Paisaje de Gerona [Gerona Landscape]

Paisaje de Gerona [Gerona Landscape]

  • c. 1884
  • Oil on canvas
  • 75,3 x 114 cm
  • Cat. P_290
  • Acquired in 1982
By:
Julián Gállego Serrano, María José Alonso, Carlos Martín

The two pictures by Catalan artist Francesc Rusiñol in the Banco de España Collection were painted in the late 1880s or early 1890s. Both are signed but neither is dated. However, the creative development of the artist suggests that The Farmstead could have been painted before he travelled to Paris for the first time in 1889, as it is typical of the taste of the Barcelona bourgeoisie for landscapes linked to stories with one or more characters. It shows two women at the door of a farmhouse: one doing washing and the other caring for a small child. In Paris Rusiñol and his friend and colleague Ramón Casas were influenced by naturalist painting and impressionism, which they and Enric Clarasó all defended in a controversial exhibition at the Parés Gallery in 1890. A year later they were back together and once again advocating the discourse of renewal of these movements in another exhibition at the same venue. Both exhibitions were strongly criticised by their bourgeois customer base in Barcelona and by conservative critics, as the works shown by Casas and Rusiñol were not to their taste. An example can be found in Gerona Landscape, also undated: a bare landscape painted au plein air, with loose brush-strokes and an interest in light. It is a casual scene with no weather details or implied story. It is just a landscape in rural Gerona with multiple signs of human habitation: a path between walls runs across the picture, marking the limits between properties. On one side a haystack can be seen and on the other a poplar grove, with ancient rolling hills in the distance on a bitter, stormy day. Rusiñol later became interested in gardens and produced several paintings of the Reales Sitios at La Granja and Aranjuez, where he died.

 
By:
Julián Gállego Serrano, María José Alonso
Santiago Rusiñol
Barcelona 1860 - Aranjuez (Madrid) 1931

Santiago Rusiñol's family were in textiles and he worked in the family business until the age of 25. He was a student of Tomás Moragas. He travelled to Paris in 1887 with Ramón Casas, the engraver Ramón Canudas Serra, the sculptor Enric Clarasó and Miguel Utrillo. During his time there he attended the Crevec Academy, where he studied under Puvis de Chavannes. He later travelled to Italy, where he painted in the Tivoli and Frascati gardens. On his return to Spain, he began to work almost exclusively on painting Spanish gardens, especially after a trip to Granada in 1897: La Granja, Majorca, Valencia, Barcelona and above all Aranjuez. He took part in almost all the national exhibitions held from 1887 to 1930, winning second-prize medals in 1890 and 1895 and first-prize medals in 1908, 1912 and 1929. He also entered several international exhibitions: the Barcelona Expo of 1889, the Berlin Expo of 1893 and the Chicago Expo of 1910. From 1980 to 1930 he held exhibitions almost every year with Ramón Casas and Enric Clarasó at the Parés Gallery. He was a man of many talents and a lover of the arts. He was also one of the core members of the discussion group known as Els Quatre Gats. After his return to Spain, he filled his house (called Cau Ferrat) in the town of Sitges with a major collection of artistic iron-work, furnishings, sculptures and paintings which he subsequently donated to the town. He was a writer of novels and plays, including Lauca del senyor Esteve, which premiered highly successfully in 1917. He also contributed to newspapers including La Vanguardia and magazines such as LEsquella de la Torratxa. He died while painting the gardens in Aranjuez. His donation of his home and the collection housed there enabled Sitges to set up the Cau Ferrat Museum, which opened in 1933.

 
«Masterpieces from the Banco de España Collection», Museo de Bellas Artes de Santander (Santander, 1993). «1898: Review and Critique», Centro de Cultura Castillo de Maya (Pamplona, 1998). «Catalan modernism. Enthusiasm», Fundación Santander Central Hispano (Madrid, 2000). «Casas-Rusiñol. Two modernist visions», Museo Carmen Thyssen (Malaga, 2014-2015). «Camiños Creativos», Museo Centro Gaiás. Cidade da Cultura (Santiago de Compostela, 2022-2023).
Alfonso E. Pérez Sánchez & Julián Gállego Banco de España. Colección de pintura, Madrid, Banco de España, 1985. Alfonso E. Pérez Sánchez, Julián Gállego & María José Alonso Colección de pintura del Banco de España, Madrid, Banco de España, 1988. Francisco Calvo Serraller Obras maestras de la Colección Banco de España, Santander, Museo de Bellas Artes y Universidad Internacional Menéndez Pelayo, 1993. Vv.Aa. Casas - Rusiñol. Dos visiones modernistas, Malaga, Museo Carmen Thyssen Málaga, 2014. Vv.Aa. Colección Banco de España. Catálogo razonado, Madrid, Banco de España, 2019, vol. 1. Vv.Aa. Camiños creativos, Santiago de Compostela, Xunta de Galicia, 2022, p. 77.