Francisco Gimeno Tortosa 1858-1927

Clavaguera Collection, Barcelona
Purchased by the present owner from the above in the 1980s

J. Cortés, Francisco Gimeno, Barcelona, 1949, pl. 37, illustrated
Jordi A. Carbonell i Pallarés, Diccionari Ràfols, Francisco Gimeno, Barcelona, 1989, p. 398, no. 471, catalogued and illustrated

The canvas has been relined. There are a few strokes of retouching in each of the extreme corners of the work visible under ultraviolet light, and apart from some very faint craquelure and slight frame abrasions this work is in good overall condition. Held in a plaster moulded gilt frame with a linen slip.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Artist, intellect and thinker by disposition, but a painter-decorator by training, Gimeno's talent for painting the landscape of Barcelona was only fully appreciated at the time of his posthumous exhibition at Sala Parés, Barcelona.

An autodidact, in his spare time Gimeno painted and read extensively. Acquainted with the works of the main scientific and philosophical materialists of the time, he declared himself a positivist. A keen linguist as well, he studied music and learnt Hebrew and Greek in order to read the Bible and the Classical texts in their original versions.

From 1884 to 1887 he lived in Madrid, where he copied works by Diego Velázquez in the Prado and attended landscape classes given by Carlos de Haes, which both influenced his future work. Returning to Barcelona, he continued to paint, attracting the attention of Sebastián Junyent who illustrated some of his works in a special edition of his review Joventut in 1904. Eugenio d'Ors also wrote on Gimeno's work and in 1915 and 1925 he held one man exhibitions at Sala Parés, Barcelona. At the time of his memorial exhibition, his place as one of Catalonia's foremost landscapists became finally recognised.