A. de Beruete y Moret

“ The old Goya remained, strong in the creation of a lofty art. The last twenty years of his life were full indeed, and represented its most vigorous phase, the most energetic in the whole course of his achievement. Scenes of war and disaster occupied almost the whole of this important period, full of a profound pessimism, which still does not lack a certain graceful style, and displays unceasingly some of the saddest thoughts which man has ever known. These works of Goya are not of any party, are not political nor sectarian. They are simply human. ”

“ As in literature writers of one nationality have to employ a common tongue, so in painting an expression equally conclusive, a palette, a technique, an idiom quite as definitive, determines the compositions typical of each race. If we find scattered throughout a museum where there are examples of all schools, a Saint by Greco, an ascetic figure by Ribera, a portrait by Velázquez, an image by Zurbarán, a visionary subject by Valdes Leal, a Virgin by Murillo, and a woman by Goya, it is probable that these works will contrast with one another too forcibly, or at least will not blend harmoniously. ”

“ Some few years after the appearance of Sorolla, there arose almost simultaneously two Spanish painters of other tendencies, equally noteworthy, and whose names are universally known—Zuloaga and Anglada. Zuloaga must be regarded in a very different manner from Sorolla. In no sense does he go to nature merely to copy it in the manner in which it presents itself to our vision, but he seeks, both in nature and humanity, for types, for characteristic figures of a representative and realistic kind. ”

“ The victorious expansion of Spanish arms, both in the Old World and the New, during the first half of the sixteenth century, had but little influence upon artistic effort, and none of the Spanish painters of this period are regarded as the equals of their Italian, Flemish, German or Dutch contemporaries. And our artists, at a time when the entire national fortunes were hazarded in campaign after campaign, had enough to do to maintain an epoch of gestation, to comprehend the laws and trace the spiritual current of the Renaissance which now dawned upon the world of culture. ”

“ The characteristics of the expression, not of the idea, of form, not of essence, these it is to which the critic should address himself in the first instance when he desires to differentiate between the works of one school and another, and when trying to distinguish the work typical of one artist from that of others of the same school, who have been less successful in following a common master. The creative idea, the spirit which animates every work, is distinct, according to the period of its origin, even in the case of the productions of the same race at different periods ”

“ It has been said “what the landscape is, so is he who praises it.” Until then the landscape had been nothing but a background for a composition or figure, and those who called themselves landscape painters, when they undertook to paint a scene used it as a peg on which to hang poetical ideas, embellishing it, but never treating it as a true rendering of nature. Now the artist came to the country, felt the influence of nature, and faithfully copied it. ”

“ At the present time it is incessantly productive of art, its output exhibiting a specific character of its own, obvious and intelligible to those who examine it with sufficient care. Undoubtedly it has been influenced at certain periods by extraneous currents, but during the sixteenth century, when the true Spanish school was created, it was notably independent and unique. Its productions, these national qualities which above all determine that which is called a school, possess a character of their own, a special determinative essence, which can only be explained by metaphysical processes. ”

“ Of these three sincere and individual painters, Beruete, in his youth a disciple of Haes, and later of Rico, evinced a very decided modern tendency. He devoted the years of his maturity to the making of a large number of pictures of Spanish cities, especially of Castile, paintings truthful and sincere in character, and revealing a very personal outlook. Regoyos was influenced by impressionism, to which he was strongly attracted, and in the North of Spain he inspired many by his numerous works. Rusiñol is, perhaps, more a poet than a painter. He still lives and works. ”

“ Pacheco appreciated the talent and outlook of these young men, he protected it as much as he could, and above all cultivated those qualities which seemed to him the most striking. Velázquez said to him: “I hold to the principle that nature ought to be the chief master and swear neither to draw nor to paint anything which is not before me”; and Pacheco, encouraged by the tendency towards a frankly naturalistic style which his disciple showed, and observing the qualities which he evinced, made Velázquez his son-in-law before he had arrived at the age of nineteen. ”

“ It is a great pity that they have not tried to preserve a more national spirit and have frequently sought inspiration from foreign sources, especially from France. But, this notwithstanding, Catalan achievement is indeed most worthy of praise.
The artistic production of the Basque provinces is forcible and original. The Basques, with a scanty pictorial tradition, have shrewdly sought for inspiration in the Spanish sphere without distinction of locality, and have produced an art of undoubted interest. ”

“ In these the artist has for all time fixed and immortalized the finest physical type of Spanish womanhood, in which an occasional lack of perfect proportion is compensated for by elegance, grace, and unexaggerated curve and figure, without doubt one of the most exquisite feminine types which has been produced by any race. ”

“ The critic is somewhat at a loss how to place his work and personality, to conclude whether he is the last of the old masters or the first of the moderns. His greatness is so obvious, his performance so vast and its gradual evolution so manifest, that we may be justified in holding that the first portion of his effort belongs to the old order of things, while the second must be associated with the origins of modern painting. ”

“ Later, an artist of considerable talent, Leonardo Alenza, who died very young and had no time to develop his art, was happily inspired by him. With regard to Lucas, a well-known painter whose production was very large, and who flourished many years later, and is now known to have followed Goya, he can scarcely be considered as one of his continuators, but rather as an imitator—by no means the same thing. For he imitated Goya, as, on other occasions, he imitated Velázquez and other artists. Lucas is much more praiseworthy when he follows his own instincts and does original work. ”

“ The early Spaniards pursued and sought a realism in art which they were unable to find in that of Italy, hence their predilection for the style and manner of the Flemish and German painters and those of other countries whom they came to call painters of the North. The appearance of Van Eyck in the Peninsula in 1428, and that of other Flemish painters who arrived there about that time, aroused a true enthusiasm and imparted to Spanish art a tendency to copy faithfully from nature which henceforth came to be one of the characteristics which have never left it. ”

“ Two, fundamentally; those two cities which have since produced the greatest number of painters and the most able—Seville, the capital of Andalusia, the open gate to the New World, and Valencia, a Mediterranean port exposed to the influences of that which had been the classical world, and in close and direct communication with Italy, which bequeathed to it the last sparks of the marvellous life of the Renaissance. In Valencia, Francisco Ribalta, a conscientious painter, who had studied in Italy, introduced a style of colouring after the manner of Ribera. ”

“ Zurbarán and Velázquez, the most notable by far of all their contemporaries, protested against the conventionalisms of scholasticism. They did not seek to embellish the rude form, which the living model frequently presents to the eyes of the artist in search of a higher ideal, but to copy it as they beheld it, as it was presented to them, without distortion or falsity, was the purpose which they maintained faithfully all their lives. ”

“ There exists, without doubt, an invisible bond between this painter and the world of modern intellectualism, and this is owing in great part to the enthusiasm which his works arouse, to the peculiar mystery in which they are enveloped—which we do not find in any other painter—to the suggestive power which he wields, to something which impassions and completely subdues us. ”

“ At the present time, in which there seems to have been born into the world a new assertion and exaltation of nationality, Spaniards have regained their ancient spirit, and while aspiring to absolute modernity, remain faithful to a tradition which is peculiarly their own, which makes for national individuality, and has caused them to be regarded with that interest which always accrues to the original, the characteristic, the intelligent, and consequently arouses attention and anticipation. ”

“ For Spain the eighteenth century was a period of misfortune. The reasons for this are simple and evident. Grace and good taste—in the best sense of the term—lightness, came to be the characteristics of this century, and these qualities were displayed in a perfect manner in French art. And it was precisely these attributes which Spanish artists most{22} lacked, and still lack. They are robust, strong and sincere, but without gracefulness, facility of expression or volatility. ”

“ Juan, the elder, was a monk, and was one of the prototypes of the School of Madrid, following Velázquez in his work, soberly and simply. Francisco seems at times to display the qualities of his Italian origin, and though sufficiently Spanish, gave to his creations a certain quality which may have influenced the Spanish decorative painters of the time. It is a curious problem of influence. In any case this artist, who achieved fame in his time, is an interesting study to-day, and it would seem that the critic must scrutinize the beginnings of the question before he tries to explain its results. ”

“ In his latest phase, too, he has executed numerous portraits of people of different social categories. In technique it is noticeable that Zuloaga strives to preserve those tonalities which characterize the Spanish School; and the study he has made of the works of Velázquez and Goya is manifested in the lively reminiscences of these masterpieces displayed at times in his pictures, which exhibit, nevertheless, a relative modernity.
Anglada is, in our view, completely distinct from Sorolla and Zuloaga. Enamoured of the charm of colour, his work has no connection with schools or traditions. ”

“ Spain does not appear to be the country best fitted to lead it. Its history seems to show that while it is ready of acceptance, it is not to be{36} hurried in its advance; nor is it eager to seize upon radical ideas. But this notwithstanding, it has painters who understand and cultivate art of this kind, and it must not be forgotten that one of the outstanding figures in the ultramodern movement is the Spaniard Picasso, who has shown once more that in all phases of artistic effort the Spanish temperament significantly reveals itself. ”

“ Sorolla, who was of humble origin, was born in Valencia, and in his youth was naturally influenced by the paintings of the old masters in his native city. He went to Madrid, later to Italy, and finally to Paris, where his work of a wholly realistic character was admired, for actuality was to this painter as the breath of life. A French advocate of naturalism has said “one rule alone guides the art of painting, the law of values, the manner in which the light plays upon an object, in which the light distributes colour over it ”

“ That which they accomplish is only a part of the national achievement. It is the medium in which it is fashioned, the environment in which it comes into being, its artistic matrix, which determines the precise type of racial endeavour. To its national character the new Spain cleaves, and by its light her ideas will be readjusted, her history interpreted, her present respected as in line with her tradition, which, in the sphere of things{2} artistic, Spaniards regard as a potent factor in the advancement of world art. ”

“ Catalan art is no new thing in Spanish tradition, and is in a measure descended from that which was formerly the art of the Kingdom of Aragon before the national union. The Catalans have confined it entirely to their territory, have cultivated it with enthusiasm, and have created a Catalan school of Spanish Art. ”

“ Aloof from every influence, he aspires to nothing so much as rich colour-schemes and harmonies, and seeks inspiration in night-bound gardens, brightly illuminated, in subjects which reflect electric light, and in figures which appear all the more distinct as the background is often the sea beneath the radiance of the Mediterranean light. ”

“ We believe that it is correct to regard him as the adopted son of the Spain of his day.
Although his work has been discussed since the times of Philip II, to-day it ought to be regarded as consecrated. It is not only among painters that we should seek the true influence of El Greco. It is more extensive, and embraces diverse manifestations, therefore the causes which animate it are diverse. And so, in the studios of painters, in the studies of the cultured, among wise and refined critics, among literati, we may discover the most fervent and impassioned lovers of El Greco. ”

“ Classicism arrived in Spain with all the lustre of the triumphs of Louis David, under whose direction José de Madrazo placed himself, the first of those artists of this type to maintain a position of dignity throughout three artistic generations. ”

“ In Granada, Alonso Cano, as great a sculptor as painter, maintained, with other artists of lesser note and standing, a flourishing school which had links with that of Seville.
. . . . . . . . . . . . . . .
We turn again to Madrid, to the Court where Velázquez, as we have indicated, stamped such character on painting and informed it with such excellence that artists flocked from all parts of the Peninsula to the capital. This resulted in the flourishing period of art—ending with the seventeenth century—fruitful and various, which is associated with the School of Madrid. ”