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JOSÉ MARÍA SERT (Barcelona, 1874 - 1945).Mixed media on canvas.With restorations and slight flaws on
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Description
JOSÉ MARÍA SERT (Barcelona, 1874 - 1945).
Mixed media on canvas.
With restorations and slight flaws on the pictorial surface.
Signed in the lower right-hand corner.
Size: 125 x 200 cm; 128 x 202 cm (frame).
Due to its composition and subject matter, this work is very reminiscent of the works carried out by José María Sert in the church of San Telmo. In 1930 the San Sebastián City Council commissioned José María Sert, on the recommendation of the painter Ignacio Zuloaga, to paint eleven canvases for the church of the convent of San Telmo, a Renaissance building that the municipal corporation had acquired twenty years earlier with the intention of converting it into a museum.
Trained with Benito Mercadé and Pere Borrell, Sert was a member of the Círculo Artístico de Sant Lluc and later a disciple of A. de Riquer. In 1900 Torras i Bages commissioned him to paint a large mural decoration for Vic Cathedral, of which he presented sketches and preparatory canvases in 1905 and 1907 in Barcelona and Paris, of which this piece is an example. Through his exhibitions abroad, he soon acquired extraordinary prestige among the French and English aristocracy, for whom he produced sumptuous decorations. In 1908 he decorated the Sala de los Pasos Perdidos of the Palace of Justice in Barcelona, and in 1910 he presented the mural decoration of the ballroom of the Marquis of Alella (Barcelona) at the Salon d'Automne in Paris and decorated the music room of the Princess of Polignac in Paris. Two years later he exhibited an important group of works at the Salon in the French capital. In the following years he worked for Queen Victoria Eugenia (Santander) and for Robert Rotschild (Chantilly), and had solo exhibitions in London at the Agnew Gallery. In 1920 he married Maria Godebska, "Misia", a muse of the Parisian artistic scene, in Paris. He painted new murals for important houses in Park Lane (England), Buenos Aires, Palm Beach and Paris, and in 1926 he made, to great expectation, an exhibition of his works for the cathedral of Vic in the Jeu de Paume in Paris. In 1927, with the support of his friend and patron Francesc Cambó, he completed the main part of the cathedral's decoration, which was completed with the construction of the lunettes between 1928 and 1929. In 1930 he was made a member of the Academy of San Fernando, and in the following years he worked all over the world, painting important murals such as those in the Waldorf Astoria in New York, the chapel of the Palacio de Liria in Madrid and the Council Chamber of the League of Nations in Geneva. He was the most eminent decorative painter of his time, and his style was characterised by a great imagination at the service of a rhetorical language influenced by Goya's Orientalism and Expressionism.
Mixed media on canvas.
With restorations and slight flaws on the pictorial surface.
Signed in the lower right-hand corner.
Size: 125 x 200 cm; 128 x 202 cm (frame).
Due to its composition and subject matter, this work is very reminiscent of the works carried out by José María Sert in the church of San Telmo. In 1930 the San Sebastián City Council commissioned José María Sert, on the recommendation of the painter Ignacio Zuloaga, to paint eleven canvases for the church of the convent of San Telmo, a Renaissance building that the municipal corporation had acquired twenty years earlier with the intention of converting it into a museum.
Trained with Benito Mercadé and Pere Borrell, Sert was a member of the Círculo Artístico de Sant Lluc and later a disciple of A. de Riquer. In 1900 Torras i Bages commissioned him to paint a large mural decoration for Vic Cathedral, of which he presented sketches and preparatory canvases in 1905 and 1907 in Barcelona and Paris, of which this piece is an example. Through his exhibitions abroad, he soon acquired extraordinary prestige among the French and English aristocracy, for whom he produced sumptuous decorations. In 1908 he decorated the Sala de los Pasos Perdidos of the Palace of Justice in Barcelona, and in 1910 he presented the mural decoration of the ballroom of the Marquis of Alella (Barcelona) at the Salon d'Automne in Paris and decorated the music room of the Princess of Polignac in Paris. Two years later he exhibited an important group of works at the Salon in the French capital. In the following years he worked for Queen Victoria Eugenia (Santander) and for Robert Rotschild (Chantilly), and had solo exhibitions in London at the Agnew Gallery. In 1920 he married Maria Godebska, "Misia", a muse of the Parisian artistic scene, in Paris. He painted new murals for important houses in Park Lane (England), Buenos Aires, Palm Beach and Paris, and in 1926 he made, to great expectation, an exhibition of his works for the cathedral of Vic in the Jeu de Paume in Paris. In 1927, with the support of his friend and patron Francesc Cambó, he completed the main part of the cathedral's decoration, which was completed with the construction of the lunettes between 1928 and 1929. In 1930 he was made a member of the Academy of San Fernando, and in the following years he worked all over the world, painting important murals such as those in the Waldorf Astoria in New York, the chapel of the Palacio de Liria in Madrid and the Council Chamber of the League of Nations in Geneva. He was the most eminent decorative painter of his time, and his style was characterised by a great imagination at the service of a rhetorical language influenced by Goya's Orientalism and Expressionism.
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JOSÉ MARÍA SERT (Barcelona, 1874 - 1945).
Mixed media on canvas.
With restorations and slight flaws on the pictorial surface.
Signed in the lower right-hand corner.
Size: 125 x 200 cm; 128 x 202 cm (frame).
Due to its composition and subject matter, this work is very reminiscent of the works carried out by José María Sert in the church of San Telmo. In 1930 the San Sebastián City Council commissioned José María Sert, on the recommendation of the painter Ignacio Zuloaga, to paint eleven canvases for the church of the convent of San Telmo, a Renaissance building that the municipal corporation had acquired twenty years earlier with the intention of converting it into a museum.
Trained with Benito Mercadé and Pere Borrell, Sert was a member of the Círculo Artístico de Sant Lluc and later a disciple of A. de Riquer. In 1900 Torras i Bages commissioned him to paint a large mural decoration for Vic Cathedral, of which he presented sketches and preparatory canvases in 1905 and 1907 in Barcelona and Paris, of which this piece is an example. Through his exhibitions abroad, he soon acquired extraordinary prestige among the French and English aristocracy, for whom he produced sumptuous decorations. In 1908 he decorated the Sala de los Pasos Perdidos of the Palace of Justice in Barcelona, and in 1910 he presented the mural decoration of the ballroom of the Marquis of Alella (Barcelona) at the Salon d'Automne in Paris and decorated the music room of the Princess of Polignac in Paris. Two years later he exhibited an important group of works at the Salon in the French capital. In the following years he worked for Queen Victoria Eugenia (Santander) and for Robert Rotschild (Chantilly), and had solo exhibitions in London at the Agnew Gallery. In 1920 he married Maria Godebska, "Misia", a muse of the Parisian artistic scene, in Paris. He painted new murals for important houses in Park Lane (England), Buenos Aires, Palm Beach and Paris, and in 1926 he made, to great expectation, an exhibition of his works for the cathedral of Vic in the Jeu de Paume in Paris. In 1927, with the support of his friend and patron Francesc Cambó, he completed the main part of the cathedral's decoration, which was completed with the construction of the lunettes between 1928 and 1929. In 1930 he was made a member of the Academy of San Fernando, and in the following years he worked all over the world, painting important murals such as those in the Waldorf Astoria in New York, the chapel of the Palacio de Liria in Madrid and the Council Chamber of the League of Nations in Geneva. He was the most eminent decorative painter of his time, and his style was characterised by a great imagination at the service of a rhetorical language influenced by Goya's Orientalism and Expressionism.
Mixed media on canvas.
With restorations and slight flaws on the pictorial surface.
Signed in the lower right-hand corner.
Size: 125 x 200 cm; 128 x 202 cm (frame).
Due to its composition and subject matter, this work is very reminiscent of the works carried out by José María Sert in the church of San Telmo. In 1930 the San Sebastián City Council commissioned José María Sert, on the recommendation of the painter Ignacio Zuloaga, to paint eleven canvases for the church of the convent of San Telmo, a Renaissance building that the municipal corporation had acquired twenty years earlier with the intention of converting it into a museum.
Trained with Benito Mercadé and Pere Borrell, Sert was a member of the Círculo Artístico de Sant Lluc and later a disciple of A. de Riquer. In 1900 Torras i Bages commissioned him to paint a large mural decoration for Vic Cathedral, of which he presented sketches and preparatory canvases in 1905 and 1907 in Barcelona and Paris, of which this piece is an example. Through his exhibitions abroad, he soon acquired extraordinary prestige among the French and English aristocracy, for whom he produced sumptuous decorations. In 1908 he decorated the Sala de los Pasos Perdidos of the Palace of Justice in Barcelona, and in 1910 he presented the mural decoration of the ballroom of the Marquis of Alella (Barcelona) at the Salon d'Automne in Paris and decorated the music room of the Princess of Polignac in Paris. Two years later he exhibited an important group of works at the Salon in the French capital. In the following years he worked for Queen Victoria Eugenia (Santander) and for Robert Rotschild (Chantilly), and had solo exhibitions in London at the Agnew Gallery. In 1920 he married Maria Godebska, "Misia", a muse of the Parisian artistic scene, in Paris. He painted new murals for important houses in Park Lane (England), Buenos Aires, Palm Beach and Paris, and in 1926 he made, to great expectation, an exhibition of his works for the cathedral of Vic in the Jeu de Paume in Paris. In 1927, with the support of his friend and patron Francesc Cambó, he completed the main part of the cathedral's decoration, which was completed with the construction of the lunettes between 1928 and 1929. In 1930 he was made a member of the Academy of San Fernando, and in the following years he worked all over the world, painting important murals such as those in the Waldorf Astoria in New York, the chapel of the Palacio de Liria in Madrid and the Council Chamber of the League of Nations in Geneva. He was the most eminent decorative painter of his time, and his style was characterised by a great imagination at the service of a rhetorical language influenced by Goya's Orientalism and Expressionism.
19th October - 19th & 20th Century Art
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