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In one is the clear day flame of impersonality; the other is all personality, given to nocturnal moods, to diabolism and perversities, cruelties and fierce voluptuousness. Sorolla is pagan; Gothic is Zuloaga, a Goth of modern Spain. He has more variety than Sorolla, more intellect. The Baudelairian strain grows in his work; it is unmistakable.
It would not be the entire truth to say that his masterpieces were seen; several notable pictures, unhappily, were not; but the exhibition was finely representative. Zuloaga showed us the height and depth of his powers in at least one picture, and the longer you know him the more secrets he yields up.
You have drunk a hearty Spanish wine; oil to the throat, confusion to the senses. You do not at first miss the soul; it is not included in the categories of Señor Zuloaga. Zuloaga, like his contemporary farther north, Anders Zorn, is a man as well as a painter; the conjunction is not too frequent. The grand manner is surely his.
Within one brief month, however, President Comonfort was driven from the capital, and ultimately from the country, by an uprising headed by General Zuloaga.
He lighted his seventh cigarette and leaned back. The conversation, which had zigzagged from the war to Zuloaga, and from Rasputin the Monk to the number of miles a Darrow would go on a gallon, narrowed down to the thin, straight line of business. "Now don't misunderstand. Please! We're not presuming to dictate. Dear me, no!
Meanwhile the Government of Zuloaga was earnestly resisted in many parts of the Republic, and even in the capital, a portion of the army having pronounced against it, its functions were declared terminated, and an assembly of citizens was invited for the choice of a new President.
The temperament suggested is impetuous, controlled by a strong will; it has been fined down by study and the enforced renunciations of poverty-haunted youth. Above all, there is race; race in the proud, resolute bearing, race in the large, firm, supple, and nervous hands. Indeed, the work of Zuloaga is all race. He is the most Spanish painter since Goya.
Arsène Alexandre in writing of Zuloaga acutely remarks of the Spanish conspiracy in allowing the chance tourist only to scratch the soil "of this country too well known but not enough explored." Therefore when face to face with the pictures of Zuloaga, with romantic notions of a Spain where castles grow in the clouds and moonshine on every bush, prepare to be shocked, to be disappointed.
General Zuloaga had, however, assumed the name of president, with indefinite powers, and the entire diplomatic corps, including the minister of the United States, had recognized his government. But Zuloaga was speedily expelled, and the supreme power seized by General Miramon, the head of the church party, whom the diplomatic corps likewise recognized.
The measuring eye of Zuloaga, his tremendous vitality, his sharp, superb transference to canvas of the life he has elected to represent and interpret are at first sight dazzling. The performance is so supreme remember, not in a niggling, technical sense a half-dozen men beat him at mere pyrotechnics and lace fioritura that his limitations, very marked in his case, are overlooked.
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