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Updated: May 24, 2025
Only the palette was absent. Instead was an arm in a sling. There was another difference. Beyond, in lieu of capricious manolas, was a piano and, above it, a portrait with which Zuloaga had nothing to do. The portrait represented a man who looked very fierce and who displayed a costume rich and unusual. Beneath the portrait was a violin. Beside the piano was a sword-cane.
After studying the Maja desnuda at the Prado Museum he returned to France and painted the Olympe, once of the Luxembourg, now in the Louvre. The balcony scenes of Goya, with their manolas old-fashioned grisettes must have stirred Manet; recall the Frenchman's Balcony. And the bull-fights?
Curiously enough his types are for the most part more international than racial; that is, racial as are Zuloaga's Basque brigands, manolas, and gipsies. But only this?
The manolas of Madrid, the cigaretas of Seville in their satin slippers are not better shod; mine pardon the anticipation of this possessive pronoun put forward from under the seat an irreproachable boot and aristocratically turned ankle.
We saw dark-eyed, graceful manolas on balconies this truly Spanish motive in art, as Spanish as is the Madonna Italian over which are thrown gorgeous shawls, smiling, flirting; with languorous eyes and provocative fans, they sit ensconced as they sat in Goya's time and centuries before Goya, the Eternal Feminine of Spain. Zuloaga is her latest interpreter.
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