Julio romero de torres cuadros
Romero de Torres stands out for his precise drawing in balanced compositions of bluish, greenish and, above all, black colors. He was also known for his flamenco and bullfighting themes, with a certain tribute to the popular copla. There are three stages in the work of this modernist painter. An initial one, which would end in 1908. A central one that would end in 1916. And a final one, which would end with his death in 1930. His most quoted work has been the painting Fuensanta, auctioned in 2007 for 1.17 million euros because it was the image of the 100 peseta banknote. The first prize went to Joaquín de la Torre, who was the winner of the first prize. The second prize went to Joaquín de la Torre.
The first prize went to Joaquín Sorolla, for his work …And then they say that fish is expensive. The death of his father on December 1, 1895 greatly affects the family. His brother Enrique was forced to return to Cordoba to fill the vacancy left by his father, being appointed curator-restorer of the Provincial Museum. On October 30, 1899, Sorolla was appointed curator of the Provincial Museum.
On October 30, 1899, Romero de Torres married Francisca Pellicer López, a member of a family of creators. Her brother was the writer and playwright Julio Pellicer and her nephew, the painter Rafael Pellicer. Three children were born of the marriage: Rafael, Amalia and María de los Ángeles.
Nació y murió en Córdoba, España, donde vivió la mayor parte de su vida. Su padre fue el famoso pintor Rafael Romero Barros y su madre Rosario de Torres Delgado. Julio aprendió el arte de su padre, director, conservador y fundador del Museo Provincial de Bellas Artes de Córdoba y pintor impresionista. Se interesó por el arte desde muy joven y comenzó a estudiar en la Escuela de Bellas Artes a los 10 años. En 1906 se trasladó a Madrid para trabajar y estudiar.
Pasó la mayor parte de su vida viviendo en Córdoba y Madrid, y ambos lugares influyeron en sus cuadros. Combinó muchos estilos diferentes cuando pintó porque tenía muchas influencias diferentes, incluyendo el realismo, que era un estilo popular en ese momento, y el impresionismo, que recogió de su vida en Córdoba y de su padre. Durante su estancia en Córdoba, formó parte del movimiento intelectual de finales del siglo XIX, basado en la Real Academia de Ciencias, Artes y Letras. Julio Romero también obtuvo muchos premios en vida. En 1895 obtuvo una mención de honor en la Exposición Nacional y posteriormente obtuvo el tercer puesto en 1899 y 1904.
Marquis of viana
If there is a great value that I love about this painter, it is that he knew how to paint the Andalusian woman like no one else. They are strong women, dark-skinned, dark-haired, with penetrating looks and even defying the era in which they lived. And not only are they sensual, seductive, strong and brave women, but they are a reflection of an era, with its ways of life, its daily struggle, its battles, joys and sorrows.
Julio flirted with the genre of the advertising poster (a very fashionable trend at that time and coming from France) and proof of this are some of his most unique works through this means of expression. Once again, women are the protagonists.
In contrast to his posters, Julio made a particular interpretation of religious themes. In his most important paintings he depicts biblical scenes, well-known characters, etc. with great success. In addition to showing his particular look, we look at some of his protagonists, where it appears for example a component of Julio’s own and personal, such as sensuality. A good example is El pecado.
Thus, the General Directorate of Historical and Documentary Heritage initiated the procedure for the inscription in the General Catalog of Andalusian Historical Heritage as an Asset of Cultural Interest, in the movable category.
Both canvases are two very representative exponents of the artistic production of Julio Romero de Torres, have relevant cultural values and are an integral part of the cultural heritage of Andalusia.
It was the star painting of the National Exhibition of 1912 and the title of the canvas refers to the painter’s passion for flamenco, for singing, to the point of describing its consecration.
The procedure that culminates today involves transferring it to the General State Administration for it to be recorded in the corresponding registry; letting the owners, holders of rights and simple possessors of the assets know that they have the duty to conserve, maintain and guard them, in such a way as to guarantee the safeguarding of their values, and that they must allow their inspection by the competent persons and bodies of the Board, as well as their study by the researchers accredited by the same.