MARIANO FORTUNY MARSAL (Reus, Tarragona, 1838 - Rome, 1874). "Theatrical scene", 1855-1857. Pencil and watercolor on paper.

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19th & 20th CENTURY PAINTINGS & ORIENTALISM

By Setdart Auction House

Jul 15, 2021

Set Reminder 2021-07-15 08:00:00 2021-07-15 08:00:00 America/New_York Bidsquare Bidsquare : 19th & 20th CENTURY PAINTINGS & ORIENTALISM https://www.bidsquare.com/auctions/setdart-auction-house/19th-20th-century-paintings-orientalism-7212
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• Lot Description
  MARIANO FORTUNY MARSAL (Reus, Tarragona, 1838 - Rome, 1874). "Theatrical scene", 1855-1857. Pencil and watercolor on paper. Unsigned, with inscription "...e.....scia..." ?", in the lower left corner. Attached classification card of the Amatller Institute. Size: 14,5 x 14,5 cm; 54,5 x 54,5 cm (frame). The work presented here is directly linked to Marià Fortunty's facet as a set designer, having been made during his youth in Barcelona. Thus, we find ourselves in front of a scene contextualized inside a theater. A group of actors perform on an improvised stage, making gestures derived from the act represented. Around him, different figures of the company observe the show, immersing themselves in the story interpreted. The formal treatment employed by Marià Fortuny stands out, who divides the composition into two markedly differentiated planes; a first instance in which the characters are shown and a second plane determined by the props that decorate the room. Fortuny began his training at the Municipal Art School of Reus, and in 1850 he moved to Barcelona with his grandfather. There he continued his studies as a disciple of Domingo Talarn, and entered the School of Fine Arts, where he had as teachers Pablo Milá, Claudio Lorenzale and Luis Rigalt. At the same time he attends Lorenzale's private school, which will determine his inclination for romantic painting in this first stage. In 1858 he settles in Rome thanks to a scholarship, and attends the Chigi Academy. While there, the Diputació de Barcelona proposed him to travel to Morocco to paint the war encounters that were taking place in the area, which will give a total turn to his career. The light of Morocco and the exoticism of the place and its people led him to become interested in aspects totally unknown in his previous production. In 1860 he visited Madrid, where he visited the Prado Museum and became interested in the work of Velázquez and Goya. Shortly after, he began a trip to Europe and finally returned to Rome for good. He attended classes at the French Academy of Fine Arts at the Villa Medici, and in 1861 he visited Florence and came into contact with the "macchiaioli". Since then he will return to Morocco and Paris, besides traveling to Toledo, where he discovers the work of El Greco. In 1867 he exhibited in the studio of Federico de Madrazo, who became his father-in-law that same year. The following year he returned to Rome, and in 1870 his international fame was consolidated thanks to his exhibition in the Parisian gallery of Goupil. During these years he settled in Granada, in the Fonda de los Siete Suelos de la Alhambra, with the idea of tackling new themes with the greater freedom that commercial and critical success gave him. However, in 1872 he was forced to return to Rome, where he remained until his death. Mariano Fortuny is represented in the Prado Museum, the National Gallery in London, the Hispanic Society Museum in New York, the Palazzo Ruspoli in Rome, the Fine Arts Museums of Bilbao, San Francisco, Cincinnati and Boston and the National Art Museum of Catalonia, among many others.
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