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31

Santiago Rusiñol

The Generalife Gardens, Granada

Property of a European Private Collector

Santiago Rusiñol

Santiago Rusiñol

The Generalife Gardens, Granada

The Generalife Gardens, Granada

Property of a European Private Collector

Santiago Rusiñol

Spanish

1861 - 1931

The Generalife Gardens, Granada


signed S. Rusiñol lower left

oil on canvas

Unframed: 99 by 68cm., 39 by 26¾in.

Framed: 115 by 84cm., 45¼ by 33in.

The canvas is unlined. There are some small spots of paint flaking primarily in the upper-right quadrant, the most notable one a small spot at the top edge c. 19cm to the left of the right edge, this may benefit from consolidation. Ultra-violet light reveals traces of old residual varnish and a few small spots of fluorescence to the centre right, however there do not appear to be any notable signs of retouching. This painting is in good condition.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Purchased by the great-grandfather of the present owner in Paris, circa 1919;

Thence by descent.

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Acquis par le grand-père de l'actuel propriétaire à Paris, vers 1919 ;

Puis par descendance.

La Vanguardia, 7 November 1900, Barcelona, p. 9;

Ilustració Catalana, 21 June 1903, Barcelona, p. 42 (as Jardí);

S. Rusiñol, Jardins d'Espanya, Barcelona 1903 (repr., as Arquitectura verda/ Arquitectura verde);

V. Pica, 'Artisti contemporanei: Santiago Rusiñol', in Emporium, XXI, March 1905, p. 182 (repr., as Architettura verde);

G. Riat, 'Jardins d'Espagne', in Art et Décoration, 1904, p. 98;

L'Esquella de la Torratxa, 6 June 1913, Barcelona, pp. 400-401 (repr.);

S. Rusiñol, Jardins d'Espanya, Barcelona 1914 (repr., as Arquitectura verda/ Arquitectura verde);

S. Rusiñol, Jardins d'Espanya, Barcelona 1925 (repr., as Arquitectura verda/ Arquitectura verde);

E. Trenc Ballester, 'Santiago Rusiñol: del realismo al simbolismo', in Estudios Pro Arte, Barcelona 1976, p. 72 (repr.);

H.J. Roch, Santiago Rusiñol (1861-1931). Ein Beitrag zur Kunst des augehenden 19 Jhs. in Katalonien, Frankfurt am Main 1983, fig. 57;

I. Col i Mirabent, S. Rusiñol, Ausa 1992, p. 142 (repr., as dated circa 1897-1900);

J. de Calassanç Laplana, Santiago Rusiñol, el pintor, l'home, Montserrat 1995, no.16.9, catalogued;

J. de C. Laplana & M. Palau-Ribes O'Callaghan, La pintura de Santiago Rusiñol. Obra completa, Barcelona 2004, vol. III, p. 164. no.16.3.6 (dated 1898, as whereabouts unknown).

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La Vanguardia, 7 novembre 1900, Barcelone, p. 9 ;

Ilustració Catalana, 21 juin 1903, Barcelone, p. 42 (sous le titre Jardí) ;

S. Rusiñol, Jardins d’Espanya, Barcelone, 1903 (repr., sous le titre Arquitectura verda/ Arquitectura verde) ;

V. Pica, 'Artisti contemporanei: Santiago Rusiñol', in Emporium, XXI, mars 1905, p. 182 (repr., sous le titre Architettura verde) ;

G. Riat, 'Jardins d'Espagne', in Art et Décoration, 1904, p. 98 ;

L'Esquella de la Torratxa, 6 juin 1913, Barcelone, pp. 400-401 (repr.) ;

S. Rusiñol, Jardins d’Espanya, Barcelone, 1914 (repr., sous le titre Arquitectura verda/ Arquitectura verde) ;

S. Rusiñol, Jardins d’Espanya, Barcelone, 1925 (repr., sous le titre Arquitectura verda/ Arquitectura verde) ;

E. Trenc Ballester, 'Santiago Rusiñol: del realismo al simbolismo', in Estudios Pro Arte, Barcelone, 1976, p. 72 (repr.) ;

H.J. Roch, Santiago Rusiñol (1861-1931). Ein Beitrag zur Kunst des augehenden 19 Jhs. in Katalonien, Francfort, 1983, fig. 57 ;

I. Col i Mirabent, S. Rusiñol, Ausa, 1992, p. 142 (repr., daté vers 1897-1900) ;

J. de Calassanç Laplana, Santiago Rusiñol, el pintor, l'home, Montserrat, 1995, n°16.9, catalogué ;

J. de C. Laplana & M. Palau-Ribes O'Callaghan, La pintura de Santiago Rusiñol. Obra completa, Barcelone, 2004, vol. III, p. 164. n°16.3.6 (daté 1898, comme localisation inconnue).

Paris, L'Art Nouveau, Les Jardins d'Espagne de SantiagoRusiñol, 1899;

Barcelona, Sala Parés, Santiago Rusiñol. Jardins d'Espanya, 1900.

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Paris, L'Art Nouveau, Les Jardins d'Espagne de Santiago Rusiñol, 1899 ;

Barcelone, Sala Parés, Santiago Rusiñol. Jardins d'Espanya, 1900.

The Generalife gardens adjacent to the Alhambra were built during the reign of Muhammad III (1302-1309) and used as a country estate and summer palace of the Nasrid sultans of Granada. Its grounds contain of one of the oldest surviving Moorish gardens. Rusiñol's fascination with The Generalife began with his first visit to the Alhambra in Granada in 1887, after which ornate fountains, cypress trees, and spectacular topiaries reminiscent of Moorish architecture would dominate his paintings.


Wherever he travelled in Spain - whether to Granada, Mallorca, or La Granja - Rusiñol fell under the spell of plants and trees variously shaped by human hand, drawn to them as expressions of the traditions of the regions of Spain but also by their enigmatic forms. In 1903 he published an album of prints titled Jardins d’Espanya, combining prints of most of the works exhibited at the eponymous 1899 Paris exhibition with modernist poems by some of the most acclaimed poets of the time. His thoughts on the garden are most lyrically articulated in his elegiac poem El jardí abandonat of 1899, in which the garden comes to symbolise both Spain's proud past and its fading glory following its defeat in the 1898 Spanish–American War.