The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
The text, “Joaquín Sorolla: la vida” [Joaquín Sorolla: A Life] is a biographical sketch that sets forth the merits of the painter from Valencia, Joaquín Sorolla. In this article, the Colombian painter and art critic, Roberto Pizano, tells stories about the artist’s life, from family experiences to the way he gained a position in the art world. He achieved this by traveling to Paris and getting to know the works of the Barbizon School. Pizano also highlights the moment when Sorolla won the medal of honor at the Paris Universal Expo (1900) for his work, Triste Herencia [Sad Inheritance]. The writer met the painter in Spain and describes him as modest. He also predicts how the artist will end his years, weaving in a remembrance of the final years of the life of the Renaissance artist, Michelangelo.
Roberto Pizano (1896-1930) participated directly in the Spanish art scene, studying at the Academia de San Fernando [San Fernando Academy] in Madrid. This text is one of a series of articles about Spanish painting, disseminated by the art critic/painter in Colombian serialized publications. For example, he wrote about Ignacio Zuloaga (1870-1845), drawing a biographical sketch similar to the one in this article. Another Spanish painter who deserved a critical reading, [in the critic’s opinion,] was Cecilio Pla (1860-1934), professor of aesthetics at the Madrid academy where Pizano had studied. In another article, Pizano compared the work of the Colombian artist, Coriolano Leudo (1886-1957), with that of Ignacio Zuloaga.
Joaquín Sorolla (1863-1923) incorporates the heritage that came from the Generation of 1898. The regional types, customs and landscapes were the main referents of his painting, vindicating the decline of a national identity, after the final disappearance of the Spanish Empire. In Colombia, the main benchmark of academic art was always Spanish art; the country could thus maintain its position at the margin of contemporary trends in both French art and avant-garde art, in general.
Sorolla himself was always one of the important exponents of Luminism, and as such, had a major influence on the work of Pizano, who had been taught by Sorolla in Spain. In Pizano’s painting, light is predominant, along with the form; moreover, his artistic ideas reflect the search for an art of his own that would place an importance on both landscape and vernacular identities.