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JUAN PABLO SALINAS TERUEL (Madrid, 1871 - Rome, 1946).Untitled.Gouache on paper.Damaged in the
1/5
Description
JUAN PABLO SALINAS TERUEL (Madrid, 1871 - Rome, 1946).
Untitled.
Gouache on paper.
Damaged in the frame.
Signed in the lower left corner.
Size: 18 x 12 cm; 46 x 40 cm (frame).
Juan Pablo Salinas began his artistic training at the Academy of Fine Arts of San Fernando, in Madrid, although his time in the classrooms was probably ephemeral. He began to make himself known in 1885, the year in which he took part in the exhibition organised by the Association of Writers and Artists and in the Aragonese Exhibition, being awarded a third-class medal in both. Around 1886 he moved to Rome to further his studies thanks to a grant awarded by the Diputación Provincial de Zaragoza. There he attended the Círculo Internacional de Bellas Artes, as well as the evening classes at the Academia Chigi. He also joined the Spanish artistic colony resident in the city and worked alongside his brother, the painter Agustín Salinas, who had been living in Rome since 1883. Both brothers submitted works to the National Exhibition of Fine Arts in Madrid in 1887; Juan Pablo sent "Mark Antony and Cleopatra", a classical theme. Like his brother, his true master, Salinas also recreated medieval themes with a notable Tuscan influence, with works such as "Romeo and Juliet" and "Scene from the Decameron". His style evolved towards costumbrismo, with special attention to popular Spanish and Italian scenes, such as "Una boda en Aragón" (A Wedding in Aragón), "Regreso de los vendimiadores" (Return of the Grape Harvesters) and other works. His career remained closely linked to that of his brother until, on a trip to Paris, he became acquainted with the work of Ernest Meissonier, whose influence led him to focus on the genre of casacons, with which he achieved great success in France, Italy, Central Europe, Russia and America. Around this time he exhibited in the Salons Roger and began his famous compositions of eighteenth-century atmosphere, in which he depicted figures dressed in the fashion of the time in the setting of luxurious interiors, minutely detailed through a precious technique that is recreated in the colourful description of clothes and lace but, above all, in the masterly treatment of the deliberately sensual female flesh tones. During this period Salinas also produced several series for the decoration of large salons. In addition to these themes, he painted orientalist scenes and church interiors. In the last stage of his career we can see a decrease in detail, a looser and less descriptive character. Juan Pablo Salinas is currently represented in the Prado Museum (his work is on deposit at the Asturias Fine Arts Museum in Oviedo), the Bellver Collection in Seville and other public and private collections.
Untitled.
Gouache on paper.
Damaged in the frame.
Signed in the lower left corner.
Size: 18 x 12 cm; 46 x 40 cm (frame).
Juan Pablo Salinas began his artistic training at the Academy of Fine Arts of San Fernando, in Madrid, although his time in the classrooms was probably ephemeral. He began to make himself known in 1885, the year in which he took part in the exhibition organised by the Association of Writers and Artists and in the Aragonese Exhibition, being awarded a third-class medal in both. Around 1886 he moved to Rome to further his studies thanks to a grant awarded by the Diputación Provincial de Zaragoza. There he attended the Círculo Internacional de Bellas Artes, as well as the evening classes at the Academia Chigi. He also joined the Spanish artistic colony resident in the city and worked alongside his brother, the painter Agustín Salinas, who had been living in Rome since 1883. Both brothers submitted works to the National Exhibition of Fine Arts in Madrid in 1887; Juan Pablo sent "Mark Antony and Cleopatra", a classical theme. Like his brother, his true master, Salinas also recreated medieval themes with a notable Tuscan influence, with works such as "Romeo and Juliet" and "Scene from the Decameron". His style evolved towards costumbrismo, with special attention to popular Spanish and Italian scenes, such as "Una boda en Aragón" (A Wedding in Aragón), "Regreso de los vendimiadores" (Return of the Grape Harvesters) and other works. His career remained closely linked to that of his brother until, on a trip to Paris, he became acquainted with the work of Ernest Meissonier, whose influence led him to focus on the genre of casacons, with which he achieved great success in France, Italy, Central Europe, Russia and America. Around this time he exhibited in the Salons Roger and began his famous compositions of eighteenth-century atmosphere, in which he depicted figures dressed in the fashion of the time in the setting of luxurious interiors, minutely detailed through a precious technique that is recreated in the colourful description of clothes and lace but, above all, in the masterly treatment of the deliberately sensual female flesh tones. During this period Salinas also produced several series for the decoration of large salons. In addition to these themes, he painted orientalist scenes and church interiors. In the last stage of his career we can see a decrease in detail, a looser and less descriptive character. Juan Pablo Salinas is currently represented in the Prado Museum (his work is on deposit at the Asturias Fine Arts Museum in Oviedo), the Bellver Collection in Seville and other public and private collections.
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JUAN PABLO SALINAS TERUEL (Madrid, 1871 - Rome, 1946).
Untitled.
Gouache on paper.
Damaged in the frame.
Signed in the lower left corner.
Size: 18 x 12 cm; 46 x 40 cm (frame).
Juan Pablo Salinas began his artistic training at the Academy of Fine Arts of San Fernando, in Madrid, although his time in the classrooms was probably ephemeral. He began to make himself known in 1885, the year in which he took part in the exhibition organised by the Association of Writers and Artists and in the Aragonese Exhibition, being awarded a third-class medal in both. Around 1886 he moved to Rome to further his studies thanks to a grant awarded by the Diputación Provincial de Zaragoza. There he attended the Círculo Internacional de Bellas Artes, as well as the evening classes at the Academia Chigi. He also joined the Spanish artistic colony resident in the city and worked alongside his brother, the painter Agustín Salinas, who had been living in Rome since 1883. Both brothers submitted works to the National Exhibition of Fine Arts in Madrid in 1887; Juan Pablo sent "Mark Antony and Cleopatra", a classical theme. Like his brother, his true master, Salinas also recreated medieval themes with a notable Tuscan influence, with works such as "Romeo and Juliet" and "Scene from the Decameron". His style evolved towards costumbrismo, with special attention to popular Spanish and Italian scenes, such as "Una boda en Aragón" (A Wedding in Aragón), "Regreso de los vendimiadores" (Return of the Grape Harvesters) and other works. His career remained closely linked to that of his brother until, on a trip to Paris, he became acquainted with the work of Ernest Meissonier, whose influence led him to focus on the genre of casacons, with which he achieved great success in France, Italy, Central Europe, Russia and America. Around this time he exhibited in the Salons Roger and began his famous compositions of eighteenth-century atmosphere, in which he depicted figures dressed in the fashion of the time in the setting of luxurious interiors, minutely detailed through a precious technique that is recreated in the colourful description of clothes and lace but, above all, in the masterly treatment of the deliberately sensual female flesh tones. During this period Salinas also produced several series for the decoration of large salons. In addition to these themes, he painted orientalist scenes and church interiors. In the last stage of his career we can see a decrease in detail, a looser and less descriptive character. Juan Pablo Salinas is currently represented in the Prado Museum (his work is on deposit at the Asturias Fine Arts Museum in Oviedo), the Bellver Collection in Seville and other public and private collections.
Untitled.
Gouache on paper.
Damaged in the frame.
Signed in the lower left corner.
Size: 18 x 12 cm; 46 x 40 cm (frame).
Juan Pablo Salinas began his artistic training at the Academy of Fine Arts of San Fernando, in Madrid, although his time in the classrooms was probably ephemeral. He began to make himself known in 1885, the year in which he took part in the exhibition organised by the Association of Writers and Artists and in the Aragonese Exhibition, being awarded a third-class medal in both. Around 1886 he moved to Rome to further his studies thanks to a grant awarded by the Diputación Provincial de Zaragoza. There he attended the Círculo Internacional de Bellas Artes, as well as the evening classes at the Academia Chigi. He also joined the Spanish artistic colony resident in the city and worked alongside his brother, the painter Agustín Salinas, who had been living in Rome since 1883. Both brothers submitted works to the National Exhibition of Fine Arts in Madrid in 1887; Juan Pablo sent "Mark Antony and Cleopatra", a classical theme. Like his brother, his true master, Salinas also recreated medieval themes with a notable Tuscan influence, with works such as "Romeo and Juliet" and "Scene from the Decameron". His style evolved towards costumbrismo, with special attention to popular Spanish and Italian scenes, such as "Una boda en Aragón" (A Wedding in Aragón), "Regreso de los vendimiadores" (Return of the Grape Harvesters) and other works. His career remained closely linked to that of his brother until, on a trip to Paris, he became acquainted with the work of Ernest Meissonier, whose influence led him to focus on the genre of casacons, with which he achieved great success in France, Italy, Central Europe, Russia and America. Around this time he exhibited in the Salons Roger and began his famous compositions of eighteenth-century atmosphere, in which he depicted figures dressed in the fashion of the time in the setting of luxurious interiors, minutely detailed through a precious technique that is recreated in the colourful description of clothes and lace but, above all, in the masterly treatment of the deliberately sensual female flesh tones. During this period Salinas also produced several series for the decoration of large salons. In addition to these themes, he painted orientalist scenes and church interiors. In the last stage of his career we can see a decrease in detail, a looser and less descriptive character. Juan Pablo Salinas is currently represented in the Prado Museum (his work is on deposit at the Asturias Fine Arts Museum in Oviedo), the Bellver Collection in Seville and other public and private collections.
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