Publication: Sorolla, La Construcción de un nuevo canon y la exposición como estrategia de legitimación
Authors
Tejeda Martín, Isabel
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Publisher
Université de Grénoble
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DOI
https://doi.org/10.4000/ilcea.12569
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info:eu-repo/semantics/article
Description
©2021. This manuscript version is made available under the CC-BY 4.0 license http://creativecommons.org/licenses/by/4.0/
This document is the Published, version of a Published Work that appeared in final form in ILCEA, Revue de l’Institut des langues et cultures d'Europe, Amérique, Afrique, Asie et Australie. To access the final edited and published work see https://doi.org/10.4000/ilcea.12569
Abstract
Los vaivenes sufridos por la fortuna crítica de la pintura de Joaquín Sorolla (Valencia, 1863 - Cercedilla, 1923) en los últimos cien años partiendo de una primera exaltación, posterior deslegitimación, y actual rehabilitación será nuestro objeto de estudio: por un lado, el interés que su obra ha despertado en las últimas décadas aparejado a su instrumentación simbólica en clave identitaria; por otro, su reivindicación como eslabón de la historia del arte español en la propuesta de una modernidad alternativa, que cuestiona el canon vigente desde principios de siglo XX. Para ello nos serviremos de recursos que consideramos clave para entender este proceso de rehabilitación: las exposiciones dedicadas al pintor y su representación en museos y colecciones españolas.
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This essay will dive into the fluctuations shown in the critical reception of Joaquín Sorolla (Valencia, 1863 - Cercedilla, 1923) in the last 100 years, which began in exaltation, continued with discredit, to end with his current restitution. On the one hand, our study will focus on the growing relevance attained by his work – intertwined with its symbolic use, instrumental in the making of national identities. On the other hand, we will underline his vindication as the missing link in the history of Spanish art, as a proposal for an alternate modernity: all of which questions the canon that has prevailed since the beginning of the 20th century. For that purpose, we will employ resources commonly neglected in academia, but which we deem crucial to understand this process of reinstatement: the exhibitions of his oeuvre as well as his presence in Spanish museums and art collections.
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This essay will dive into the fluctuations shown in the critical reception of Joaquín Sorolla (Valencia, 1863 - Cercedilla, 1923) in the last 100 years, which began in exaltation, continued with discredit, to end with his current restitution. On the one hand, our study will focus on the growing relevance attained by his work – intertwined with its symbolic use, instrumental in the making of national identities. On the other hand, we will underline his vindication as the missing link in the history of Spanish art, as a proposal for an alternate modernity: all of which questions the canon that has prevailed since the beginning of the 20th century. For that purpose, we will employ resources commonly neglected in academia, but which we deem crucial to understand this process of reinstatement: the exhibitions of his oeuvre as well as his presence in Spanish museums and art collections.
Citation
ILCEA, Revue de l’Institut des langues et cultures d'Europe, Amérique, Afrique, Asie et Australie, nº 44, (2021)
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