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Ignacio Zuloaga
Eibar, Gipuzkoa, 1870-Madrid, 1945
1913
Oil on canvas, 152 x 195.5 cm
Donated by Ramón de la Sota y Llano in 1919
Portrait of the Countess Mathieu de Noailles depicts Anna Elisabeth de Brancovan, a Parisian poetess of Greek and Romanian origin. Heavy curtains serve as a frame for the portrait, emphasizing the theatrical nature of the portrait. Even so, Zuloaga opens the painting up to a backdrop of clouds, itself inspired by El Greco’s backgrounds, as a way of concentrating our interest on the sensual figure of the sitter. In the lower right corner, the artist gifts us a small still-life consisting of a table with books, evoking the Countess’s devotion to literature, a necklace of pearls—a sign of passion—and a broad vase full of roses, symbol of love: both a brief symbolic compendium of the Countess’s personality and an updating of the Spanish baroque theme of the vanitas. Despite being hailed by international art critics of the early 20th century as one of the finest painters of the time, in Spain Zuloaga was accused of exalting the country’s perceived backwardness. His training, far from the academic world, the influence of the intellectual circles in Paris and his association with Spain’s highly critical "Generation of "98" literary movement, led him to take popular culture and Spanish 17th century painting and Goya as his references. These influences imbued his works with a remarkable expressiveness and powerful psychological insight, which, together with the Romantic vision and his undeniable skills as a painter, were the essential factors in Zuloaga’s subsequent output. [J.N.G.]

Independently of its permanent collection, the Bilbao Fine Arts Museum regularly organises temporary exhibition programmes.
Please consult the exhibition calendar for more information about the museum's latest proposals.
From the coming 15th of November to the 13th of February 2011, the Georges Rouault. The Sacred and the Profane Exhibition containing 156 works of art, including oil paintings, etchings and even one of the artist's stained glass windows, will allow visitors to discover one of the most outstanding artists of the XX century for themselves. In spite of the fact that some of the artist's most important works such as Parade (c. 1907-1910), L’apprenti-ouvrier (1925), Veronique (1945) and the Miserere series of etchings (of which the Bilbao Fine Arts Museum has 4 prints) will be on display, the Exhibition cannot be considered a conventional Retrospective as such. Its originality resides in its exhibiting a fair number of hitherto unknown and unfinished works from Rouault's studio - to which the artist rarely granted access - that his wife, Marthe Rouault, donated to France in 1963.
By offering such a wide selection of works organised by Exhibition Commissar, Angela Lampe, Curator of the Centre Georges Pompidou, the Museum will give visitors the opportunity to delve deeper into the work of the artist and follow his evolution from his first works executed with dominant blues and expressive scribbles to his final works in which he used warmer colours and thicker layers of paint.
Furthermore, the close relationship that exists between the sacred and the profane subject matters serves to emphasise Rouault's profound concern for the human condition. Rouault, with his sort of spiritual expressionism, created one of the most original pictorical works of the past.
Laguntzailea • Colaborador • Contributor

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