User:Onceler/Translations/Ignacio Zuloaga v1

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Ignacio Zuloaga (1870-1945), Spanish painter. Born in Éibar, his father, don Plácido, descended from a family of gunsmiths and goldsmiths. In his earliest years, he drew and worked in his father's workshop. His educational foundation would be with the Jesuit brotherhood in France.


  • 1888. He paints Fuente de Éibar ("Fountain of Éibar") and El Ciego de Arrate ("The blind man of Arrate").
  • 1889. He journeys to Rome, a goal of many young artists, where he is drawn to absorb the masters of the Renaissance. His stay lasts more than a year. He paints El Forjador Herido ("The Wounded {Forger, Blacksmith}").
  • 1891. Exposition at Le Barc de Bouteville with the Gauguin group, where he introduces two landscape works. He travels to Bilbao where he is founder of the festive society, El Escritorio ("The Desk"), decorating one of its walls with the canvas titled Amanecer ("Dawn").
  • 1893. Made studies in the streets of Seville during its annual traditional market fair. Attends the Salón of the Independents, with six paintings. Discovers the work of Whistler and consolidates his friendship with the French literati, even though he was averse to their symbolist and impressionist influences.
  • 1894. At the Paris Salon, he introduces for the first time, two paintings: Retrato de la abuela del pintor ("Portrait of the Painter's Grandmother") and El Enano Don Pedro ("Don Pedro the dwarf"). Together with Rusiñol, in Paris, he buys two El Grecos and travels through Switzerland and Italy. In Bermeo, a town in the province of Viscaya, he paints his casino frescos, which he finishes the next year. Passes the fall in Seville.
  • 1895. Second exhibition at Le Barc de Bouteville; shows 6 paintings. Shares a studio with Paco Durrio and Gauguin. Creates a portrait of Valentine Dethomas.
  • 1895-1998. Resides principally in Andalusia.
  • 1896. Sends a painting to the Exibition of Barcelona, and is awarded a second prize medal for Amigos ("Friends"). Maintains a fondness for the bulls.
  • 1898. Exhibits at the National Society of Paris. In Barcelona, shows his Vispera de la corrida ("Eve before the bull races"), winning first prize. Discovers Segovia, where he paints, among other works, Mi tio y mis primas ("My Uncle and My Cousins"), a work which would be acquired by the state of France for placement at the Museum of Luxemburg.
  • 1899. The 18th of May, marries Valentine Dethomas, sister of his friend the painter Maxime. Carrière y Albéniz bear witness to the wedding. Wedding trip through Europe and return to Spain, installing himself at Elgueta. Paints La Enana Doña Mercedes ("Mrs. Mercedes the Dwarf"). The Belgian state buys his El Alcalde de Riomoros ("The Mayor of Riomoros").
  • 1900. Segovia. Studies at the {Casa de Crimen==house of ill repute, brothel, prison?} and the {Canonjia==monastery, debtors house?}. In Paris, motivated by the Exposición Universal (Universal Exposition), he sells the work, Vísperas de la corrida ("Eve before the bull races"). This work was rejected by the Spanish juror who chose the works which would be shown. It was bought by the Belgian state. He has exhibitions in Brussels, Berlín, Cologne, Düsseldorf and Bilbao.
  • 1901. Travels during holy week, together with his wife and in-laws, to Seville. Travels to France and after a stay in Segovia, paints in the valley of Ansó. In the German city of Dresden, he obtains the great golden medal, together with Anglada Camarasa and Iturrino. He initiates a friendship with the poet Rainer Maria Rilke.
  • 1902. Returns to paint Sevillea and is named Member of the National School of Beaux Arts of Paris. His mother, Lucía Zamora Zabaleta, passes away in Éibar. Shortly after, on the 15 of May, his daughter Lucia is born. Passes long periods in Segovia painting together with his friend Pablo Uranga. His work continues showing in diverse European cities:: París, Bordeaux, Munich, Budapest and Berlín.
  • 1903. Once more, participates in the National Exposition of Paris. Alexandre and Lafónd dedicate critical elegies in the Parisian press (on edition of ''Le Figaro lllustré ("The Illustrated Figaro") is dedicated completely to the painter). Now he initiates his relationship with the sculptor Rodin. Return to Spain, in Salamanca, during his vacation there, he was detained for passing false currency.
  • 1904. Completes the paintings of Nuestra Señora de Arrate ("Our Lady of Arrate"). In Segovia, he joins with his friend Cottet, who will create four works; others would follow him, pushed by Ignacio to work in Segovia. Daniel Zuloaga the abandoned church of San Juan de los Caballeros: it would house the workshop and studio of {uncle and cousin, one and all, many}. Exhibits in Düsseldorf by invitation of Rodin, attains great success.
  • 1905. Exhibits in París, Prague, Rotterdam, [[Amberes, Liege, Venice, Dresden and Vienna. In Berlin he is charged with the {[stage] decorations{ for the opera Carmen. In Brussels, on the {montage} for the opera Pepita Jiménez, whose {creator, author} is his friend Isaac Albéniz. He travels through Spain with Rodin and the Russian collector Tchoukin.
  • 1906. New studio in París, in the Rue Caillaincourt, 54. His son Antonio is born the 10th of January. Continues working in his studio at San Juan de los Caballeros. From this work would come eleven paintings to show in Paris; among them, Toreros de pueblo ("Bullfighters of Town") and Celestina.
  • 1907. He exhibits at the Fifth International Exposition of Barcelona, in which a hall is dedicated to him, and obtains the {prize of the king} and the diploma of honor. Maxime Dethomas and Rodin {also showed there}. He begins looking around the Spanish province of ''Guipúzcoa'' for properties on which to build a residence, studio and museum. In Segovia he finishes fourteen paintings, among them: Las Brujas de San Millán ("The Witches of San Millán") and El Enano Gregorio el Botero ("Gregorio the dwarf bootmaker").
  • 1908. Exhibits in Paris at the National Beaux Arts Salón with great success. In Éibar, shows his countrymen Gregorio el Botero, holding audience with the king. In Segovia he paints Los Flagelantes ("The Flagelants") and Gregorio en Sepúlveda ("Gregorio in Sepúlveda").
  • 1909. Exhibits a total of thirty-eight works in the United States (New York, Buffalo and Boston), fifteen of which have Segovian themes. He dedicates himself to the study of landscapes, which occupied much of his {productive--pron.?} time. Continuing his fascination with bulls, he visits Seville and Lora del Rio, a bull-calf corral on the Zabariche estate, belonging to the cattle rancher Urcola. In October, Charles Morice pens a monograph on him and it is published in the magazine L'Art et les Artistes ("Art and Artists").
  • 1910. Showings in México, Chile and Buenos Aires (here he receives communication on the passing of his father, even as events were provoking confusion over his name and giving rise to quick trade in his paintings). He presents works at the Venice Biennial. Acquires properties in Zumaya to build, over time, the residence he would call ''Santiago Etxea''. A lover of custom, the temple of San Juan de los Caballeros is prepared to receive the holy sacrament, as by one remaining observant of traditional worship. To decorate the church, he brings liturgical articles from Éibar. He then paints Victima de la Fiesta ("Victim of the Feast") and La familia de mi Tio Daniel ("Family of my Uncle Daniel").
  • 1911. Obtains the Great Prize of the International Exposition of Rome. In fact, he was not invited as part of the group representing Spain and so he had to attend of his own account. Paradoxically, his attendance was at the beckoning of the Italian government. Of twenty-five works displayed, fourteen are from Segovia. He travels through Italy.
  • 1912. Payed homage in Éibar by his countrymen. In Paris, Leónce Bénédite dedicates a special article in L'Art et le Beau ("Art and Beauty"). Exhibits in Vienna, Dresden, Budapest, Munich and Amsterdam. The most distinguished work from his Segovian estate is El cardenal ("The Cardinal").
  • 1913. Homage to Goya in Fuendetodos, unveiling a stone tablet at the house of his birth. He depicts the subjects of Ídolos futuros or Torerillos de Turégano ("Future Idols" or "Young Bullfighters of Turégano"), as if they were Spanish Courtesans. In Paris, Manuel de Falla awaits, as Ignacio had offered to design the costumes and staging for the showing of La Vida Breve ("The Short Life"). A fertile collaboration begins.
  • 1915. Zuloaga adheres through a manifesto to partisans of the {allied forces}. The delicate situation of industry in Éibar leads him to donate a portrait of Cándida so that the price of its sale might unburden families in need.
  • 1920. He installs his workshop in the Madrid neighborhood of las Vistillas. Completes his portrait of his friend Ortega y Gasset. Unveils in Fuendetodos his monument to Goya. In London he exhibits at the Royal Academy. Toghether with Enrique de Larreta and Manuel de Falla, he studies the performance of a work based on the highly-regarded novel, La gloria de Don Ramiro.
  • 1921. He visits and is enthused by the Sierra of Albarracin. {The death of his uncle Daniel taxes him with sorrow, leading to a distancing of himself, In mourning after the death of his uncle Daniel, he distances himself} from Segovia.
  • 1925. Exhibitions in New York, at the Reinhardt Gallery, meeting great success. Of fifty-two works, fifteen were Segovian themes. He is received by President Coolidge. Shows in Boston and Palm Beach, culminating his tour in Habana, where he is glorified upon arrival. Buys the castle of Pedraza.
  • 1928. The Viscayan guesthouse of Segovia serves him as a motif to comp;ete the decorations for the work of Manuel de Falla, El retablo de Maese Pedro ("The Altarpiece of Master Pedro"), taken as related by Cervantes in the character of El Quijote. In {cartón piedra==plaster and cardboard, plasterbard, paper mache, sheetrock?}, {policromadas==variously colored, painted various colors} by himself, he completes a figure of Sancho and another of Quijote.
  • 1936. Completes a portrait of the sculptor Julio Behovide. The Spanish Civil War imposed disruption on the life of the painter, which opened to a path into the world of sculpture.
  • 1938. Grand prize at the Venice Biennial, {supone->builds?} recognition of his work. London Exposition of Zuloaga; here also he is dedicated his own showing room.
  • 1942. Great solo exhibition in Barcelona, at the Argos Gallery, and the last which celebrates the life of the artist.
  • 1945. After twenty years of repeated petitions, he is named a favorite son of Guipúzcoa by mediation of the Bascongada Society of Friends of the Country. In addition to portraits of his friends, he paints the wives of presidents. He also dedicated his creativity to the {elaboracion==development?} of {bodegones==taverns?}. He died in his studio in Madrid.


Ignacio Zuloaga Spanish Wikipedia article