Going out of the bath

Owing to the exhibition that is celebrated during these days in the Prado Museum and that has like protagonist the figure of one of the most international painters who has given our ground: Joaquín Sorolla, Magazine Atticus has brought over up to the rooms of the museum for desengranar one of the pictures of the exhibition. In opinion of the author of this study one of the most sensual pictures of the pictorial panorama. The radiant adolescence or what is the same: Going out of the bath. It was painted by Sorolla in 1908.

GOING OUT OF THE BATH

1908

Oil on linen, 176 x 111,5 cm

New York, The Hispanic Society of America

Joaquín Sorolla (1863 - 1923)

Saliendo del baño

Joaquín Sorolla realizes this work in a moment of maximum ripeness. Behind its first big work has stayed The palleter, declaring the war to Napoleón” realized in 1884 by the one that receives a scholarship to travel to Rome for three years of studies. And distant remains already Grand Prix granted by the work: Sad heredity! In the Universal Exhibition of Paris with which it obtains more than fully deserved international recognition.

The definitive recognition to its career takes place two years before the achievement of this work. In 1906, more than five hundred pictures signed by Sorolla are going to occupy the rooms of the Gallery Georges Petit of Paris.

One of the main characteristics in the work of Sorolla and that is a constant in its career is the treatment of the light. Across the pictorial effects trasluce its personality, its love for the nature, the taste for the sea, the water and, especially, for the beaches of Valencia, its hometown. In the Sorolla pictures, the warm sun and it makes the eyes blind with its resplendence, and even the sea one can smell. Other one of the characteristics of the painting of Sorolla is the immediateness that produces the scenes represented together with a just harmony in the resources used in its achievement.

In its first works the treated topics obey a social realism (as there are the case of two works mentioned previously), but in its pictorial style there is already appreciated a personal evolution that materializes in the leading role that receives the luminosity.

During the summers 1908, 1909 and 1910 Sorolla realizes many of these warm scenes that the light and the sea takes as a leading role. The first two years in the Levantine beaches and the last one in Zarauz.

In the course of 1908 it painted several scenes with the same motives and even with the same personages. We can speak about a trilogy: To the water (illustration 1), Idyll in the sea (illustration 2) and Going out of the bath (object of this study). For this order. It would be a question of a sequence. Two adolescents penetrate into the sea seized of the hand. In the following scene they are, peacefully, knocked down in the shore chatting while the water and the sun bathe its bodies. And, finally, they go out of the sea.

During the epoch in which Sorolla attacks this type of painting, (for many considered like "pagan" images for its exuberant sensuality and innocent persons without the sense of fault of the repression of the puritanical America or even catholic of Spain) the beginning of the XXth century, the custom was that the children of the workers and fishermen were bathing nudes, as it gets rid of the photos of epoch and of portraits of several artists. Up to four or five years the children and girls were bathing nudes and from this age, the girls were bathing in robe and the boys kept on doing it up to the adolescence, moment in which they were already putting themselves the short pants. We can observe this clearly in the same room (if it is that we are contemplating this beautiful picture in the exhibition of Sorolla in Madrid) where he is located. To our back, that is to say, opposite the same one, there is another linen where we can see a few young people chatting knocked down in the shore while the waves play and the sun caresses its bodies. It is a question of Idyll in the sea. She has the robe and he has nothing, except a hat that its head covers.

Going out of the bath it is so a genre painting, but also it is possible to consider like an ethnographic document. It is a nostalgic evocation of the youth, it is a composition of classic figure; and it is a very modern picture with some abstract components.

It is a complex work. From the proper history that it counts. A beautiful young woman who has just gone out of the water is helped by a young fisherman. The girl does not happen to do up the button of the shoulder of the robe, somewhat alarmed, while it notices how its creases stick to its skin. Its flirtatious smile denounces it: it realizes the effect that it is provoking in the young adolescent. The image has a big eroticism load without showing never lust, but rather a soft humor.

Ilustración 1: Al agua, 1908 Óleo sobre lienzo 81 x 106 cm. Colección Bancaja

The protagonist of the linen resembles a Venus going out of the sea. Image that is reinforced by the classic allusion to the garment that a Greek quitón imitates. It is very possible that in the achievement of this work Sorolla it was bearing in mind some classic model of Greek sculpture contemplated in its visits to Paris. And also it is necessary to bear in mind and this way it seems that the artist had it, that in these moments there was lived a heyday of the neoclassic sculpture and the international recognition of the classic ballet especially of the hand of a personage as influential as Isadora Duncan.

As for the these pictorial values they are dazzling. Since it it is the light that enters in abundance waterspout throughout. From above, it reflects in the water, and also like proper source for the reflex of the target of the sheet of bath. The target is not such but it is loaded with colors: yellow, blue, lavender, aquamarine. Its composition continues a vertical scheme where the figures, almost to natural size, occupy practically the whole surface of the picture. The girl occupies the essential part, the center of our attention. Nevertheless the young man is cutting away scarcely showing the face that almost begins to show for the top corner.

Ilustración 2: Idilio en el mar, 1908 Óleo sobre lienzo 151 x 199 cm. The Hispanic Society of America, New York.

It is a work full of sweetness, of sensuality. Sorolla receives of magisterial form the friendliness and the affection that the young people shows in its gestures. If we concentrate on the rest of the boys we can observe the alarm of the young woman on not having managed to do up the button while the young rogue tries to cover its friend but he does not cover the face, it does not look at another side, it is more it seems to want to appear. Sorolla manages to transmit the relation that the boys have with a big naturalness and freshness.

The work is a singing to the sun, but also it it is to the youth. The drawing of both figures (in three compositions) is solid, firm, determined and the color of the linen is clear. Sorolla brings together of harmonious form a series of spots (for the shades, the froth of the waves) with the vigorous concision with which the figures are constructed.

It is not a work of big size, but it is a monumental work. Going out of the bath it brings together many of the characteristics of the work of Sorolla, that joined the brave treatment of the bath of two adolescents and the acquired workmanship not only in the representation of the figures, but in the representation of the solar twinkles on the objects and on the thin sand of the beach and the sea, do of this work one of the most excellent and most representative of the whole pictorial set of Sorolla.

Those who come to Madrid will have the only opportunity to see in the rooms of the Prado Museum hundred two paintings of Joaquín Sorolla that are distributed, usually, by more than thirty big museums and collections deprived of the whole world. Some of these works will be able to be contemplated for the first time here in Spain. Joaquín Sorolla and Bastille was an exceptional genius. At the beginning of its career it spent big economic troubles for the humble condition of its family (orphan to a few years). But at once it began gaining money with its linens. And it won very much. He was a very prolix painter (more than two thousand hundred seventy-five paintings, and other so many drawings) and he received more than sixty eight awards and awards. If they have opportunity not of dejen of contemplating this great exhibition. And an advice: approach to the House Museum of Sorolla. It is the ideal complement to the exhibition that the Prado Museum has organized, an oasis right in the center of Madrid (and above without so many inflow of the people).

Luis José Cuadrado Gutiérrez

Responsible for Magazine Atticus


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Filed file: General

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Going out of the bath | Magazine Atticus

Going out of the bath

Owing to the exhibition that is celebrated during these days in the Prado Museum and that has like protagonist the figure of one of the most international painters who has given our ground: Joaquín Sorolla, Magazine Atticus has brought over up to the rooms of the museum for desengranar one of the pictures of the exhibition. In opinion of the author of this study one of the most sensual pictures of the pictorial panorama. The radiant adolescence or what is the same: Going out of the bath. It was painted by Sorolla in 1908.

GOING OUT OF THE BATH

1908

Oil on linen, 176 x 111,5 cm

New York, The Hispanic Society of America

Joaquín Sorolla (1863 - 1923)

Saliendo del baño

Joaquín Sorolla realizes this work in a moment of maximum ripeness. Behind its first big work has stayed The palleter, declaring the war to Napoleón” realized in 1884 by the one that receives a scholarship to travel to Rome for three years of studies. And distant remains already Grand Prix granted by the work: Sad heredity! In the Universal Exhibition of Paris with which it obtains more than fully deserved international recognition.

The definitive recognition to its career takes place two years before the achievement of this work. In 1906, more than five hundred pictures signed by Sorolla are going to occupy the rooms of the Gallery Georges Petit of Paris.

One of the main characteristics in the work of Sorolla and that is a constant in its career is the treatment of the light. Across the pictorial effects trasluce its personality, its love for the nature, the taste for the sea, the water and, especially, for the beaches of Valencia, its hometown. In the Sorolla pictures, the warm sun and it makes the eyes blind with its resplendence, and even the sea one can smell. Other one of the characteristics of the painting of Sorolla is the immediateness that produces the scenes represented together with a just harmony in the resources used in its achievement.

In its first works the treated topics obey a social realism (as there are the case of two works mentioned previously), but in its pictorial style there is already appreciated a personal evolution that materializes in the leading role that receives the luminosity.

During the summers 1908, 1909 and 1910 Sorolla realizes many of these warm scenes that the light and the sea takes as a leading role. The first two years in the Levantine beaches and the last one in Zarauz.

In the course of 1908 it painted several scenes with the same motives and even with the same personages. We can speak about a trilogy: To the water (illustration 1), Idyll in the sea (illustration 2) and Going out of the bath (object of this study). For this order. It would be a question of a sequence. Two adolescents penetrate into the sea seized of the hand. In the following scene they are, peacefully, knocked down in the shore chatting while the water and the sun bathe its bodies. And, finally, they go out of the sea.

During the epoch in which Sorolla attacks this type of painting, (for many considered like "pagan" images for its exuberant sensuality and innocent persons without the sense of fault of the repression of the puritanical America or even catholic of Spain) the beginning of the XXth century, the custom was that the children of the workers and fishermen were bathing nudes, as it gets rid of the photos of epoch and of portraits of several artists. Up to four or five years the children and girls were bathing nudes and from this age, the girls were bathing in robe and the boys kept on doing it up to the adolescence, moment in which they were already putting themselves the short pants. We can observe this clearly in the same room (if it is that we are contemplating this beautiful picture in the exhibition of Sorolla in Madrid) where he is located. To our back, that is to say, opposite the same one, there is another linen where we can see a few young people chatting knocked down in the shore while the waves play and the sun caresses its bodies. It is a question of Idyll in the sea. She has the robe and he has nothing, except a hat that its head covers.

Going out of the bath it is so a genre painting, but also it is possible to consider like an ethnographic document. It is a nostalgic evocation of the youth, it is a composition of classic figure; and it is a very modern picture with some abstract components.

It is a complex work. From the proper history that it counts. A beautiful young woman who has just gone out of the water is helped by a young fisherman. The girl does not happen to do up the button of the shoulder of the robe, somewhat alarmed, while it notices how its creases stick to its skin. Its flirtatious smile denounces it: it realizes the effect that it is provoking in the young adolescent. The image has a big eroticism load without showing never lust, but rather a soft humor.

Ilustración 1: Al agua, 1908 Óleo sobre lienzo 81 x 106 cm. Colección Bancaja

The protagonist of the linen resembles a Venus going out of the sea. Image that is reinforced by the classic allusion to the garment that a Greek quitón imitates. It is very possible that in the achievement of this work Sorolla it was bearing in mind some classic model of Greek sculpture contemplated in its visits to Paris. And also it is necessary to bear in mind and this way it seems that the artist had it, that in these moments there was lived a heyday of the neoclassic sculpture and the international recognition of the classic ballet especially of the hand of a personage as influential as Isadora Duncan.

As for the these pictorial values they are dazzling. Since it it is the light that enters in abundance waterspout throughout. From above, it reflects in the water, and also like proper source for the reflex of the target of the sheet of bath. The target is not such but it is loaded with colors: yellow, blue, lavender, aquamarine. Its composition continues a vertical scheme where the figures, almost to natural size, occupy practically the whole surface of the picture. The girl occupies the essential part, the center of our attention. Nevertheless the young man is cutting away scarcely showing the face that almost begins to show for the top corner.

Ilustración 2: Idilio en el mar, 1908 Óleo sobre lienzo 151 x 199 cm. The Hispanic Society of America, New York.

It is a work full of sweetness, of sensuality. Sorolla receives of magisterial form the friendliness and the affection that the young people shows in its gestures. If we concentrate on the rest of the boys we can observe the alarm of the young woman on not having managed to do up the button while the young rogue tries to cover its friend but he does not cover the face, it does not look at another side, it is more it seems to want to appear. Sorolla manages to transmit the relation that the boys have with a big naturalness and freshness.

The work is a singing to the sun, but also it it is to the youth. The drawing of both figures (in three compositions) is solid, firm, determined and the color of the linen is clear. Sorolla brings together of harmonious form a series of spots (for the shades, the froth of the waves) with the vigorous concision with which the figures are constructed.

It is not a work of big size, but it is a monumental work. Going out of the bath it brings together many of the characteristics of the work of Sorolla, that joined the brave treatment of the bath of two adolescents and the acquired workmanship not only in the representation of the figures, but in the representation of the solar twinkles on the objects and on the thin sand of the beach and the sea, do of this work one of the most excellent and most representative of the whole pictorial set of Sorolla.

Those who come to Madrid will have the only opportunity to see in the rooms of the Prado Museum hundred two paintings of Joaquín Sorolla that are distributed, usually, by more than thirty big museums and collections deprived of the whole world. Some of these works will be able to be contemplated for the first time here in Spain. Joaquín Sorolla and Bastille was an exceptional genius. At the beginning of its career it spent big economic troubles for the humble condition of its family (orphan to a few years). But at once it began gaining money with its linens. And it won very much. He was a very prolix painter (more than two thousand hundred seventy-five paintings, and other so many drawings) and he received more than sixty eight awards and awards. If they have opportunity not of dejen of contemplating this great exhibition. And an advice: approach to the House Museum of Sorolla. It is the ideal complement to the exhibition that the Prado Museum has organized, an oasis right in the center of Madrid (and above without so many inflow of the people).

Luis José Cuadrado Gutiérrez

Responsible for Magazine Atticus


Bookmark

Filed file: General

Did he like this article? Subscribe to my RSS feed and to obtain more discharges!

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