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Updated: May 25, 2025
This illusion is agreeable to the most of us, hence our unreserved liking for Sorolla's art which produces it. The art of Ignacio Zuloaga, on the contrary, produces the opposite impression of complete sophistication. In place of adolescent exultations and ebullient physical activities, we find in it the strange sorceries of a guileful civilization.
There are no non-transparent shadows, and his handling of blacks reveals a sensitive feeling for values. Consider that black-gowned portrait of his wife. His underlying structural sense is never obscured by his fat, flowing brush. It must not be supposed that because of Sorolla's enormous brio his general way of entrapping nature is brutal.
The translucence of this sea in which the boys plash and plunge is another witness to the verisimilitude of Sorolla's vision. Boecklin's large canvas at the new Pinakothek, Munich, is often cited as a tour de force of water painting. We allude to the mermaids and mermen playing in the trough of a greenish sea.
It is mere "property" water when compared to Sorolla's closely observed and clearly reproduced waves. Rhythm that is the prime secret of his vitality. His portraiture, when he is interested in his sitters, is excellent.
I may not live to see Meissonier's second dawn and I never want to see Sorolla's eclipse, but you may. You have only to remember Turner's second high noon to be assured of it. And just here it might be well to consider this question of technic, especially its value in obtaining the results desired.
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