58
MANUEL BARRERA (Active in Andalusia at the end of the 19th century)."Drinking fino".Oil on canvas.
1/7
Description
MANUEL BARRERA (Active in Andalusia at the end of the 19th century).
"Drinking fino".
Oil on canvas. Relined.
Signed in the lower left corner.
Measurements: 62 x 45 cm; 69 x 50 cm (frame).
Traditionally, Spanish painting and literature have been interested in popular customs and types. The arrival of romanticism enlivened this current, bringing to the Hispanic tradition the vision that foreigners had of our people, due to the snobbery of a Europeanising and liberal national bourgeoisie which, also due to foreign influence and under the romantic fashion, turns its eyes to the people and the monuments of the past. This, which was general throughout Spain, was particularly prevalent in Andalusia, as this land was the dream destination of foreigners, and where the influence of the vision they had of the Spaniard and his peculiar customs had to be felt most strongly. Thus, of the two fundamental costumbrista schools, the Andalusian school is focused on a friendly, folkloric picturesqueness, far removed from any attempt at social criticism; the Madrid school, on the other hand, is more pungent and harsh, sometimes going so far as to show not only the vulgar, but even recreating heart-rending visions of a clichéd world of the slums, in which the spirit of criticism is evident. The Cadiz precursors Juan Rodríguez y Jiménez (1765-1830) and Joaquín Manuel Fernández Cruzado (1781-1856) were followed by a splendid development of the Seville school, in which foreign influence seems to have played an important role, due to the influx of artists and travellers to the city and the interest of foreign clientele in topical Spanish genre scenes. This fact is corroborated by the foreign artistic clientele for the small and amiable costumbrista paintings of one of its initiators, José Domínguez Bécquer (1805-1841), creator and formulator, to a large extent, of this theme, being the teacher of numerous disciples, and father of the poet Gustavo Adolfo and the painter Valeriano, author of popular types and scenes ("La Cruz de Mayo" (The Cross of May, private collection). Antonio Cabral Bejarano (1788-1861) also played an important role in the creation and formulation of Sevillian costumbrismo, who insisted on isolated figures rather than scenes, with a certain theatricality, landscape backgrounds with a local flavour and a vaporous Murillesque atmosphere ("Un majo y una maja", Bosch collection, Barcelona).
"Drinking fino".
Oil on canvas. Relined.
Signed in the lower left corner.
Measurements: 62 x 45 cm; 69 x 50 cm (frame).
Traditionally, Spanish painting and literature have been interested in popular customs and types. The arrival of romanticism enlivened this current, bringing to the Hispanic tradition the vision that foreigners had of our people, due to the snobbery of a Europeanising and liberal national bourgeoisie which, also due to foreign influence and under the romantic fashion, turns its eyes to the people and the monuments of the past. This, which was general throughout Spain, was particularly prevalent in Andalusia, as this land was the dream destination of foreigners, and where the influence of the vision they had of the Spaniard and his peculiar customs had to be felt most strongly. Thus, of the two fundamental costumbrista schools, the Andalusian school is focused on a friendly, folkloric picturesqueness, far removed from any attempt at social criticism; the Madrid school, on the other hand, is more pungent and harsh, sometimes going so far as to show not only the vulgar, but even recreating heart-rending visions of a clichéd world of the slums, in which the spirit of criticism is evident. The Cadiz precursors Juan Rodríguez y Jiménez (1765-1830) and Joaquín Manuel Fernández Cruzado (1781-1856) were followed by a splendid development of the Seville school, in which foreign influence seems to have played an important role, due to the influx of artists and travellers to the city and the interest of foreign clientele in topical Spanish genre scenes. This fact is corroborated by the foreign artistic clientele for the small and amiable costumbrista paintings of one of its initiators, José Domínguez Bécquer (1805-1841), creator and formulator, to a large extent, of this theme, being the teacher of numerous disciples, and father of the poet Gustavo Adolfo and the painter Valeriano, author of popular types and scenes ("La Cruz de Mayo" (The Cross of May, private collection). Antonio Cabral Bejarano (1788-1861) also played an important role in the creation and formulation of Sevillian costumbrismo, who insisted on isolated figures rather than scenes, with a certain theatricality, landscape backgrounds with a local flavour and a vaporous Murillesque atmosphere ("Un majo y una maja", Bosch collection, Barcelona).
Auction Details
Shipping
T&Cs & Important Info
Ask seller a question
MANUEL BARRERA (Active in Andalusia at the end of the 19th century).
"Drinking fino".
Oil on canvas. Relined.
Signed in the lower left corner.
Measurements: 62 x 45 cm; 69 x 50 cm (frame).
Traditionally, Spanish painting and literature have been interested in popular customs and types. The arrival of romanticism enlivened this current, bringing to the Hispanic tradition the vision that foreigners had of our people, due to the snobbery of a Europeanising and liberal national bourgeoisie which, also due to foreign influence and under the romantic fashion, turns its eyes to the people and the monuments of the past. This, which was general throughout Spain, was particularly prevalent in Andalusia, as this land was the dream destination of foreigners, and where the influence of the vision they had of the Spaniard and his peculiar customs had to be felt most strongly. Thus, of the two fundamental costumbrista schools, the Andalusian school is focused on a friendly, folkloric picturesqueness, far removed from any attempt at social criticism; the Madrid school, on the other hand, is more pungent and harsh, sometimes going so far as to show not only the vulgar, but even recreating heart-rending visions of a clichéd world of the slums, in which the spirit of criticism is evident. The Cadiz precursors Juan Rodríguez y Jiménez (1765-1830) and Joaquín Manuel Fernández Cruzado (1781-1856) were followed by a splendid development of the Seville school, in which foreign influence seems to have played an important role, due to the influx of artists and travellers to the city and the interest of foreign clientele in topical Spanish genre scenes. This fact is corroborated by the foreign artistic clientele for the small and amiable costumbrista paintings of one of its initiators, José Domínguez Bécquer (1805-1841), creator and formulator, to a large extent, of this theme, being the teacher of numerous disciples, and father of the poet Gustavo Adolfo and the painter Valeriano, author of popular types and scenes ("La Cruz de Mayo" (The Cross of May, private collection). Antonio Cabral Bejarano (1788-1861) also played an important role in the creation and formulation of Sevillian costumbrismo, who insisted on isolated figures rather than scenes, with a certain theatricality, landscape backgrounds with a local flavour and a vaporous Murillesque atmosphere ("Un majo y una maja", Bosch collection, Barcelona).
"Drinking fino".
Oil on canvas. Relined.
Signed in the lower left corner.
Measurements: 62 x 45 cm; 69 x 50 cm (frame).
Traditionally, Spanish painting and literature have been interested in popular customs and types. The arrival of romanticism enlivened this current, bringing to the Hispanic tradition the vision that foreigners had of our people, due to the snobbery of a Europeanising and liberal national bourgeoisie which, also due to foreign influence and under the romantic fashion, turns its eyes to the people and the monuments of the past. This, which was general throughout Spain, was particularly prevalent in Andalusia, as this land was the dream destination of foreigners, and where the influence of the vision they had of the Spaniard and his peculiar customs had to be felt most strongly. Thus, of the two fundamental costumbrista schools, the Andalusian school is focused on a friendly, folkloric picturesqueness, far removed from any attempt at social criticism; the Madrid school, on the other hand, is more pungent and harsh, sometimes going so far as to show not only the vulgar, but even recreating heart-rending visions of a clichéd world of the slums, in which the spirit of criticism is evident. The Cadiz precursors Juan Rodríguez y Jiménez (1765-1830) and Joaquín Manuel Fernández Cruzado (1781-1856) were followed by a splendid development of the Seville school, in which foreign influence seems to have played an important role, due to the influx of artists and travellers to the city and the interest of foreign clientele in topical Spanish genre scenes. This fact is corroborated by the foreign artistic clientele for the small and amiable costumbrista paintings of one of its initiators, José Domínguez Bécquer (1805-1841), creator and formulator, to a large extent, of this theme, being the teacher of numerous disciples, and father of the poet Gustavo Adolfo and the painter Valeriano, author of popular types and scenes ("La Cruz de Mayo" (The Cross of May, private collection). Antonio Cabral Bejarano (1788-1861) also played an important role in the creation and formulation of Sevillian costumbrismo, who insisted on isolated figures rather than scenes, with a certain theatricality, landscape backgrounds with a local flavour and a vaporous Murillesque atmosphere ("Un majo y una maja", Bosch collection, Barcelona).
22nd September - 19th & 20th Century Art
Sale Date(s)
Venue Address
Aragón 346, Barcelona
Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
General delivery information available from the auctioneer
Setdart offers Worldwide shipping
PICK UP IN ROOM: You can come and pick up your lots in our offices (Barcelona, Madrid or Valencia). At the moment of the withdrawal, you will be able to accept the current conditions of the lot by means of a document that you will sign.
YOU CAN SEND ANOTHER PERSON TO PICK UP: This person must present a signed authorization that you can find in our web page by accessing from BUY AT SETDART- LOGISTICS-DOWNLOAD AUTHORIZATION DOCUMENT. You can also send an e-mail with the requested data in AUTHORIZATION DOCUMENT to admin@setdart.com
Important Information
25% buyer´s premium
21% buyer´s premium at www.setdart.com
Terms & Conditions
The maximum period to pay the lots is 7 working days. You can pay either via bank transfer or with credit card through our platform www.setdart.com (we only accept VISA or Mastercard).
BUYER´S PREMIUM: 22% Hammer price + 21% VAT from the buyer´s premium
If your piece has more than 100 years, our Ministry of Culture requires an export certificate in order for the piece to leave the country. Note that if the piece goes inside the EU, there is no cost for the export certificate. If the piece goes outside the EU, there is a cost for the export certificate. You can find more information in our Ministry of Culture website: https://www.culturaydeporte.gob.es/en/cultura/patrimonio/exportacionimportacion/exportacion/tasas.html
INQUIRIES: admin@setdart.com
Setdart guides you through the entire process, from the time of award to the day you receive your lot. Our logistics team will be happy to manage your transport, and will advise you on the best shipping method with professionals from the sector used to handling works of art and jewelry.
WE OFFER WORLDWIDE DOOR TO DOOR SHIPPING
PICK UP IN ROOM: You can come and pick up your lots in our offices. At the moment of the withdrawal, you will be able to accept the current conditions of the lot by means of a document that you will sign.
YOU CAN SEND ANOTHER PERSON TO PICK UP: This person must present a signed authorization that you can find in our web page by accessing from BUY AT SETDART-LOGISTICS-DOWNLOAD AUTHORIZATION DOCUMENT. You can also send an e-mail with the requested data in AUTHORIZATION DOCUMENT to admin@setdart.com
SETDART IS NOT RESPONSIBLE FOR THE STATE OF THE PARTS ONCE THEY LEAVE OUR FACILITIES. MRW SHIPMENTS: Once the payment is made, your lot will be packed for shipment, the logistics department will send you an e-mail notifying you of the day it leaves our warehouse, changes of address cannot be made after receiving this e-mail.
INSURANCE INCIDENTS: Coverage for the value of the auction up to 3000 ? per shipment, if the value of the auction is higher, Setdart will send you a quote including the additional insurance. The insurance company WILL NOT BE RESPONSIBLE FOR THE SHIPMENT THAT EXCEEDS THAT AMOUNT AND IS NOT FULLY INSURED. MRW INCIDENTS: Maximum notification 48 hours after receipt, after which the insurance company WILL NOT BE RESPONSIBLE AND NO CLAIMS WILL BE ACCEPTED.
E-MAIL LOGISTICS: logistica@setdart.com
PICK UP YOUR MESSAGES: You can send your own messaging, prior notice via e-mail that your shipment is ready, please note 3 or 4 days in advance. This type of shipment is packaged so Setdart will provide you with a quote.
EXPENSES FOR STORAGE: We inform you that if the purchased lot is not picked up within a month, you will be charged 30€ per week per lot. Setdart Online S.L., owner of the web site "setdart.com", "setdart.net" and "setdart.org", acts as a company of Spanish nationality inscribed in the Volume 36955, sheet 182, page B-293056 of the Mercantile Registry, with registered office at Calle Aragó
