Art: Joa­quin So­rol­la Pain­ting gi­ves me im­men­se plea­su­re

Superyacht - - What’s On - by Li­lia Cor­ren­ti

Ori­gi­nal­ly lit­tle kno­wn in Ita­ly, he was ne­ver­the­less one of the mo­st pro­li­fic and va­lued Spa­ni­sh im­pres­sio­nists. He car­ried out a good four thou­sand pain­tings on can­vass and about eight thou­sand dra­wings ma­ny of whi­ch we­re pro­du­ced on or­der and sold any­way in the cour­se of ma­ny of his in­ter­na­tio­nal ex­hi­bi­ts and mo­re so in the USA whe­re he was va­stly ap­pre­cia­ted. He was born in 1863 in Va­len­cia but did not li­ve ve­ry long a me­re six­ty years till 1923. His fir­st works go back to 1880. His fir­st suc­cess co­mes at the Na­tio­nal Ex­hi­bi­tion in 1884 whe­re he ex­hi­bi­ted so­me­thing ma­de spe­cial­ly for the event.the ti­tle is De­fen­sa del Par­que de Ar­til­le­ria de Mon­te­léon, a de­ci­ded­ly gloo­my re­pre­sen­ta­tion about whi­ch he com­men­ted “To get your­self kno­wn he­re and win a me­dal you mu­st paint the dead”. That was no vo­ca­tio­nal spi­rit but trea­su­ring what he had lear­ned from ob­ser­ving Die­go Ve­la­squez’s works, a year la­ter in Pa­ris he ma­na­ges to gra­sp the im­por­tan­ce, the ro­le light and co­lour play in pain­ting, when vi­si­ting Ba­stien Le Pa­ge and Adolf Men­zel’s works. Mo­st cer­tain­ly his mo­st de­ter­mi­ning en­coun­ter in his li­fe was when he met An­to­nio Gar­cia, a fa­med pho­to­gra­pher, and fa­ther to a friend and fel­low stu­dent of his at the Eco­le des Beaux Arts. Gar­cia ta­kes him on as light tech­ni­cian in his pho­to­gra­pher’s stu­dio. So­rol­la falls in lo­ve wi­th his be­ne­fac­tor’s third daughter na­med Clo­til­de, wi­th whom they found a won­der­ful fa­mi­ly whi­ch for So­rol­la, be­co­mes to­ge­ther wi­th his pas­sion for pain­ting, the rai­son d’etre of his li­fe.to quo­te one of his fa­vou­ri­te apho­ri­sms “pain­ting is a vi­tal func­tion ju­st as mu­ch as brea­thing is” “you can be hap­py on­ly if you’re a pain­ter”. Well he tra­vels a great deal across Eu­ro­pe and ex­hi­bi­ts his works at na­tio­nal and in­ter­na­tio­nal even­ts and con­tests wi­th Clo­til­de’s help. He’s suc­ces­sful and wins nu­me­rous na­tio­nal and in­ter­na­tio­nal awards from Va­len­cia to Ma­drid, Ro­me , As­si­si, Pa­ris, Lon­don, Ger­ma­ny and the USA. Of­ten, when for­ced to stay away from his fa­mi­ly due to his com­mit­men­ts, he would send his wi­fe bun­ches of flo­wers and let­ters, “What you’re fee­ling and wit­nes­sing is an ever­la­sting lo­ving re­newal of our re­ci­pro­cal af­fec­tion, and not the flo­wers per se, but a kind of su­bli­med be­tro­thal”. Seeing and vi­sua­li­sing beau­ty in tan­gi­ble things are for him so­me­thing men­tal­ly cap­ti­va­ting as well, for all that is crea­ted, and is the re­sult

“La pla­ya de Va­len­cia” “Pe­sca­do­ra con su hi­jo”

Light marks the rhy­thm of our li­ves and cau­ses na­tu­ral phe­no­me­na whi­ch is ex­tre­me­ly beau­ti­ful. De fac­to, the art of pain­ting would not exi­st wi­thout it. Joa­chim So­rol­la has suc­ces­sful­ly ma­na­ged to sei­ze it in ma­ster­ly fa­shion. He’s shaped in­ten­se light, in con­tra­sting hues of di­ver­se co­lours, still li­ves, land­sca­pes, and por­trai­ts im­pec­ca­bly.

“El pe­sca­dor”

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