In collaboration with the Fundacion Mapfre Madrid, the Orangerie Museum presents an exhibition devoted to Spanish painting at the turn of the nineteenth and twentieth centuries. This period, some exhibitions have unearthed remains still little known to the public.

The exhibition “50 years of Spanish art. 1880-1936 “(Musée des Beaux-Arts de Bordeaux, 1984) and jointly organized by the Museum of Fine Arts in Nancy and the Goya Museum in Castres in 1995:” From Fortuny to Picasso. Thirty years of Spanish painting, 1874-1906 “showed that, contrary to conventional wisdom, it was no big gap between Goya and Picasso, but a nice continuity. More recently, during the summer of 2011, the Hermitage Foundation in Lausanne, under the title “Modernism. Sorolla to Picasso. 1880-1918, “was part of this series of exhibitions highlighting the main representatives of Spanish art at the turn of two centuries.

Coincidentally, at about the same time, to replace the Frida Kahlo exhibition, originally planned for October 2011 (and postponed to October 2013), was prepared the project with Pablo Jiménez Burillo, director of the Fundacion Mapfre, Commissioner 2008 Spain 1900 (Madrid, Fundacion Mapfre), thereby providing a new building block for the reconstruction of a history whose richness has not been exhausted.

In France, more than elsewhere, the memory of this period of Spanish art could be preserved. Spain, the nearest neighbor, tinged with exoticism, has always been on this side of the Pyrenees a strong appeal, as witnessed by the romantic interest, that of Manet Velázquez, and the musicians, like Bizet and Ravel , to name a few, who found their inspiration. But even more is the close relationship between Spanish and French artists who could keep this memory. Now, with the exception of Sorolla, who had the honor of recent exhibitions in Paris, most artists like Zuloaga, Camarasa, Mir, Pinazo, Rusiñol, Echevarría, Sunyer, Solana, famous in their time, have seen their reputation back . No doubt, a history of art based on the idea of ​​progress that prevailed a few years ago, she left in the margins of artistic expressions reduced to less orthodox modernity.

With the exception of Mir and Pinazo, all these artists have stayed in Paris, participated in the Salons, Vollard exhibited in galleries, Durand-Ruel and rubbed shoulders with Picasso, Miró, Gris, Dali. As they came from Spain in the same year, as they attracted by the new Rome, capital of the new Paris painting, they would be the best representatives of the European avant-garde. This generation, that of 1898, that of Spain marked by a deep crisis, comes to Paris to seek an environment conducive to creativity, invention. However as shown in the course of the exhibition, designed on the axis of a double black Spain, which Zuloaga and Solana are the representatives of Spain and white palette magnified by Sorolla, these artists remain in their excesses, as in some areas, a taste for realism, translated into a language of their own, reflecting an irreducible identity, without which we can not understand Picasso.

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