Some Aspects of Ignacio ZuloagaThat most Spanish painter Ignacio Zuloaga is of a type rare among artists, theindependent reactionary who, turning against both the security of the schools and thebewildering freedom of the moderns, yet realizes completely his own artistic aims andattains success judged by everymeasurewhichhehimself canapp1y.l His reputation isinternational,but inAmerica,particularly,public approvalhasbeen generously bestowed,and his works have found a place in prominent collections. The characteristics of his~vork are sufficiently obvious (although some of his qualities are not those which arecommonly supposedtofind aresponse in theaestheticconsciousnessof theUnited States),and the receptivity of this country to Hispanic influences, an affinity for an especiallyexotic tradition, more profound than a mere vogue or fashion,i.; a circumstance that initself makes Zuloapa deser~ing of ~t u d y . Not unexpectedly, perhaps, Zuloaga's latest exhibition in ,Imerica, which opened~vi t ha month's stayat the Reinhardt Galleries in SewYork,provoked more enthusiasmonthepartof thepublic thanonthatof thepublic's professedguides. Theapplausewhichwasledin 1909byJamesHuneker2and ChristianBrinton3continuedinevengreatervolumein 1925,when 75,000peoplevisited thegalleriesat Fifth ,lvenueand57thStreet. To-dayHenry LlcBride and Forbes Watson have ineffectively dissented: there seems to be inthis Spaniard's art something deeply satisfying to the aesthetic craving of -4merica.NcBride, commenting in The Dial on the work of a rejected modern says: "Only a fewdoors west on the same street and thousands were crowding the Reinhardt Galleries tosee the work of a vastly inferior na n. I don't yearn especially for fashion's approvalof anyof myprothghs,butitwasimpossiblenot tobesomewhat dismayedbythistravestyof patronage."'Says Forbes Watson, writing in The Sunday Worl d:"For the benefit of the futurehistorian, it may be noted now that Mr. Zuloaga's success. though greater than it wasin thedayswhen hepainted better, is almost entirely a popular success. In the ten dayssincehispaintingswerehungIhavenotheardapainter praisethem." I t cannotbedeniedthat times have changed and the criticswith them;perhaps the futurehistorian will con-clude that his is merely another case of violent reaction fromtoo conspicuous a success.The visible man Zuloaga has not changed greatly since his portrait was presentedtothereadersof Figaro over twentyyearsago by Arsitne-4lexandre.S Theself-portrait inthecollection of TheHispanic Society of America (Fig.I ) , although lesspicturesque thansome others, accurately illustrates -4lexandre's analysis when he asks us to note the "ex-pression of cool courage, of reasoned determination which gives his long but full face sorarean accent of initiative and success;note also the touch of malice which sharpenshis' Ignac~o ZuloagayZabaleta,born July26,1870,a t byChrzstzn~r Br ut t on, Se wTor k, 1909Elbar, betweenSanSebast~lin andB~l bao, ~n t hepromnce lHenrv AlcIlr~de, ~n l'hc Dzal , 1, SXVIII (A4pr~l ), of V~scar a 1925,p 318 2James Huneker, Pro~ncnari es of arc Inlpresszonzst, 5.4rsPne Alexandre,Ig~raczo Z~cl onga, In FtteEssaysNewYork, 1910 1)141 o n the Ar t of Iqnnct o Zul onqn, Se wTorh, 1909, 11. 33 3('c~talogueof f' a~nlz~igs byZgnaczoZ~cl oaqa, exhtbzierl (fromFlgaro I l l usi re, August,1903) bythe Hzspant c,Soczeiy of dmerzca I17ztha n ~nl rodl i ct zo7~The Art Bulletin 7.4 (June 1925)PLATELXXX seriousglance."In thecrowds ofsmart andfashionable folkthatpackedthe Reinhardt GalleriesZuloagawasthoroughlyassimilated;alawyerwhoattendedoneofthedinners giveninZuloaga'shonoreven mistookhimforaprominentbanker. Suchsuccessraisesinterestingquestions.Howhasanindependent,reactionary artist attainedthis position?Does it detract from his merits or is it consistent withthem? The perspectiveofthemomenthardlypermitsafinalanswer,butifaneffortis required to disengage our minds from superficial impressions, it is atleast helpful to realize that such impressionsmaybemisleading. While our critics have been revising their estimate ofZuloaga, wealsohave beenre- valuing certain ofour basic conceptions, that ofprogress, for example.The first exhibitionin AmericaofZuloaga'sworkprecededbymorethanfive yearsthe endoftheerathatwas sealedinthe year1914.Untilthenourchiefhopeandourconfidence layinthe ideaof progress,populareducationsupportedbymechanicalingenuity; andinspiteofthefact thatSpain has neverseriously entertainedthat notion,it was the fashionto appealto the sympathies ofan American audience by claiming that Spain shared in the world'sprogress. In the catalogue ofthat firstexhibitionit was asserted that: "Contraryto ignorant opinion the country is vigorous,progressive,and is making rapidstrides politically,commercially, andartistically."e Nowthatthe doctrine ofprogress has ceased to dominate ourthinking, weperceive thatas aSpaniardZuloagafailedto beinspiredbythe ideaatany time.In spaininter- nationalidkassuchasthatofprogresshaveneverflourished.7I tisnotthatchangeis unknowninSpain, forchange is acondition oflife, butthatmodifications ofthe environ- mentoccursograduallyintheSpanishscenethattheyarebarelyperceptible,andone ofSpain'scharmstothestudiousobserveristheapparentchangelessness:hereat any momentthefashionsandmoodsofEuropeacenturyormoreagoare suretobefound alive.sThe Peninsulaisalways,indeed,agreatmuseumofculture ahundredyearsout ofdate. In1522, forexample, the erectionofthe Cathedral ofSegovia was begun,and work continueduntil1593, whenit was finished.In1589 the chaptersummonedJuan de Her- rera,architectofthe Escorial,forthecanonsseemtohave suspectedthatpossiblythey werenotquiteinstyle,butHerreraadvisedthemtocontinueinaccordancewiththe originalplans.ThusaGothiccathedralwasconceivedandcarriedthroughat atime whenthe restofEurope hadnotonlyabsorbedthemotivesofthe Renaissancebuthad exhausteditsfirsti mpul ~e . ~ The attributionofinternationalideasto the Spaniards was Napoleon'smostserious error.AsTalleyrandnotes,EuropelearnedfromSpainthatNapoleoncouldbecon- queredand how to conquer him.10The country was imperviousto the cosmopolitantend- encies ofthe eighteenthcentury, on whichNapoleonsoconfidentlydepended,andyears ofpassionateresistancetotheinvaderonlyconfirmedthenationinitsinheritanceof courage,self-sufficiency,andpride."Zuloagais asonofthe people who cried "Deathto libertyandtheconstitution!"whentheyhadredeemedFerdinandVIIfromcaptivity inFrance.I2 6Catalogue,1909, p. 14.9GeorgeEdmundStreet,GothicArchitecturei n 'Miguelde Cnamuno, DelSentimientoTrhgico delaSpai n,EditedbyGeorgianaGoddardKing, NewYork, Vi da,Madrid,1912.This hookreflectstheattitude of1914,I , pp.2.57ff.MarcelDieulafoy,Arti n Spai n oneofSpain' s leading~ntellectuals.NoteparticularlyandPortugal( Ars CTna series), NewYork, 1913, p.208. the concluding chapter, pp. 29Off.'OMBrnoires, I ,389. 8Therearesurpr~slngslm~laritiesintheobserva-"J.HollandRose,hrationality i nModernHistory, tions oftravelers fromthe earliesttimes.See J.GarciaSe w York, 1916, p. .56, The SpanishNationalRising. Mercadal,EspaAnVistapor10sExtranjeros,Madrid,12hlartin A. S. Hume, ModernSpai n, NewYork, I ,1917; 11, 1919; 111, 192(?).1 9 0 0 , ~ . 192. Themood of reaction characteristicof Zuloaga asa Spaniardisadmirably revealedin a conversation reported by Dr. Christian Brinton: "My distaste," said Zuloaga, "forthings modern includes of course painting, most of which impressionistic, pointillistic,cubistic, futuristic or whatever elseyou may choose to term it, seems to me feeble andneurasthenic. The primitives and the early Egyptians with their rigorous economy ofline,form,and tone,affordme more pleasure than Iderivefrom thework of my contem-poraries. As tomodern music it distresses me because of its complexity. Imuch preferPalestrina and Bach, and in the way of literature, though once a great reader, I nowscarcely open a book or glanceat thenewspaper."13Aworld of differencelies,however,between tradition andunintelligent convention,andZuloagahad not submitted to the convention prevailing in Spain when his art firstdrew the attention of the outside world. Keen critics, like Miguel de Unamuno, haverecognized the essential tradition in Zuloaga but they have been compelled to meet thecharge that his work is unpatriotic. This is because pictures such as the Hero of theFiestamight lead tocomment unfavorabletoSpainfromtheoutsideworld. Suchcriticismdrew from Unamuno anextremely Spanishreply:"We do not know whether or not the horrible scenesof national history that werein style thirty someyears ago arepatriotic. At least they were official works. Patrioticart. . . Whatispatriotic art ? Spainisnotanendinitselfbutameanstoanend,a meanstoafinalitywhichishumaneandideal,universalandeternal. I t isnottheobjectof historytobring us toa knowledgeof Spain,but of Spain tobring us to a knowledgeof history,of infiniteandeternalhumanity,eventoGodHimself. And thereisnothinglikeart-trueart, not propaganda-to bringus toa knowledgeof ourcountry."14Andfortheearlierneglect,theadulationofspiritssuchasthepoet GregorioMartinezSierra has been substituted:"Thanks forthereverenceyouhavewonforus,fortheveilofillusionthatyou havespread over our very poverty, which has fascinated even those who view us from afar;thanksfortheoutcriesyouhavearoused,thanksforthebeacons youhavelighted,thanksfor your passion and for your glory, which is ours also, foryou are ours, and you aredeeply rooted in our soil and in our affections."15The interest felt by Americans in Zuloaga as in other cosasde Espafiais in itselfsignificant. Much of the credit goes, of course, to the intelligent and cultivated appre-ciation of the artist by his friend, Dr. Christian Brinton, towhose enthusiasmthetimidreserveof criticsof thetypeof C.H.Caffinsuccumbed,inspiteof theirinnatepreferenceforthedomestictranquillityof Vermeer,asurvivalof thegenteeltradition.l6 Thetechnicaltriumphsof Velasquezhadlongbeenknowninthiscountry,yetwhenZuloagafirstappearedhereestablishedopinion must havebeen asillprepared tocopewith thelivingSpaniard'sartasitwaswith thatof ElGreco.But theinterestofthepublic and of collectorswas immediate.Examples areto-dayt obe found in the Metropolitan, Brooklyn, and Boston museums, and in the Fearing,Lydig, Peck, Phillips, Rosen, Straight, Kerrigan, and Fuller collections.Inother countries Spain as a sourceof inspiration has been no less potent but less' Christian Brinton, The Artof Ignacio Zuloaga, in ' "hi d. , p.10.AmericanMagazineof Art,VI I I (Jan. ), 1917, p.87. 16C. H . Caffin, StoryofSpanishPainting,NewSeealso M. Gil,En el Esludiodezuloaga, inFive Essays,York, 1917, p. 38: "It may seem illogical to invite thep.108(fromEspaAay Amirica, Feb.,1909). readertobeinterestedinSpanishart andthendiscourage14lgnacioZuloaga (EditionEstrella),Madrid,n.d. , him bylayingbareitsweakness." pp. 19-20. persistent.Forthe menof1870 inFrance,Spain suggestednotonlymethodbut matter too,andSpanishsubjectsweredepictedwithsomethingofspa;ishtechnique.The influencewasinitiatedbyDelacroix;inCourbetitwasobvious;DaumierandGavarni leanedheavily upon it.Ckzanne, Monet, Renoir, Bazille either had a recognizably Spanish periodorincorporatedSpanishideas into theirwhole work.Manet, mostofall,tookthe roadtoSpain,followedafterwardsbytheBelgianEvenepoel,andwithouttheseguides weshouldneverhavehadSargentandBesnardasweknowthem.Meier-Graefehas trulysaid: "Zuloagahasretaliatedalittlebytaking backto thelandofVelasquezwhat theFrenchmanlearnedfromhisgreatcompatriot."l7 Bythetime,however,thatZuloagabroughtbackthisknowledgetoSpain,with characteristic Spanish tardiness, the experimental stage ofimpressionism and allied methods had passedin France and in America.Chase was being abandoned by many ofthe younger generation in the quest ofCkzanne, Matisse, and Picasso.Zuloaga was, therefore, too late by farto profitbythe earlier interestdue to Manet and too exotic,tooracialto stir those whoatheartpreferredDutchinteriors,sothathistraditional,evenreactionary,expres- sioncouldnotbeexpectedtogaindisciples.Buthestillwontheesteemofthepublic andofcollectors. Thissituationcanbeaccountedforonbroadergroundsthanhaveheretoforebeen remarked.DowntoourowndaythedominantforeignexemplarinNewEnglandhas with slight modification been Great Britain, butfor color and romance the rest ofthe coun- try,particularlyFlorida,theSouthwest,andthePacificCoast,haslookedtoSpain. Slight as are the architecturalremains inthose states that were once Spanish and Mexican territory,comparedwiththeimportantmonumentssouthofus,theyyetexerciseafar- reachingditraction. The onlydramaticcontactswithforeignnationsthatwehavehad, warswhichre- sultedintheacquisitionofterritorypeopledby an alien race, have been withMexico and Spain.The open-mindedmoodofvictorywas accompaniedinbothcases bythe pleasing thrillofparticipatinginacolorfulandbrilliantLatinculture. There hasalso,oneshouldremember,existedintheliterary historyoftheUnited States a definite Hispanic tradition.The workofIrving, ofTicknor, ofPrescott, and even ofLongfellow will illustrate this.Nor should the labors ofHubert Howe Bancroft be over- looked,becauseoftheirgreatpopularity. 'a Added to these historical accidents is a still deeper reason.A recent writer, discussing architecture,hasdemonstratedtheanalogiesbetweentheculturalcharacteristicsofthe Roman Empire and ofthe United States; the mind ofRome, like that ofthe United States, wasoccupiedwiththoughts ofmassandquantity, groupcontrolandstatistics,caringatbottomverylittle aboutthe individual.lg In Rome, also,Spainwaslookedto as asource ofexoticcolorandsensualstimulation.20TheinvincibleracialindependenceofSpain couldalwaysbedependedupontoprovidematerialthatcapturestheimaginationand delightstheleisureofsuccessfulempires.AlthoughZuloagamaycarelittleaboutthe UnitedStates, whose culturalantecedents are so distant from his,the obviously alienbut indeliblyromantic typesthathe presents(cf. Figs.2and 3)havequitenaturallyenjoyed an unparalleledsuccess withus. 17JuliusMeier-Graefe,ModernArt , NewYork,1924. 1908, I ,p. 258. 2HavelockEllis,TheSoulojSpain,NewYork, 18My thanks to Mr. Archer M.Huntington for sug-1920, p. 174: "TheRomans went above all to Spain, and gesting this. especiallyGades-themodernCadiz-forthedancing 19LewisMumford,StzcksandStones,YewYork,girls whom they esteemed so highly ." PLATELXXXI FIG.4-EXHIBITIONATTHEREINHARDTGALLERIES, NEWYORK,1925: BASQUEPEASANTBYZULOAGA FIG.5---EXHIBITIONATTHEREINHARDTGALLERIES,NEW YORK,1925 : CASTILIANSHEPHERDBYZULOAGA Firstamong the circumstant'ial chancesthathavedeterminedthecharacteristics of Zuloaga'sartisthefactthatheisaBasque,comingfromthatprimitivestockinthe Pyrenees, which has apparently been there ever since the Flood.21Self-reliance, aconfident integrity,hasbeenthebasicqualityofthissturdypeople(Fig.4))combinedwitha tenaciousfrugality, a keen realizationofthe value ofmetalliccash, whether pesetas, duca- dos, escudos, orothergovernmentmintageofcoin that resists the teeth and makes a satis- -fying sound when flung down sharply on the counter. Inthatancientkingdomtherewerenotnoblemenandserfsbutallwerenoblemen andthe kinghimselfwasbutthe firstamong equals.Theirmuch-prized fueroswerelost incomparatively recentyears,the lastrelics ofmediaeval privilegeinEuropeto godown underbureaucracyandcentralization.22TheiradherencetotheCarlistfactioninthe civil warsofthelastcentury,atooconsistentfaithfulnesstothemonarchyandtothe Church, reducedthemto the rankofmeresubjects. Byinheritance,then,Zuloagamightbeexpectedtowithstandoppositionandto asserthisownindependence,therightfreelytoelectthemethodsandthemattersof bygonetimes ifhe chose.But in addition to this provincialprivilege,there was in his own familyatraditionofaccomplishmentinthevenerableartofthearmorer.Hisgreat- grandfatherBlasservedinthatcapacitytotheLifeGuards;23 hisgrandfatherEusebio organized the Armeria Real in Madrid, a collection ofsuch rarity and value that ifdisposed ofthe proceedswouldcoverthe costofawhole year'scampaigninMorocco.His father, PlbcidoZuloaga,thefriendofCarpeauxandBarye,studiedinParisandDresden,and developedaprofitable revivalofdamascene,adorningironandsteel withoriental designs ingoldandsilver,anartsupposedtohavebeenlostwhentheMoriscoeswereexpelled fromthe Pe n i n s ~ l a . ~ ~ This craft, to whichIgnacio Zuloagaalso servedan apprenticeship, is of moresignificantimportfor hispaintingthan has usuallybeenrealized. Steelandwroughtironarehardandresistant;butsteelwilltakeahighpolish; withpatient,uncompromisingskillwroughtironcanbemadeintoflutteringarabesques ofamazinglightnessandgrace.Alwaysthereisasharp,definiteoutline,andaboveall thereisnoroomforhappyaccidentsorimpromptueffects.Everythingmustbecom- pletelyplannedinadvanceandcarriedthroughbyastubbornwill,theresultofwhich hasthisgreatmerit-itisfinal,fixed,andas nearlypermanent as any artifactcanbe.25 However, he wasnotapprenticed to thiscraft until there had been numerous clashes betweentheself-willedparentandthe equallystubbornsonoverthechoice ofacareer. Firstitwascommerce,thenengineering,andfinallyarchitecture,withironworkingas a finalchoice,acompulsorychoice,whentheothercareershadallbeenrejected.And evenafter Zuloagahadbecomeapracticedpainter,itis worthyofnotethathe followed othertrades,alsoofnecessity;suchasthoseofthebullfighter,dealerinantiques, and bookkeeperforaminingcompany. The youngZuloaga'spersonalpreferencewasdefiantly indicatedwhen, atthe age of fifteen,onacasualtriptoMadridwithhisfather,hefirstvisitedthePrado.Having induced hisfather to buythe materials required, he undertookto copyoneofEl Greco's noble portraits, producing a picture which was notonlyinterestingin itselfbutsignificant ofhis whole career.Zuloaga neverhadany systematic instruction or guidance, but on his ?lIbid., pp.30ff.lPThemostnotable monument of PlhcidoZuloaga's ??SeeGeorge Borrow, TheBible i nSpai n (Everymancraftsmanship is the tomb of the murdered General Prim Edition),NewTork,1913, pp.336ff.SeealsoL. Hig- inthe ChurchofXuestra Seiiorade Antocha inMadrid. gin,SpanishLijei nTown andCountry,SewYork,25Xotethe combinationofawrought-ironstair with 1902, p.28.wind-blownscarf and sweeping draperies intheportrait Z3He wasa. friend andcontemporaryofGoya.of Mrs. F., Jr . ,Catalogue, 1909, p.59. owninitiativehe wentdirectlytothatartistwhomostvividlypresentsthe reactionary intensityofSpain-andthisatatimesome yearsinadvanceofthe vogueforElGreco. The practicalunanimity withwhicheminentartists have refused any credit to their mastersshouldhave adeterrenteffect onanyonewhothinksofgivinginstructioninthe craft.Goya, for example, although astudent underLuzbnfor six yearsinZaragoza,and working atMadrid for four or five years underthe close supervisionofMengs, announced that "Myonly masters have been Nature, Velasquez, and Rembrandt."And it is probable that he neversaw a painting by Rembrandt.20 In ageneralway,natureandthe museumsare the mastersto whomZuloagais in- debted.But it is helpfulto note whatartists he has knownand whoseart hemusthave considered.Duringtheearlyninetiesamongthemenheknewwhilehelivedonthe heightsofMontmartre were Gauguin, Charles Morice, and Toulouse-Lautrec.Hisfellow- exhibitors when he made his debut in 1890 included Gauguin, Van Gogh, Signac, Toulouse- Lautrec, Vuillard, Emile Besnard, and Maurice De ni ~. ~' But the mostthat acritic search- ing forthe influence ofsuchcontacts wouldbeableto discover wouldbe,possibly,some- thingoftheJapanesecompositionthatsoaffectedToulouse-Lautrecinafewpictures like Marthe Morineau in Spanish C o ~ t u me , ~ ~ where the figure is about to disappear through the rightside ofthe frame.However,acomparisonofthe variousversionsofthe Dwarf Gregorio(Fig. 6) and ofthe Ladies on a Balcony29wouldindicate that such effects are due mainlytotheisolationandrepetitionoffavoritedetails.Thisperiodwasthegolden ageoftheposterandthespecialdevelopmentofthatpictorialformdoubtlessaffected Zuloaga'spreference for striking figures, vigorously drawn and placedas nearlyas possible on a plane with the surface ofthe picture.During Auguste Rodin'slatter years the sculptor was an intimate friendofZuloaga and often accompanied him on automobile trips through Spain. But inanalyzingthe workofmodernpaintersthereisoftenastrangediscrepancy betweenthe masters admiredand studied byapainterand those whoseinfluence appears inhiswork.Verylittlecouldbefound, forexample,toindicatethesincereadmiration felt by Van Gogh, C&zanne,or Picasso for the work ofcertain older masters ifthese moderns hadnotleftarecordoftheirenthusiasmsinwords.Eventhe activitiesofapainteras collector hardlyafford an indication inmostcases ofthe influences actually presentin his own work.In Zuloaga'scollection atZumayathere are picturesbymenwhose style is atthe opposite pole from his,30 and it wouldbe interestingto study the collections ofvarious celebratedartistsofourownand otherdays fromthis pointofview. One maycite, inZuloaga'sinstance, the listofthe great namesinSpanish painting and noteaspects ofthosemenwhosethunder reverberatesinhiswork.First,ofcourse, isVelasquez.Butitisthe Velasquezoftheearlyperiod,beforethejourneytoItalyin 1629, andthehardmodellingofLosBorrachosisreadilyrecognizedinZuloaga'sown 26ValerianvonLoga,FranciscodeGoya,Berlin,Edition,withThe DwarfGregorio,No.22intheRein- 1921, p.29.hardtexhibition.Inthelatterversiontheaustere 27ExhibitionofPaintingsbyIgnacioZuloagaunderfiguresa t therightof thecompositionhavebeenre-theAus pcesofMr s . Phi l i p M . Lydzg.Wzt h a Forewordmoved.I tis worthy of remark t hatZuloaga has changed by John S.Sargent.Introduction, notes, andbibliographythetitleofthesamepictureonvariousoccasions,but by Chrzstian Brznton,New York, 1916 (?)(shown in vari-retainedthesametitle forvariousversionsofthesame ouscities,November,1916-May,1918), pp.13-14.theme. 28Catalogue, 1909, p.47.30A Gauguin,forexample.ChristianBrinton,in 2gCompare At the Corrida, h'o. 28 in the exhibitionAmericanMagazineofArt , VIII(Jan. ),1917,p.93, a tthe ReinhardtGalleries, January,1925, withFemmesreportsthepainteras saying,"Thoughcaringmorefor auBalcon,No.10,oftheexhibitiona t theHispanicthe olderar t ,Iam bynomeans an enemyofallthat is SocietyofAmerica,1909, shownonp.35ofthe1909new.Igreatly admire for instance the unquestionedsin- catalogue.ComparealsoLeh'ainGregorio ofthe lattercerity and austeredevotionto the absolute exhibitedby exhibition,entitledalsoCastillaViejaintheEstrellasuch a man as Pablo Picasso." picturesofthevintage.31TherearerecollectionsofthegreatVelasquezportraits-the earlierones ofPhilipIV, thoseofMoenippusand Pablillosde Valladolid-inthe placing andlightingofmanyofhisfull-lengthfigures,theportraitofthesingerBuffalo,asan instance.32The selection ofdwarfs as subjects has the obvious sanction ofSpain'sgreatest painter,butthereare at thesame timeprofounddifferences.In Velasquezthereare no bullfightersand the light though usually filtered through the gloomy depths ofthe Alcbzar isalwayssunlight,neverthe glareofthe footlights.33 Goya is the man, to be sure, from whomthe bullfightersand the gypsies, the dancers andthe witchescome.Zuloaga'sassociationwiththe nativesofTrianaandhis personal knowledge ofthedescendantsofGoya'spicturesquetypesaresosolidasourceofinfor- mationthatthisrelationgoesbeyondliteraryorartisticindebtedness.Butthemood andtheexampleofGoyaestablishedatraditionthathasbeenthenormofthecentury since his death, and it is in this traditionthat Zuloaga shares justas did Worms, Fortuny, andManet,as wellas manylessermen.Atrueparallel,apartfromchoiceofsubject, canbedrawnbetweenZuloagaandFrankBrangwyn.34 There isaharkingbackevenfurther inthe historyofSpanish arttoMoralesand Valdks Leal.The terrific allegories ofdeath and destruction by Valdks Leal in the Hospital delaCaridadinS e ~ i l l e ~ ~ areakintoZuloaga'sCristodelaSangre andhisFlagellants, thelatterto beseeninthe collection ofthe HispanicSocietyofAmerica(Fig. 12).The lackofrelationbetweenfigureandbackgroundseenintherealisticmodellingof Zurbarhnmay beaprecedentforasimilarphenomenonin some ofZuloaga's work.36 Far- fetched references might even be made to certain devices employed byMurillo and Ribera. Anditis amatteroffactthatZuloagawasoneofthe firsttoadmire theartofEl Greco,some ofwhosemostinterestingpictureshepossessedeveninhispoverty-stricken studentdays.37Withtheseand withphotographsoftheCretan'smasterpieceshecarried onanactivecampaignofpropagandaamonghisfriendsofMontmartre,butitwasnot untilsome yearslaterthatthe booksofCossio andofBarrhs appeared.38ElGreco, how- ever,was like the raven that nourishedElijah in thatEl Greco enabledZuloaga to survive inan agewithwhichhehadnospiritual sympathyandsustainedhiminthestruggleof proudindependenceandreaction.Probablythe onlytechnicaleffectwasajustification for depicting figures ten headstall, withlimbs curvedlike adrawnbow,suchas wesee in PepilloelMatador. hiore profoundinstimulating the mindandthe handofan artistto graphic expres- sion eventhanthe workofotherartists maybethe influence ofplaces.The language of architectureinalandofdefiniteandcontinuoustraditionslikeSpainmustmoldhis thoughts as irresistiblyas theidiomaticandellipticphrasesofhisnativetongue. Bywayofcontrast,letusnotehowlittleZuloagahasbeenaffectedbyforeign scenes.Firstofall, thereis Rome.Thitherhe hadgoneonhisownresourceswhenbut eighteen yearsold,following acustomwhichGoyahadobservedas wellasFortuny and others.PerhapslikeVelasquezhishealthsuccumbedtcaRomanfever.Atanyrate, alCatalogue, 1909, p.39.Spanischen~lilalerei,Leipzig, 1922, pp. 356-357. a21bid.,p. 27.jeFor example, the sharp silhouettes againstavery 33The portlait calledPablillos de Valladolid,is alsolow horizon, such as we see inSanRomrin and El Beato designatedvariouslyasaBuffoon,anActor,andaLUIS BeltranbyZurbarhn.ReproducedinAugustL. Rhetor,andalthoughobviouslyrepresentingamanMayer, op.ci t . ,p. 318 and p.320. declaiming, is illuminatedwith daylight.3'ArshneAlexandre,op.ci t . ,p.28. J4Guy PeneduRois, The Come Backof Zuloaga,inasManuel Cossfo, ElGreco, Madrid, 1908.Maurice ArtsandDecoration,VI I ,2 (Dec., 1916), p. 62.BarrBs, Greco ou Ee secretdeTolide, Paris,1912. JSReproducedinAugustL.Mayer, Geschichtedm theTempietto ofBramanteinthecourtyardoftheSpanishAcademyontheJaniculum providedas little inspirationas did the vastermonuments onthe Vaticanhill. London,too, he visited after some hardtimes inParis, Iooking upcertain friends of hisfather, among themOscar Browning.Zuloaga'sportraitofthisgenialscholar isnow inthe possessionofCambridge University.Duringhis stay inwhatPioBarojacalls"la ciudaddenieblas,"Zuloagaalsodidseveralotherportraits.Buthiscontactsthereleft nopermanentstamp on his style. EvenParis,wherehetookrefuge after disappointmentinRome,affectedhimbut little.LikeAnglada,hehaspassedapartofeveryyearinParissinceheattainedhis reputation,buttherecordofthisappears, ifatall,onlyinhisportraits.Althoughthe principlesofmodernarthaveradiatedfromParisintheselastyears,affectingmenas intrinsicallySpanishastheZubiaurres,Solana,andV&zquez Diaz,Zuloagahasnotatany timebeen affected bythe currents fashionable in Paris, noris he now. Onhis returnto Spain from London, the problem ofsubsistence having temporarily been solved by the four or five commissions obtainedthere, he settled for a while in Seville. The Parisian exile and the London sojourn had been merely periods ofhomesick preparation, sothathiseyescouldabsorbwithunveiledfreshness thebrilliantspectacleofsouthern Spain.I twasthenthathebegantheseries ofprovincialtypesandcharacters bywhich heisbestknown.In1895 heexhibitedtheresultsofhisAndalusianstudiesinParis,39 meeting withsuchslight encouragement thatfor atimehe turnedto other means oflive- lihood,asmentionedabove,buthemustalreadyhavebeenconvincedofhistruepath by the individual style peculiar to himselfwhich he saw grow beneath his hand atthis time. In Segovia, however, are to befound the atmosphereandthe harmonious organiza- tionofthe earthwiththe structuresthatemergefromit whichofallSpain mostattract Zuloaga.Of thisgraveandmelancholytownhehasmadeseveral effigies,twoofwhich are shown inthese pages, an earlier one almost ina monotone ofgreenish-gray witha few accents ofcolor(Fig. 8), theotherhappier,morejoyous,differinggreatlyfromtherec- tangularmethodofthefirst,almostapproachingthedeliciouscolorofRenoir,withits delicate strands ofcolor laid on in parallel strokes, but retaining a highSpanish seriousness and solidity ofconstruction withit all(Fig. 7) .The latterpictureisaneffective representationoftheimpressionSegoviamadeon the Rev.Fr. M. GilwhenhevisitedZuloaga's studiothere, andthepicturewaspainted after this description was published.40He speaks ofthe city as "that Segovia, so picturesque, so solemnly beautiful, so grave, so placid, laden with history, overloaded with monuments, smiling in its sadness, grown old while aroundit life is renewedin an explosion ofverdure thatimprisons it as inagirdle ofemeralds,severe and majestic; thecity'sbeautyalittle decayedandmoth-eatenbutpossessingadignified,meditative,tearfulairlikeatitled nobleman fingering the parchmentletters ofennoblementafter fortune has fled." "Aslongasstrongplaceswerenecessary,"remarksHavelockEllis,"Segoviawas prosperous, but whenatlength Spain becameunited, Segovia's partin its life was played. I tremainsto-dayacitythatismainlyRoman,Romanesque,andmediaeval.Thereis nothingin it ofimportancelaterthanthe sixteenthcentury, andthe onlygreatcontribu- tionwhichthatcentury madewasthe cathedral."41In thissleeping cityZuloagafinds a congeniallocationforhismostcharacteristicwork.Aslongastheweatherpermitshe works inthe Romanesque church ofSan Juande 10s Caballeros, andthen migratesto the Casade10sCan6nigos.Thechurch,disusedforsomehundredsofyears,isalsothe 39Underthe auspicesof Le Barcde Bouteville, rue'OM.Gil, op.cil.,p. 87. Le Peletier."HavelockEllis, op. cit ., p.324. LXXXIII FIG.6-EXHIBITIONATTHEREINHARDTGALLERIES,NEWYORK,1925: THEDWARFGREGORIOBYZULOAGA PLATELXXXIV FIG.7- ~XHIBITIONATTHEREINHARDTGALLERIES,NEWYORK,1925: VIEW OFSEGOVIABYZULOAGA workshop ofhis uncle, Daniel Zuloaga, who has revived the ceramic craft in SegoviaHis cousins whom he has so often painted(cf. Fig. 10) are the daughters ofthe uncle with whom heworks,andthepaintingwhichfirstbroughthimfame wasoneofhisUncleDaniel's family, the original hanging in the Luxembourg, with another version ofthe same subject in the BostonMuseumofFine Arts. TheplasteredwallsofSanJuande10sCaballerosconcealedsculpturedmediaeval tombs; in recovering themZuloaga performed an act symbolic ofhis artistic creed.42This church,abandonedsince thetimeofPhilip111, andtheCanonjia, wheretheinquisitors once passed judgment on heretics, are romantic survivals that surround him as he works, and, more than the atmosphere ofacademic studio or museum, penetrate and determine his art. Zuloaga'sfirst picture was, as already mentioned, acopy ofaportraitbyEl Greco. In Paris his first years constituted a periodofindecision and hesitation ;it was not until the exhibitionof1895 inParis,whenthe resultsofhisworkinSeville wereshown,thatthe painter had found his own way.He had, it is true, been representedin the Salon of1890, andin1893 he hadbeenshown intheSalonduChampde Mars, butwithoutattracting attention.Eventheportraitofhimselfinhuntingcostumeexhibitedat theSociCtC Nationalein1897wasnotoneofwhichhewasafterwardsproud.Hardlyuntil1899, with the picture ofDaniel Zuloaga and his cousins, did he become known. While his heart was thus attached to Spain, and to Segovia most of all, he developed yetanothermanner-certaineasytricksacquiredperhapsinParis-whichappearseven inthoseearlyportraitspaintedwhenmoneywassodesperatelyneeded.Someofhis societyportraitsare,indeed,savedfromfashionablemediocritybyatouchofalltoo veracious characterizationmingled with the stylishstuffs and smart posturings ofthe sub- jects.In spite ofthe warnings ofhis friend J.S. Sargent he has persisted in turning out a certainquantityofthesemade-to-orderportraits.43 Hemayhaveconsoledhimselfby recallingthosesardonicportraitsbyGoyainwhichthepainteravengedhimselfonhis unabashedsubjects, butafewinstancesinZuloaga's workwherethereisan approachto undignifiedcaricature afford inadequatesolace for apainterwhoiscapable ofdoing work such as all the worldmaysee in the collection ofthe HispanicSociety ofAmerica. Zuloaga has gone so far as to assert that: "Ipaint only that which Ilike, in the way Iwishtopaintit, andaccordingtothedictatesofmytemperament.Essentiallyand exclusivelySpanishinmysympathies,I love mycountrywithpassionateardorandam unhappyanywhereandeverywhere else.""Thatproclamationseemsindeedtobetrue ofhisbetterproductionsbutit cannotexplain-infact his statement makes it impossible toexplain-howhecouldhavepaintedandshownsomeoftheworkthatwasexhibited onhis lastvisitto America.46 Hisportraitsarenot,however,thebasisofhiscompatriots'earlyopposition,and thereluctanceofhisfellow-countrymentoaccepttheartofZuloagaisaninteresting phenomenon.The mostsignal instance ofthis hostility,experienced from the official and academic set, occurred in1900.For the great Paris exposition ofthat year Zuloaga offered totheSpanishsectionhislargecanvasAntesdelaCorrida,whichrepresentsthevisit thateverytruedevotC ofthe bullringmakesto thevillageofAlcalhdeGuadairainthe outskirts ofSeville, to enjoyapreviewofthesplendidbeaststhatareto beatoncethe heroes and the victims ofthe morrow's celebration. '*M. Gil, op.ci t.,pp. 92-93.Art ,p. 93. 'SConstanceL. Sangree,IgnacioZuloagahisown45Animportantexceptionmust bemade, however, Architect,inNewYorkTimesMagatine,July1,1923,in the case of Zuloaga's portrait of Miss Margaret Kahn p. 4.oneofthemostsuccessfulthathehaseverpaintedd4ChristianBrinton,inAmericanMagazineof(Fig. 9).Aworthycanvasthisis,as itssubsequenthistoryhasproven,butthecliquethat composedtheSpanishjuryrefusedit onthescorethatit wastoolarge,althoughroom wasfoundforconventionalmediocritiesofmuchgreaterdimensions.Thispicturehad alreadyreceivedagoldmedalat AntwerpandhadbeenacquiredfortheMuseumof Santiago ~usi 601, "CauFerrat,"atSitges.Whenthejury'sdecisionwasannouncedit wastoolate forZuloagatosubstitute anythingsmaller,andatthesametimehehadto wait untilthe expositionclosedto regainpossessionofthe picture for its returntoBarce- lona.Inthe meanwhiletheModernGallery ofBrusselsmadeaveryflatteringofferfor the painting, whichSr. Rusinolgraciously made over to the artist, and he himselfaccepted a substitute. Enthusiasminwreckingestablishedreputationsorinplacingobstaclesinthe way ofsuccess unaidedbypoliticalor social influence operates inSpain to an extent inconceiv- ablebyAmericanartistsandcritics.InZuloaga'scaseitmustberememberedthat,in additionto the difficulties againstwhicheverySpaniard hasto struggle, the timeswhen heattainedhisartisticgrowthwereparticularlygrievous.I t wassoonafterthedis- asters of1898, when the last remnants ofa vastcolonial empire were lost and the country's ruin seemed complete.To publishsuch aspects ofSpanish life and character as were to be seen insome ofthe bullfightpicturesand scenes from the dregs ofsociety-picturesofan unqualifiedrealismand carrying aguarantee oftheir authenticity on every inch ofsurface -seemeddisgracefulandembarrassingto manySpaniards,ifnotactuallytrea~onable.' ~ The fact that Zuloaga'sreputationwas made abroad did not help hiscase in Spain.With the exceptionofcommerciallyaggressiveandprosperousBarcelona,Spaniards havehad few opportunitiesofseeinganyofZuloaga'spicturesexceptwhenreproducedinmaga-zines.Andeven ifthey viewed his pictures, howcould they afford to buy? But the gypsies, the peasants, the dwarfs, and the bullfightersknow whatthe painter is about(cf . Figs.3, 4, 5, and6).In the townofZumayahe isalmostafeudal lord,the leadingcitizenofthe village.Hisclose friendship withBelmonte(Fig. 11), the matador whohasfaceddeathinthe ringmorethanthreethousandtimes,the mostdaringtorero aliveaccordingtohisadmirers,isaloneenoughtomakehimapopularhero."Those who care nothing for the technique ofpainting and still less for juries and academies admire hiswork, notunimpressedperhapsthat asingle picture byZuloagabringsmorethanthe lifelongtoilofawhole familyoflaborers inthe fields. Since the decline ofMurillo'spopularity,the names ofGoya and Velasquez are those whichpopularlysignifySpanishpainting.Apartfromthedwarfs,Zuloaga'sconnection withVelasquezisnotsoobvious,becauseVelasquezdidnotdepictbullfighters,while Goya did, so that Zuloaga'sname is more oftencoupled withthat ofGoyathan withany other.However, as Arskne Alexandre points out, the differences are more important than 4BThatthisattitudepersistsamongsomeofthemillonariosyde10sescritoresyartistasquemuerende intellectualsisshowninanarticlewrittenbyJosetuberculosisoarrastranunavejezmis6rrima,acosadosde Franc&,the eminentcritic ofMadrid, for La Revistadetodaslaspenalidades;eslaemigracidnde10shombresde Bellas Artes,Havana, July-September,1918, p.136:cienciayde10shombresdelagro;esla jlamenqueriayel "&Cual eslaprimeraimpresidnquenossurgiereelmatonismoapoderandosedelasantiguascualidadesde artedeIgnacio Zuloaga?Pararesumirla diriamosquenosvalorycaballerosidad;esladesgraciamoral-dedonde deja sabordesangreen la bocayestruja~r~ientossurgenlujuria, lainsensibilidad-queimponemosa de dolorenla elcorazdn, yrosadas calideces de verguenza en la piel....nueslrasmujeres,anuestrashermanas,anuestrashijas,"Ahondundoentodos10sseriosproblemasdelsentandolasenlasgradasdepiedradeu n rircotaurino; empobrecimienlonaci o~i al , encontramossiemprelalepraeslavillanayantipatridlicaafrenladenuestrabandera, taurina. Lascorridasdetorossonlasculpablesdetodascolocadaen elmastildelasplazasdetoros." nuestrasderrotasmaterialesyespirituales.LVoesla'?SeeChristianBrinton, J uan Belmonte, Greatestof sangrede caballos, toros ytoreros-que&to, a1 jinya1 cabo,Matadors,inIfanilyFai r, April,19'25,p.49.Bruce pocoimportarla-loquenospreocupa;esladesviacidnGould, Juan Belmonte,Ki ngofBullring,Speaks Out ,in torpe ysuicidade nueslras energias, elenvilecimientodela8TheNewYorkTi mes Magazine, March15, 1925, p. 7.costumbres;son10sajrentososcontrastesde10storeros PLATELXXXV PLATELXXXVI the similarities.48 Many ofGoya's works are practicallyblackand white, grisaille height- ened withwashesofcolor, while Zuloaga'sworkis directlypainted,enforcedwithpower- fully defined hues.The modernmastercomposes deliberately, leavingnothing to chance, his style is broad yet restrained within predeterminedlimits; but Goya, even in oil painting, hadallthespontaneous fluencyofawater-colorist.Thetemperamentsofthetwomen are alsoopposed: allGoya'ssubjects,ifhewasthe leastinterestedinthem, reflectedhis ownirrepressiblee ~c i t e me n t , ~~butZuloaga, havingfullycomprehendedwhathe is about topaint,rendershissubjectwithdetachment,thecalmofconsciousmastery.While Goya, then, establishedthe traditionby whichthe bull ring and the dance hall have for us providedthetypicalSpanishsubjects,Zuloaga'spredecessors,inhistreatmentofthese subjects,becauseofhisdirectness,sincerity,andobvious intention, are rathersuchmen as Zurbarhn, Carreiio, and Mazo, the last perhaps most ofall. Alongside DonQuixotewentthe burlesqueSancho Panza, and, as hasso often been pointedout, thesefigures depicttwosidesofthe Spanishcharacter.InSpanishlitera- ture besidethe mystic works ofSanta Teresaand San Juan de Di6s wefindCelestina and Lazarillode Tormes.Thereisthusabundantjustificationfordepictingbothpicaresque themes and fervid religious feeling.In Zuloaga's painting, in contrast t o such pictures as the Callede Amor,hisfrankly sensualnudes,andalonglineofdwarfsandotherlowtypes, wefind such apparently inconsistentcanvases as his Cristo de laSangre, and El Cardenal, as wellasLosFlagelantes(Fig.12).Thelast-named,inthecollectionoftheHispanic Society ofAmerica, exhibits that side ofZuloaga's mindand art which is equally significant withthe others, butis far moredifficult forAmericansto apprehend withsympathy. Aninterestingcommentary onthispicturehasbeenwrittenbytheRev.Fr.M. Gil.50Similar scenes have been discussed by Dario de Regoyos in his account ofthe journey which he and Verhaerenmade through S ~ a i n . ~ ' Awhole bookin this vein has been written byJ .Gutikrrez-Solana, himselfapainter, presentingthis side ofSpanish life,oneso alien tothe outsideobserver,butofsuchtremendoussignificance inthe opinionoftheSpan- iards themselves. "Oneofhispictures,"writesFatherGil,"isentitled'LosFlagelantes.'In certain townsinthe neighborhoodofRiojaandSegovia thereisanoldcustomorceremonyob- servedin HolyWeek,during which devout and fervent menscourge themselvesinturn in bloodystyle, whilethe Descentfrom the Cross is realisticallyrepresentedinthe openair. Whenthe bodyofChristhas beendetachedfromthe cross itis slowly lowered bymeans ofropes, and in the meanwhile one ofthe flagellants kneels at the foot ofthe cross, his face concealedwithahandkerchief,theupperpartofhisbodybared,andinhishandcruel scourges.He waitsfor the sacredsculpture to touchhis head.This isthe agreedsignal for the flagellant to beginthe unmerciful discipline, whose heavyblows onhisnakedbody resoundinthe midstofareligious silence,whilethe priestandpiouspeoplecontemplate the edifying spectacle.The first flagellant is followed by others, who are sometimes carried byemulationbeyondthe limitsoffervor.Sometimes, itis said, these scenes assumethe characterofashambles,abarbarityduetoantecedentrivalriesandanemulationun- '8ArsBneAlexandre, op.czt . , p43. n' egra,Barcelona,1889,aSpanlsht r a~sl at l onofthe 49TheportraltdrawlngofArthurWellesley,Dukeart ~cl esbythe Belglan poetwhlchor ~g~nal l yappeared In of Wellington(cf. Hugh Stokes, FranczscoGoyc~, L., 1914,L' Ar t Moderne, wlthcommentarresbytheSpanish p.270),wouldhardlylead oneto expect t hatthe subjectartist. Long outofpnnt ,~thas recently been republished wouldbe knownas the"IronDuke."IntheserlesCuadernoslzterarzos,DariotieRegoyos,La G I ~ , opczt., p94. At least two small picturesEspafiaSegradeVerhaereiz, Madrld, 1924.I tappears offlagellantsmarchrngInprocessrononGoodFrldayfromJoseGutlCrrez-Solana,La EspafiaXegra, Madrid,appeart ohavebeenpalntedbyGoya, oneformerlyin1924,pp. 253-254,t hat thelatterpossessesseveral t he Academy ofSan Fernando and now rnthe Prado,thelandscapesby Dario de Regoyos and has talked with hlm other ~n the Lrllehluseum. severaltrmes,but henowherereferstotheworkofhrs 5lEmrleVerhaerenandDariodeRegoyos, Espafiapredecessor Inthe literaryfield. tempered by prudence on thepart of the ignorant flagellants." But this mood is trulySpanishandastypicalofZuloagaasthemorepopular bullfighters anddancers.52Zuloaga's knowledge of bullfightingisalso first-hand; he haswitnessed it from thearena aswell asfrom theringside. Inhis early twenties, having apparentlyfailed asapainter, antiquedealer,and bookkeeper,heenlistedin theschoolof Carmona in Seville,andwasmakingfairprogresswhenhewassoseriouslygoredbyhiseighteenthbullthatoutof respect for his mother's wishes,heabandonedthering andreturned topainting. Thelegendof Goya'slifeincludessomethingofthesamesort,53 andsuchacourseisnotunknownin Spain,aswe may learn fromGoya'setching of thestudentPalcesin theTauromaquiaseries.54 One of thematadorswhom Zuloaga has depicted was named Pepillo, and Goyabeforehimhadetched severalplates of hishero Pepe1110.JosC Delgado, known professionally asPepe1110,isremembered not only because ofGoya's admirationbutalsobecausehewroteoneofthefirst textbooksonbullfighting. Intheintroductiontothatbook arefoundcertainobservationswhich indicatethatheprob-ablyoriginated theclassicalapologyforbullfighting, as thesame argumentsareurged byeveryloverof thesporteven t o - d a ~ . ~ ~ "Keep awayfromme," writes Pepe1110, "all thosepeaceful, envious,fawningfellowswhoareimpertinentenoughtocallthissportbarbarous.Theirargumentsarebornoffear,fatheredbyenvy,andbroughtforthbytheir consummatelazinessandindolence. Whoever seesa bullfightknowsfromhis ownexperiencethat themaxims andsystemsof suchfanaticsarelies. Herealizesthat valor andskillprotect thebullfightersfromthechargesandattacksof thefiercebeast,whichfinallyyieldsupitslastbreath in their hands. And itis no argument that sometimes a bullfighter is killed. ,, Swimmingandhorseback ridinghavecarried morementotheirgravesthanbullscaneverkill."Pepe 1110 was, however, gored to death in the ring at Madrid on May 11, 1801,probably before Goya's very eyes, and the event was faithfullyreported by that artist.Belmonte was once badly hurt at a corrida given under Zuloaga's auspices, but survivedtohavehisportrait paintedmanytimesby hisfriend andadmirer (cf. Fig. 11).56Zuloagaisbynomeansanoutdoororlandscapepainter,inspiteof hisardentinterestin thisopen-air sport. Hisisaself-containedbutentirelyunphotographic sortof realism,in contrasttothecosmopolitanbrilliancyindepictingaccidentsof lightandcolorthatdis-tinguished theValencian Sorolla. The landscapes in Zuloaga's latest exhibition showedtracesof various influences,but few of them possessed thedramatic,scenicimportanceofthe backgrounds in his figure pieces.51As Unamuno remarks, "For myself Ican say that thevision of Zuloaga's canvaseshas served to ferment my own visions of Spain in themany journeys that Ihave madethroughtheland. . . Notonlyinthepicturesof Zuloagaasinthoseof Velasquezdoesonefindthatthemaniseverythingbuttheverylandscapeitselfisaprolongationof theman. . . InZuloaga's pictures themen maketheir environment and not thescenethemen. Youfindthesamething inEl Greco. Isit not probable that theSpanishlandscape is a pro-longation,aprojectionof thesoulof thepeoplethatinhabititT7'5862The Spanish interest in blood is discussed by theTauromaquiaseries.)Hayelock Ellis, op. cil., pp. 44ff. Hequotes Barrbs as "Josef Delgado (alias)1110,LaTaurontuquha6Arlesaying, "I suspect the Spaniards of finding pleasure in deTorear,obrautilisima para10storerosdeprofesibn, parathesightof thesufferingsof Christ." 10saficionados,yloda clasede sugetosque guslande toros,63He was certainly intimate with the celebrated Cadlz,1796,pp. 5-6.matadors of his day. Cf. Jose Veltizquez y SBnchez, "In the Reinhardt exhibition: No. 12,Juan Bel- Anales del Toreo, Seville, 1868, pp. 89ff. Charles monte-in Gold;No. 13,JuanBelmont-in Silver;No. Yriarte,Goya,Paris,1867,p. 15,notesthatGoyasigned 14,JuanBelmonte-in Black. oneof hisletters"Francisco de10sToros." 671n the Reinhardt exhibition there were eighteen " h y s Delteil,FranciscoOoya,Part 2(Le Peinlre landscapesandarchitecturalsubjects.Uraveur Illuslrl,XV),Paris,1922,No. 237. (Plate140f 6sZgnacio Zuloaga (EditionEstrella),p. 21.PLATELXXXVII PLATELXXXVIII 9 P. .The atmosphereofZuloagais notthatofthe natural man, whichas Degasusedto sayis"goodonlyto breathe."To hismindthe worldofthe motion-picturecameraand thegloryofartare differentrealities.In hisjourneyshedoes notgoaboutwithkodak orsketchbooknotingdownaspectsordetails.Hecarriesaleather-boundnotebookin which he jotsdown memoranda, and the words he puts down act as stimulants to his visual memorywhenhestandsbeforetheeasel.59Thepigmentinhischaracteristicworkis applied withlong, resolute strokes, correspondingto the rhythm and syntheticvisionofa self-sufficient andself-reliantindependent. Whileearliersuccesses consistedofsharply-markedsilhouettesagainst drop curtains ofobviouslycomposedlandscapes,architecturalelementsplayingalargepart,hislater work has shown a greater sympathy with ideas ofmass and volume.At the same time his palette has acquired greater variety and range, ifno more subtlety.To a certain degree, one may suspect, hehas willingly shuthimselfupwithinlimitswhichheiscapableoftran- scending.In the exhibitionatthe ReinhardtGalleries,forexample,therewasaportrait ofthe Duchess ofAlba(Fig. 15),60handledwithself-conscious dash and brilliancy in tech- nique,hisownstereotypedconventionscombinedinimpressingresultwiththesinuous curvesandarabesquesthatallsociety painters,sinceGainsboroughatleast, have mixed withtheirlinseedoil.Butatthesideofthiselaborateproductionhungapreliminary sketch which far outdistanced it in merit.Instead ofthe ready-mixedhues fresh from the tube, there were delicately mingled passages ofcolor, a freedom from arbitrary proportions inthefigure,andasuggestionofatmosphere,ofpoeticfeelingreminiscentofGoya's earlyperiodbutquiteabsentfromZuloaga'sfinished version.WhileZuloaga'ssketches are not generally known and possess none ofthe mannered distinction ofhis exhibited work, they contain a hint of tendernesswhich his fierce pride and deliberatelyhardened technique eliminatefrom the final work. Zuloaga'sbrushworkisnotsoobviouslytheexpressionofavirtuosoasisthatof Besnard,Sargent, or Zorn, but it is hardly possible to agree withCamille Mauclairthat he resemblesIngresinthereserveandconcentrationofhisbrush.81To besure, thereisa concentrated emotion and forceful intent in every stroke, but in Zuloaga wherevera Gothic intensity has been replacedwith an easier line, it is a distant relativeofrococo rather than the pure, expressive,fluent lineofIngres. The realismofZuloagais the realismofZurbarAn, afirm,objective synthesis ofthe seen, untroubled by the accidents oflight and the intricacies ofatmosphere.Like Manet in the periodwhenGoya and Hals were hisguides, Zuloaga is indifferentto atmosphere, and the dramatic effect secured by whirling, wind-swept clouds, in contrast with the determined composureofthe figures inthe foregrounds ofmany ofhispictures, remindsussomewhat ofEl Greco, butmoreof Delacroix.In the shadowsalone, inan effortto obtainvitality and varietyinhisdeepertonesis thereanything ofrecentideasoncolor,buteventhese wereprobablyabsorbedinhisstudyofVelasquez. His composition is generally decidedly formal, arranged to adorn a given space.I tis simple,obvious,andcarefullybalanced,staticwithoutsurpriseorparticularingenuity. The painter'sphysicalvitalityandconcentratedwilltoexpression savethisaspectofhis artfromattractingunfavorableattention.Rather,aconventionaldispositionofthe massesandlinesof interestisrelievedbyoddlytorturedcurves,some elementofintense %"Talogue,1916, p. 24.111,pp.1-40.VoteRenoir'sremarksonMauclair's 6OReinhardt exhibition, No. 2.The sketchwas No. 3.discussion ofhis work, as maliciouslyreported inRenoir, fllCamilioMauclair,Museum, Barcelona,1913,Paris, 1920, pp. 129-130. expressiveness neutralizesthe stolidity whichmighteasilycreepinto hiswork,as itdoes persistentlyintothatoftheZubiaurres.62 There is another pointofsome importancethatcanbedemonstrated bycomparing hissingle-figurecompositions withthoseofVelasquez.He hasonvariousoccasions por- trayedMarcelleSouty, PilarSoler, Lucienne Brkval(Fig. 13)) and other stage celebrities, fortheartificialworldofthetheatre,withitsforcedlighting,andtheconcentrationof emphasisonthe figures, isone that mustappealto him.63The stage is afinite, self-con- tainedmicrocosm,avisionpredominantlyintwodimensionsfrom thespectator'sfixed pointofview; everything apart from the figures is but an accessory;landscape, in particu- lar, ismainlyadecorativedeviceagainstwhichthe actorsstandoutinsignificantrelief. Recentmethodsof lightinghavechangedthissituationinsometheatres,-butinFrance untilrecentlyandevennowinSpainthis principleprevails.64 Thetheatricalaspectof Zuloaga'sworkistobeobservedinstillanotherregard. In alarge numberofhisportraits and figure piecesthe definite borderingline afforded by thefootlightsmaybeseen(cf.Fig.14).Exceptforthedirectionofthelightandits color,thereislittledifference betweenthepictureofMlle.LucienneBrCvalinCarmen (Fig. 13) and hisCastilla Vieja(Fig. 6) .65 This lackofatmosphere, an intentionalstaging ofthesubject,markingallthedifference betweenhisportraitsandthoseofVelasquez, inclines to producean effectofshallowness, an absenceofdepth, inspiteofthevigorous modelling.Probably it is this theatrical tendency which has alienated many ofthe younger critics,althoughthisimpressionismisleadingandunfortunate, sincethereisin Zuloaga agenuinedramaticgiftinadditiontohismerelytheatricalmethod. Zuloaga'sworkhasdefinitelydurablequalities.Firstcomesrealism,agraphic transcriptionofthe sensation ofplasticexistence,as essentialacharacteristicof allSpan- ishas it is ofZuloaga's. - Throughout mostofSpain the light and the atmosihere are so rarely tempered by any moderation betweenthe extremes that everything is sharply felt,therearenosubtletransitionsormodulationsthatobscurethefactsandstimulate the imagination.Directobservationofvisualreality,expressed withthe same passionate convictionwithwhichitisfelt, sublimatedbyakeenrealizationofhumanstrength and dignity, are atthe rootofthis phaseofSpanish art.Andsecondcomesnationalism,animmediateparticipationofeachindividualin thestubbornprideofaracethatrefusestoyieldthoughoftenovercome,givingthat peculiarlyexoticflavortoZuloaga'sworkwhichfortherestoftheworldconstitutesso large apartofits attractiveness. Thesetwoqualities,realismandnationalism,arenotdevelopedinthedirectionof aself-consciousstrivingforbeauty.EvenwhenZuloaga'sfiguresaremostdeliberately posed,theexpressiveelementspredominate.Manyartists,includingLunois,Vierge, andothers, have gone to the Peninsula in searchofstimulating models andrecordedfind- ingsthatareintentionallypicturesque,anobviousattempttoproducethebeautiful. But the ethnographic document that Zuloaga produces relies on the sheer force ofdramatic intensity,abroad,skillfultechnique, andabalanced,formaldignityincompositionto attainthatsatisfactioninthecontemplationofcreatedthingswhichisamoredifficult roadtobeauty. G2Jos6Franc&,op. ci t . , p.138,pointsoutt hat t oZuloaga,addedt otheircommoninterestinGoya, L6pezMezquits,Chicharro,Benedito,theZubiaurres,wouldprovidematerial forinstructive comparisons. Rodriguez Acosta, andotherwell-knownSpanish artistsG4The expressionistpointofviewistobeseenin have been inspired by Zuloaga's success t o depict regionalSheldonCheney, APrimerof ModernArt , NewYork, types also.1924, pp. 335ff. %eeRaymond Escholier, Daumier, Paris, 1923, pp.'j5FortheillustrationsusedinthisarticleIam 73ff. for Daumier's interestin the theatre, and p.122 forindebted t o the courtesy ofHenryReinhardt & Son, the his practice ofdrawing from memory.These similaritiesHispanic Society ofAmerica, and the Brooklyn Museum.