color harmonies of brown, grey, orange, pink and green. The pink, rose and orange of the sandy, dusty earth is in sharp contrast to the brilliant emerald green of the foliage of the brush at the edge of the landscape and the leaves of the carob tree. The paint itself is layered and worked in order to catch the actual light of reality and shimmer of its own accord. This is particularly evident in the spit of land that protrudes into the composition from right to left in the background, hovering between the sapphire blue of the sea and very pale, almost white-blue of the sky. This small landscape hovers tentatively, glowing pink and rose in the rays of the hot Spanish sun, heightening even further the sensation of heat on a languid afternoon. It was not only landscapes that benefited from the artist\\\’s soujourns in Jávea. Two years later, Sorolla completed a view of another aspect of life in the Alicante, Encajonando pasas, Javea (fig. 3). This compelling painting of women packing raisins in an enclosed room demonstrates the same abstract compositional elements and dramatic brushwork evident in Algarrobo (The Carob Tree). The effects of sunlight and shadow, the dramatic, now in more vertical compositional format, and the physical rendering through paint of the effects of heat and atmosphere and equally apparent here. Sorolla continued to paint landscapes throughout the remainder of his career and in 1906, he painted Arbol Amarillo, La Granja (fig. 4), which like the present painting is devoid of human figures. Once again we see the same elements as Algarrobo (The Carob Tree) executed in a palette of greens and golds. Eight years on, the artist has broadened his brushstroke but the essential elements arranged to such stunning effect in Algarrobo (The Carob Tree) continue to develop in the work of the mature artist. Recently the subject of a major exhibition held at the Meadows Museum in Dallas, the San Diego Museum of Art and the Mapfre Foundation in Madrid, in which Algarrobo was included, Sorolla\\\’s relationship with America was fundamental to his international career and commercial success. Although best understood in terms of patronage, it also served to reinforce the artist\\\’s self-belief and to consolidate his position as an artist who was simultaneously accepted by the official establishment, as vouched for by the many Salon and Exposition prizes he won in Europe and America in the 1890s and early 1900s, and by leading collectors and artists of the \\\‘modern\\\’ school. America allowed Sorolla to develop a European tradition into fertile and receptive territory that could embrace both the old and the new. As he once observed: \\\‘Your American artists, such as Chase, Sargent, Cecilia Beaux and Gari Melchers – all of whom I am proud to number among my personal friends of long standing – what are they but children of Velazquez, like myself.\\\’ We are grateful to Blanca Pons-Sorolla for confirming the authenticity of this work, which is registered as no. BPS 935 in forthcoming her Joaquín Sorolla catalogue raisonné. (fig. 1) Joaquín Sorolla y Bastida, La caleta, Javéa, 1898. Private Collection. (fig. 2) Exposición de París, Galería Georges Petit, 1906. (fig. 3) Joaquín Sorolla y Bastida, Encajonando pasas, Javea, 1901. Private Collection. (fig. 4) Joaquín Sorolla y Bastida, Arbol Amarillo, La Granja, 1906. Smith College Museum of Art, Northampton. (fig. 5) Joaquín Sorolla y Bastida, 1906.
Joaquin Sorolla Y Bastida - Boats In A Harbour

Joaquin Sorolla Y Bastida - Boats In A Harbour

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Lot number: 198
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Description:
Joaquin Sorolla y Bastida (Spanish, 1863-1923)

Boats in a harbour bears signature and date (lower left) oil on board 17.5 x 11.5cm (6 7/8 x 4 1/2in).

Footnotes

The authenticity of this work has kindly been confirmed by Blanca Pons Sorolla and it will be included in the forthcoming catalogue raisonné currently being prepared by Blanca Pons Sorolla under inventory no. BPS 18.
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