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In the second Sorolla presents but a series of shorthand notes which you yourself can fill in to suit your taste and experience both of life and nature. Whether you prefer one or the other, or neither, is a matter for you to decide. You pay your money or you don't, and you can take your choice. The future only can tell the story of the revolution of the wheel.
Both spoke a racy idiom and conveyed a sense of quickened vitality by freedom of gesture, unhackneyed arrangement, intensity of color, reality of type, yet in their influence upon the public they were as far as might be asunder. Joaquin Sorolla y Bastida was born at Valencia, Spain, in 1863, and began seriously to study art at the age of fifteen.
Father loves him and is proud of him and nothing ever enters his mind except that I will marry Nickols and start the family all over again. And this is the tragedy. I love Nickols and am entirely unsatisfied with him. He is the Whistler nocturne that my Sorolla nature demands, and he eternally makes me hold out my hand to grasp nothing. He stands just beyond.
Monet not only studied with him but openly admitted that he had learned everything from him, while Boudin humbly remarked that he had but entered the door forced by the Dutchman Jongkind. Doubtless Sorolla found what he was looking for in Bastien, though it would be nearer the truth to say that he studied the Barbizons and impressionists and took what he needed from them all.
Olga is working with her ox-team on the land. Two days ago I rode out on Paddy and watched her. There was something Homeric about it, something Sorolla would have jumped at. She seemed so like her oxen. She moved like them, and her eyes were like theirs. She has the same strength and solemnity when she walks. She's so primitive and natural and instinctive in her actions.
He was compared to Sorolla y Bastida for vitality; the morbidezza of his flesh-tints was stated to be unrivalled even by I forget the name, painting is not my speciality. The writer blandly inquired why examples of Fuge's work were to be seen in the Luxembourg, at Vienna, at Florence, at Dresden; and not, for instance, at the Tate Gallery, or in the Chantrey collection.
All this, of course, Sorolla ignores and, I am afraid, knowing the man personally as I do, despises. What concerns the great Spaniard is the whole composition alive in the blaze of the sunlight, the glare of the hot sand and the shimmer of the blue, overarching sky, beating up and down and over the figures, and all depicted with a slash of a brush almost as wide as your hand.
Take, for instance, the Belasco-Lasky production of The Rose of the Rancho with Bessie Barriscale as the heroine. It has many highly modelled action-tableaus, and others that come under the classification of this chapter. When I was attending it not long ago, here in my home town, the fair companion at my side said that one scene looked like a painting by Sorolla y Bastida, the Spaniard.
Not that he shows himself a disciple of Monet or occupies himself with the broken touch or the division of tones his method is as direct as that of Sorolla and his impressionism is of the same kind a bending of all his energies to the vivid realization of the effect of the scene rendered as one might perceive it in the first flash of vision if one came upon it unexpectedly.
Nor do the girls seem to care. Stretched upon his stomach on the beach, a youth, straw-hatted, stares at the spume of the rollers. His companion is not so unconventionally disarrayed, and as she has evidently not eaten of the poisonous apple of wisdom she is free from embarrassment. Balzac's two infants, innocent of their sex, could not be less carefree than the Sorolla children.
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