User:The Blue Norange/Santiago Rusiñol i Prats

Santiago Rusiñol i Prats (Barcelona, ​​25 February 1861 - Aranjuez, Community of Madrid, 13 June 1931) was a Catalan painter, writer, collector, journalist and playwright. He was a versatile artist and one of the leaders of modernism in Catalonia. Author of a thousand paintings and over a hundred titles from his literary creation, plus a vast number of articles, place him as a decisive reference in the art, literature, and aesthetic ideas of the time.

Biography
He was born in Barcelona ​​into a textile industrialists' family from Manlleu, where they owned the Rusiñol textile colony, also known as Can Ramissa. His father was Joan Rusiñol i Andreu and his mother, from Barcelona, ​​Amàlia Prats i Caravent. Santiago Rusiñol appeared in his registration in the civil registry with the names of Jaume -James- (not Santiago), Jacint, Lluís and baptized in the church of Sant Cugat del Rec in Barcelona. Although he inherited the family business, his interest in painting art began to take shape during his adolescence. On June 19, 1886, he married Lluïsa Denís i Reverter. In this marriage registry at the Civil Registry of Barcelona, ​​Rusiñol reappears with the name of Jaume. The following year, his daughter, Maria Agustina, was born, but a few months later, his restless nature, lack of interest in the family business, and desire to paint, travel, and discover the world took him away from his family. Santiago handed over the company's management to his brother Albert. Albert became a well-known businessman and politician, deputy and senator. From the moment he gives the factory's control to this brother, Santiago began to travel through Catalonia and Spain, France and Italy. Travel will be a constant in the life of the artist.

In 1888, he affirmed himself as a writer, regularly collaborating with articles in the newspaper La Vanguardia. In 1889 he broke off the family's relationship, a rupture that lasted ten years; however, he kept in touch with his daughter. In 1889 he went to study in Paris, where he lived for long periods during the first half of the nineties, a crucial period in his creative career.

In 1893 he set up his studio in Sitges, known as the Cau Ferrat, to collect the antique irons it contains. The town became a modernist reference point for artists, writers and musicians promoted by Rusiñol, who organizes modernist festivals, combining theatre, poetry, painting and music. At the same time, the artist consolidated his talents as a writer, and from the beginning of the 1890s, he wrote narrative works and poems in prose. Some of his novels were adapted and performed in the theatre, such as L'auca del senyor Esteve, written in 1907 and released a few years later.

In 1899, due to a severe illness, he was reunited with his wife. When he got better, he went back to France to detoxify from the morphine addiction with her and his daughter. A year later, he underwent surgery that left him with only one kidney, marking a new vital stage in his career. In 1903, he was considered a renowned artist. In the first decade of the twentieth century, he consolidated his prestige as a prolific painter and writer, both in Barcelona and throughout Spain and Paris. He received more awards and nominations. In France, he got official recognition in 1908 with the title of Member of the Paris Salon. In the following two decades, he received significant recognition while acquiring undeniable prestige despite the rejection of the new Noucentista artists and critics, notably the art critic Eugeni d'Ors, who wrote in the newspaper La Veu de Catalunya. In 1917, he was awarded the Legion of Honor by the French government. He received his last tribute in Sitges in 1926. He died in Aranjuez in 1931. The Spanish Republic's provisional government ordered an official funeral in Madrid, which the president, Manuel Azaña, head.

Rusiñol was an active part of his time's culture and enriched it with his personality, ideas, and opinions, which he strongly defended, even with controversy or polemic. He was also part of the famous social gatherings of the Els Quatre Gats brewery on Carrer de Montsió in Barcelona run by Pere Romeu. Inspired by Le Chat Noir that they had known in Paris, it became the privileged setting for the ideological demonstrations of the turn of the century, a place of social gathering and an alternative art room. A good friend of his friends, he was associated with the most prominent artistic and intellectual personalities of the time, such as writers Monsignor Cinto Verdaguer and Pompeu Fabra, Valle-Inclán and Benito Pérez Galdós, the musicians Enric Granados, Isaac Albéniz, Enric Morera, Erik Satie and Manuel de Falla, and painters such as Darío de Regoyos, Ignacio Zuloaga and Joaquim Mir, among many others. However, he had the longest and strongest friendship with the painter Ramon Casas and the sculptor Enric Clarasó, with whom he formed an artistic trio that lasted until his death. Also, note that he was the grandfather uncle of the premature Barcelona poet Jorge Folch i Rusiñol.

Obra pictòrica
He learned in the atelier of the painter Tomàs Moragas, where he learned drawing and various techniques, such as oil and watercolour. He had his first exhibition at the Sala Parés, in Barcelona, ​​in 1879, in a collective exhibition; he participated with a small painting of a studio's interior with the figure of a model. Here he met the painter Joaquim Vayreda, who specialized in the landscape. Vayreda inspired Rusiñol to explore nature's representation, not to copy it, but to interpret it, as the painter from Olot does. It adopts this topic as opposed to historical themes, which at the time were fashionable The painting El bosque is an example of this theme. At this time, he was also interested in the human figure, keeping with the time's tendency. The appetite for literary themes is represented in the painting Fausto, and the taste for the exotic, in Peregrino, exhibited at the Sala Parés 1880. Note that this will be the gallery in Barcelona where he usually displays throughout life.

In 1882 he took part in the first exhibition of the Acadèmia de Belles Arts de Sabadell.

In 1883 he discovered the urban landscape from Joan Roig i Soler's paintings, technical perfection and interpretive freedom that impressed him. This motivated him to paint Port of Barcelona, ​​and then he made other compositions of old Barcelona, ​​such as Racó de Santa Maria del Mar (1885) or La plaça del Born (1885). Rusiñol evolved but remained interested in realism, and during the years 1887 and 1888, he added characters to the landscape. Paint scenes related to work and corners of the urban landscape with characters in natural attitudes or daily tasks. Good examples are Pedrera de Montjuïc or Cargolada. These works, which he exhibits at the Parés Gallery, are described as naturalistic and, in general, have a good acceptance from critics. Art critics such as Frederic Rahola, who published in the newspaper La Vanguardia, praise the painter.

All through Rusiñol's life, painting and depicting natural spaces from the Catalan geography is entwined. There are several escapades of the artist in the town of Arbúcies and around Montseny. The relationship between Rusiñol and Arbúcies reflects in numerous paintings.







La influència simbolista




Poesia i prosa


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 * 1894 — Desde el Molino
 * 1896 — Andalusia vista per un català.
 * 1897 — Impressiones de arte
 * 1897 — Els caminants de la terra. Poema en prosa.
 * 1900 — El jardí abandonat.
 * 1902 — El poble gris.
 * 1903 — D'aquí i d'allà.
 * 1905 — La nit de l'amor.
 * 1905 — L'illa de la calma.
 * 1905 — Aucells de fang.
 * 1914 — El català de la Manxa.
 * 1927 - Màximes i mals pensaments: pensa mal i no erraràs (reeditat per L'Avenç, 2006)

Traducció

 * Port-Tarascó: darreres aventures de l'il·lustre Tartarín.
 * En Tartarín als Alps: noves proeses de l'hèroe tarasconès.
 * Tartarín de Tarascó.

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Catalogue of oil paintings



 * Etapa naturalista


 * 1877 Clarasó disfressat. 34 x 23,5. Col. particular
 * 1878-1880 Aiguamoll. 20 x 25. Col. particular
 * 1878-1880 Girona. 53 x 78. Col. particular
 * 1878-1880 Pagesa amb un infant a la falda. 134 x 100. Col. particular
 * 1880 Pedregar. 65 x 97. Col. particular
 * 1878-1882 Rierol. 115 x 76. Col. particular
 * 1884 Pont sobre un riu. 65 x 45. MNAC.
 * 1880 El gual. 75 x 114. Col. particular
 * 1880 Doctor Faust. 79 x 62. Col. particular
 * 1882 El majordom. 66 x 47. Col. particular
 * 1882 Carrer d'un poble de muntanya. 77 x 36. Col. particular
 * 1883-1884 El port de Barcelona. 47 x 73,5. MNAC, en cessió al Cau Ferrat
 * 1880-1885 Sant Vicenç de Torelló. 148 x 56. Col. particular
 * 1883-1885 Pelegrí. 73 x 60. Col. particular
 * 1878-1880 Riera. 80 x 60. Col. particular


 * Naturalisme rural


 * 1888 A la font. 98 x 57. Col. particular
 * 1888 Roures. 56,5 x 103. Col. particular
 * 1888 A la font. 98 x 57. Col. particular
 * 1888 Emparrat d'Olot. 97 x 137. Col. particular
 * 1888 Font de Sant Roc, Olot. 108 x 150. Col. particular
 * 1889 Tarda de pluja. 120 x 66. Museu Víctor Balaguer


 * Monuments medievals


 * 1880-1883 Plaça del monestir de Pedralbes. 89,5 x 139. Col. particular
 * 1887 Plaça del Born i Santa Maria del Mar. 41 x 56. Col. particular
 * 1886-1888 Capella del claustre de la catedral de Barcelona. 50 x 61. Col. particular
 * 1907 Claustre de Sant Benet de Bages. 77,5 × 97,5. Fundació Banco Santander


 * Montjuïc


 * 1889-1890 Bugaderes de la Barceloneta. 56 x 93. Col. particular
 * 1890 El cementiri d'Ix. 150 x 126. Col. particular
 * 1891 Es pot?. 53 x 68. Museu de Montserrat
 * 1892 Ramon Canudas malalt. 80 x 64. Cau Ferrat


 * Personatges de Sitges


 * 1892-1893 El «malavida» de Sitges. 94 x 101,5. MNAC.


 * Montmartre


 * 1890 Le Pont Neuf. 38 x 62. Col. particular
 * 1890 Île Saint-Louis. 50 x 60. Museu de Montserrat
 * 1890 Parc de Montsouris. 27 x 40. Col. particular
 * 1890 Carrer costa amunt de Montmartre. 29 x 38. Col. particular
 * 1892 La Butte. Montmartre. 74 x 101. MNAC
 * 1891 La Banlieue. 97 x 130. Col. Particular
 * 1891 Cementiri de Montmartre. 100 x 75. Cau Ferrat
 * 1891 Parc del Moulin de la Galette. 61 x 50. Cau Ferrat
 * 1891 Utrillo al Moulin de la Galette. 61 x 50. Cau Ferrat


 * 1891-1892 El pati blau. 112 x 79. Museu de Montserrat
 * 1893 La nena de la clavellina. 73 x 56. Cau Ferrat


 * 1894 Figura femenina. 100 x 81. MNAC
 * 1894 Novel·la romàntica. 140 x 221,5. MNAC
 * 1894 La morfina. 87,3 x 115. Cau Ferrat
 * 1894 Miss MacFlower . 100.5 x 61.8 Museu del Cau Ferrat
 * 1895 La riallera. 65 x 54. MNAC.


 * Girona


 * 1915-1925 El riu Onyar al seu pas per Girona. 116 x 110,2. Museu de Belles Arts de València