JOSÉ MARÍA SERT BADÍA (Barcelona, 1874 - 1945)."Farewell", 1932.Oil on compressed clay paste.

JOSÉ MARÍA SERT BADÍA (Barcelona, 1874 - 1945).
"Farewell", 1932.
Oil on compressed clay paste.
Provenance: collection of a Spanish aristocrat.
Work reproduced in "José María Sert. His life and work", Alberto Castillo and Alexandre Cirici Pellicer, Editorial Argós, Plate 151, 1949.
Size: 100 x 150 cm.
In 1932 José María Sert produced his second series of tapestry cartoons, commissioned by the French state for the Gobelins factory in Paris. The oil painting we are now bidding for, which belongs to this series, was intended to be placed above a door, so that it corresponds to a decoration that has to be seen from below, which is why it depicts the two figures perched on a scaffolding. Sert worked the composition in a totally distinctive manner, always bearing in mind the place where it was to be placed, depicting the figures with large feet and large hands. They have plebeian faces with flat noses and full lips, and show a special concern for the balance of the two plastic masses. Other examples from this series, such as "La siesta de los segadores" ("The Harvesters' Nap"), are kept in the Museum of Fine Arts in Álava. Although José María Sert produced up to nine tapestries, the project never materialised and he ended up selling the paintings to various private clients.
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.