Imaginative Impressionism: Sorolla
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- Опубліковано 24 лип 2024
- A review of the paintings of Sorolla and a comparison of his purposes and methods with those of the Boston School Strictly speaking, Sorolla is a classic imaginative painter who uses the rich impressionist palette singing with light but is not usually working as an impressionist per se.
In response to Isle of Mull
What find useful about these talks, is that although you are dealing with the visual, you are giving me a vocabulary with which to understand where I am going with my own work.
"You have to name the pig" - German saying.
"You're a God if you can go out there and paint a kid running" hahaha! I'm going to add that one to my list of "realistic expectations".
Word to that. In this day of timelaspe footage and exposure to some of the greatest painters living right now, it can be kinda hard to know what is seriously possible and what is ridiculously tough or neigh impossible.
That being said , im not gonna stop trying to draw my dogs while they run around the yard lol.
I probably should have said I have done that with goats and birds on a ledge but only able to learn them by memorizing elements and aspects and piece them into plausible things. Haven't done enough to have become 'the' authority on it. Keep trying.
By the way I would really like to have said that resolving the drawing the way he did in the portrait and before beginning these light/color wonders makes his entire efforts more doable.
I am no fan of making gods of men. Reading Rothenstein on Sargent shows how he began to see that Sargent's success was seriously enabled by his systematic approach to the problem.
Great video. I’m a certifiable Sorolla nut so I have some comments about his method. I have translated the book “técnica artística” from Spanish, which discusses his technique using X-ray imaging and expert analysis from the museo Sorolla.
Serious study of the methods of Sorolla show that he often changed his prep work and under drawing depending on the “finish” of the piece he was working on, and also changed his method over the course of his career, most notably in 1903-4, as he started to do large scale works with “the same dispatch as a sketch” (paraphrasing his own words.)
Many of his paintings (and a few shown in the video) he considered “notas de colores” or “color notes”, and were really just sketches made without heavy under drawing and usually based on gesture drawings he would do of the same scene at a different time. These studies were framed and sold in shows just like finished pieces, and some of them have become famous within his catalogue, but to study them to learn his “method” without realizing this departure from his normal routine might lead someone in the wrong direction.
That's a valuable comment, DS. Would love to see what you have discovered. Do you sell your translation. Everyone adjusts his methods over time so even that would be valuable information to the Sorolla or any student of the visual impression. Thank you
God , I really want to see boston school paintings in person. I need to see those marks in the flesh to set it straight in my mind.
Lots to think and chew over there Paul, much appreciated. One day I hope to look at a painting by Sorolla in the flesh - so presently I'm out of my depth. Your description is tantalising. I'm looking forward to seeing thicker paint and bravura brushwork. Thanks again for your thoughts.
The Sorolla exhibition at the National Gallery was incredible. Photographs do not do his works justice, his painting technique is like jazz music. Sorolla had different approaches he usually went direct with the paint. Sorolla hated painting from photos. It has been vastly over emphasised that he used them.
I seen that exhibition in Dublin. Unreal. Incredible painter. Who do you prefer, Sorolla or Sargent?
@@hillarebelloc6014 I prefer Sorolla, I feel it is more honest, but Sargent is especially great at portrait painting.
@@israeldiegoriveragenius2th164 I agree. Well put. Something more rustic or earthy about Sorolla, truthful perhaps. But I still have a lot of time for Sargent. Cheers
Seeing the number of shots of the large fish market suggests the possibility but I never intended to suggest he used them at all in the way people do today. Just possible references.
I really like your content And essays on artworks thank you so much
Love Sorolla, he has such a way with Wind and "White". Love his painting. And Sargent is one of my favorites, too, especially his watercolors. They were friends, weren't they?
Thanks again Paul
Always informative and food for thought as usual.
I know that shall we say unusual humour of fort lost in the woods it keeps you going through times not of your choosing!
Been there done that.
This is much better art all the way
Sheila
Would you put Henry Ossawa Tanner's work in this same category of impressionistic and imaginative?
I don't think of Tanner as an impressionist at all, Kofi, and certainly not defined as a painter dedicated to 'simply' drawing forth the beauty of the 'scene' before him. He looks like he is always telling a story first and foremost.
Sorry Paul ... Sorolla painted without drawings done before he started to paint those beach scenes he had an incredible ability to paint alla primma wet on wet at a very fast speed ... there are films of him painting directly on the beach ,,,He made the films as to illustrate his approach ... he hired a film crew to film him painting on the beach... it has been a miss conception that he drew everything out first... he was a master at drawing and as you stated he was very well trained... He and Sargent where friends as well. ,,,
Will have to look for that film. Thank you, Howard.
@@PaulIngbretson Hey Paul ,,, the films where made after he gone to America for the first time and having returned to Spain to paint again ,,, i don't know the years,,,
I do have to apologize ,,, I had not understood what you where talking about when you where describing his process,,, I get it now ,,, and thank you for your coverage of an artist I feel is way under appreciated for not only his skills and craftmanship also his brilliance,,, thank you for your reply
What the film crew didn’t capture is the long preparatory work that was undertaken days and weeks before the “performance” in front of his film crew. He had photo shoots with the models, he did color studies from life and with reference photos, he knew the composition, the palette, the colors, the arrangement of values etc etc. if you think he just off and winged it completely on the spot you are deceived.
Could you do an analysis of Frank Brangwyn?
I love Brangwyn and I will think about it, Romel