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Lot Essay
Julio Romero de Torres began to paint under the instruction of his father, the well-known Andalucian artist and teacher, Rafael Romero Barros. Whilst growing up and studying art, he was exposed to the exciting emergence of Realism, Impressionism and Symbolism, giving rise to a unique style in which he combined the Realist traditions of Gustave Courbet and Mariano Fortuny, the photographic portraiture of Federico de Madrazo and the Impressionism of Aureliano de Beruete, Dario de Regoyos and Joaquín Sorolla y Bastida. His early career developed well and he was rewarded with a mention of honour at the 1895 National Exhibition went on to win third class medals in 1899 and 1904.
Romero de Torres once described himself as a `painter from the soul of Andalucia’. In the present work we see how he focused upon subjects based on folklore, in particular `la mujer morena’ or brown skinned beauty. The strongly drawn sitter leans elegantly on a glazed ceramic amphora. She gazes directly at the viewer in a calm and cool manner inviting admiration and interest. Her elegant draped clothing and jewellery contrast with the mundane task of gathering water, but the work is pervaded by a sense of nobility and timelessness.
Romero de Torres once described himself as a `painter from the soul of Andalucia’. In the present work we see how he focused upon subjects based on folklore, in particular `la mujer morena’ or brown skinned beauty. The strongly drawn sitter leans elegantly on a glazed ceramic amphora. She gazes directly at the viewer in a calm and cool manner inviting admiration and interest. Her elegant draped clothing and jewellery contrast with the mundane task of gathering water, but the work is pervaded by a sense of nobility and timelessness.