Spanish painter Joaquín Sorolla y Bastida (Valencia, 27 in February as 1863 – Cercedilla, October in August as 1923) was a Spanish painter. Demanding artist, he left behind more than 2200 cataloged
works. His adult work has been labeled as impressionistic, post-impressionistic and luministic.
When he was barely 2 years old, his parents died of a cholera epidemic. When they were orphans, they were welcomed, their sister Eugenia and he, ……………..
by his aunt Isabel, sister of his mother, and her husband, a locksmith by profession. Over the years his uncle tried to teach him the locksmith’s trade in vain, and soon he noticed that his true vocation was painting. He studied drawing at the School of Artisans of Valencia. He shared a studio on the ground floor of Calle Las Avellanas in Valencia with José Vilar y Torres, the Benlliure brothers and Pinazo.
After graduation, his training began their work on provincial competitions and national exhibits of fine art, such as Madrid sending in May 1881, in which he presented three naval Valencia who went unnoticed because they did not fit the official painting, historical theme and dramatic. The following year he studied the work of Velázquez and others in the Museo del Prado. After visiting the Museo del Prado, Sorolla painted on canvas unpublished 1883 study of Christ, recently discovered, where the influence of observed crucified Christ of Velázquez. this starts her ‘realistic internship’, and his teacher Gonzalo Salva. Finally, in 1883, he won a medal in the Regional Exhibition of Valencia and, in 1884, to glory by obtaining the Medal or second class in the National Exhibition thanks to his work Artillery of the Defense Park Monteleon, melodramatic work dark express On exposure; as he told a colleague: “Here, to make himself known and to win medals, must be dead.”
He had another great success in Valencia with his work El crit del palleter on the War of Independence. In this way, the pension was taken by the Provincial States of Valencia to travel to Rome, where during the work, he met the art classic and Renaissance, as well as major museums, bringing it into contact with other artists.
Together with his friend, the painter Pedro Gil, he moved to Paris in the first semester of 1885, closely in the spirit of the Impressionists who produced in him, already back in Rome, variations in the theme and style, painting religiously image The funeral of Christ, with which he did not have the expected success. He therefore contacts the European avant-gardes, with an emphasis on the impact of the works of painters John Singer Sargent, Giovanni Boldini and Anders Leonard Zorn.