Valencia / The Bancaja de València Foundation will be exhibiting the exhibition “Sorolla. Plural Feminine ”, a co-production with the Sorolla Museum and the Sorolla Museum Foundation that shows the visitor the woman of the late 19th and early 20th centuries from the gaze of the Valencian painter Joaquín Sorolla.
There are more than fifty works, which can be visited until May 30, as reported by the president of the Bancaja Foundation, Rafael Alcón, during the presentation of the exhibition that captures the different perspectives of the female gender that Sorolla painted.
Among them, her special attention to history and mythology stands out; to the women of the town; to workers and mothers; to the elegant and modern woman, as well as to family scenes.
The press conference to present the exhibition was also attended by the director of the Sorolla Museum, Enrique Varela, the president of the Permanent Commission of the Sorolla Museum Foundation, Blanca Pons-Sorolla, and the curators of the exhibition, Lorena Delgado and Consuelo Luca de Tena.
Sorolla showed great sensitivity to women
Sorolla “was not a feminist,” said the curators, who have pointed out that at that time society was not the same as it is now and recalled that the artist died eight years before the right to vote for women was established.
However, Delgado has clarified that although the artist “did not have a claiming position” he shows great sensitivity to women in all his paintings and “was an absolute supporter of the education of women, as can be seen with his daughters.”
Luca de Tena added that Sorolla’s works with female characters were “abundant”, with a “positive” outlook and reflect all kinds of classes, from rural and working women to those of the upper bourgeoisie.
Composition of the exhibition
The exhibition, which has already passed through Madrid after the first wave of the pandemic, has as a novelty the block of family scenes, which – as Luca de Tena has highlighted – brings together the artist’s two great passions: his family and painting, paintings in which he “brings out the best in himself.”
He explained that in the first block of the exhibition, dedicated to “History, mythology and other pretexts”, the artist paints more erotic faces, “which disappear as Sorolla gets older, while in parallel his technical mastery also grows”.
In the second block, that of the “Women of the people”, with works made in the Italian city of Assisi, the artist paints the peasant women, “who were simple, devout and hardworking”, Luca de Tena has indicated.
In the part dedicated to the “Workers and mothers” the paintings of the Valencian fisherwomen stand out: “some paintings in which we deduce the hard life” of the women who had to take care of their children and lived with “the uncertainty that their husbands will work like fishermen, “said the commissioner, for whom they are also” his best findings in terms of light and color. ”
Likewise, he explained that Sorolla painted “elegant” and “modern” women, and that although sometimes one of these characters combined both characteristics, “normally elegant women were people from Valencian high society, whose wrappings were sometimes more important. than themselves ”.
Regarding modern women, the curator has clarified that “many times they were actresses and singers.”
The last of the blocks is dedicated to family scenes, since Sorolla used his family as a model and the most frequent protagonist was Clotilde, his wife.
Luca de Tena also highlighted that Sorolla “did not paint with a critical gaze” but reflected the society in which he lived.
“While Blasco Ibáñez had a fatal vision of women on some occasions, with Sorolla the genre always came out well, with great sensitivity,” the curator concluded. (February 4, 2021, EFE / PracticaEspañol)
News related in video (March 2012):
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cómo estaba el movimiento feminista en la época de Sorolla.
una exposición sobre cómo aparece la figura de la mujer en la obra de Sorolla.
la esposa de Sorolla.
se desmiente que Sorolla tuviera algún tipo de interés con los temas de carácter mitológico.
Sorolla solo plasmó la figura de la mujer rural.
el visitante podrá observar cómo Sorolla plasmó la figura de la mujer desde diferentes puntos de vista.
Sorolla también plasmó en sus obras mujeres ejerciendo su derecho al voto.
es poco frecuente que aparecieran figuras femeninas en las obras de Sorolla.
Sorolla no solo pintó a mujeres trabajadoras sino también a mujeres de la alta burguesía.
se aprecia una gran sensibilidad hacia las mujeres en la obra de Sorolla.
se demiente que Sorolla haya retratado a actrices de su época.
Sorolla apenas retrató a su propia familia.
Sorolla solía plasmar con mirada crítica a las mujeres de su época.
Sorolla estaba a favor de la educación de la mujer.
la esposa de Sorolla apenas fue retratada por él.
Clotilde fue la musa de Sorolla.
Sorolla conoció a Clotilde cuando él tenía 35 años.
los cuadros familiares de Sorolla solo muestran el nacimiento de sus hijos.
Clotilde tiene una flor en el cabello en algunos cuadros.
Clotilde no aparece retratada con el pelo recogido en ningún cuadro.
en todos los cuadros Clotilde viste un vestido blanco.
tomar el sol.
descansar un rato.
trabajar o realizar labores relacionadas con la pesca.
quedas en muy mal lugar.
lograr frenar a tiempo.
quedas en buena posición en relación con ese asunto.