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Updated: May 25, 2025


The modern Spaniards Zuloaga, Sorolla, Angla-Camarosa are either not represented or else are not at their best. There is a Diaz, who was of Spanish origin; but the Madrazos, Villegas, Montenas, and the others are academic echoes or else feeble and mannered.

On that day General Comonfort appeared before the assembled Congress in the City of Mexico, took the oath to support the new constitution, and was duly inaugurated as President. Within a month afterwards he had been driven from the capital and a military rebellion had assigned the supreme power of the Republic to General Zuloaga.

By a pronunciamiento General Zuloaga, with the help of the army, took possession of the government and of the capital, while Juarez maintained his rights at Queretaro. War raged between the two parties, with rapidly varying success.

Several of the Zuloagas have been seen in New York when Archer M. Huntington invited the Spanish artist to exhibit at the Hispanic Museum. Not, however, his Lassitude, two half-nudes, nor his powerful but unpleasant Bleeding Christ. What a giant Zuloaga seems when matched against the insipidity and coarseness of modern German art.

This is a singularly limpid, loose, flowing picture. It has the paint quality sometimes missing in the bold, fat massing of the Zuloaga colour chords. The Montmartre Café concert singer is a sterling specimen of Zuloaga's portraiture. The head of the old actor capitally suggests the Spanish mummer. And the painter's cousin, Esperanza! What cousins he boasts!

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.

And far from the Liberal party losing its partizans upon the landing of the French, some of the reactionary leaders, as, for instance, General Zuloaga, forgetting their former feuds at the first sound of a foreign invasion of their native land, had rallied around the Mexican government, whose cause now seemed linked with that of the national honor.

His wine harvesters, venders of sacred images, or that fascinating canvas My Three Cousins before these, also before the Promenade After the Bull-fight, you realise that by some miracle of nature the intensity of Goya and his sense of life, the charm of Velasquez and his sober dignity are recalled by the painting of a young Spanish artist who a decade ago was unknown. Nor is Zuloaga an eclectic.

The Frenchman is the superior draughtsman, but he is no more vital in his interpretation of his ballet girls, washerwomen, and grisettes than is Zuloaga in his delineations of peasants, dwarfs, dogs, courtesans, scamps, zealots, pilgrims, beggars, drunkards, and working girls. What verve, what grip, what bowels of humanity has this Spaniard! A man, not a professor of academic methods.

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.

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