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But his spirit has lived on in Manet and Zuloaga. Decadent he was; a romantic before French romanticism, he yet had borrowed from an earlier France. Some of his gay Fêtes Champêtres recall the influence of Watteau a Watteau without the sweet elegiac strain. He has been called a Spanish Hogarth not a happy simile.
Within one short month, however, this President was expelled from the capital by a rebellion in the army, and the supreme power of the Republic was assigned to General Zuloaga. This usurper was in his turn soon compelled to retire and give place to General Miramon.
Passionate vivacity and the blinding sunshine are not qualities that appeal to Zuloaga. He portrays darkest let us rather say greenest, brownest Spain. The Basque in him is the strongest strain. He is artistically a lineal descendant of El Greco, Velasquez, Goya; and the map of his memory has been traversed by Manet. He is more racial, more truly Spanish, than any painter since Goya.
Within one short month, however, this President was expelled from the capital by a rebellion in the army, and the supreme power of the Republic was assigned to General Zuloaga. This usurper was in his turn soon compelled to retire and give place to General Miramon.
Zuloaga, the Spaniard, has several; Degas, two; the critic Duret, two; John S. Sargent, one a St. Martin. Durand-Ruel once owned the Annunciation, but sold it to Mrs. H.O. Havemeyer, and the Duveens in London possess a Disrobing of Christ. At the National Gallery there are two. Gautier wrote that El Greco surpassed Monk Lewis and Mrs.
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.
This assembly elected General Miramort, but that officer repudiated the plan under which he was chosen, and Zuloaga was thus restored to his previous position. He assumed it, however, only to withdraw from it; and Miramon, having become by his appointment "President substitute," continues with that title at the head of the insurgent party.
We are no longer with Sorolla and his vibrating sunshine on Valencian sands, or under the hard blue dome of San Sebastian; the two-score canvases on view in 1909 at the Hispanic Museum were painted by a man of profounder intellect, of equally sensual but more restrained temperament than Sorolla; above all, by an artist with different ideals a realist, not an impressionist, Ignacio Zuloaga.
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.
In several other canvases, notably in the first version of "My Cousin Esperanza," and the second version of "Women in a Balcony," Zuloaga has caught this effect of vague fleeting values, changes in surface so subtle as to be felt rather than seen, a kind of floating modeling that suggests form rather than insists upon it. And he has done this in the most difficult manner.
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