Museum Goya exhibits Mariano Fortuny

The City of Castres displays an unpublished exhibition of the graphic work of Mariano Fortuny in the collections of the museum Goya until October 26th, 2008.

Mariano Fortuny y Marsal (1838-1874) is one of the notable artists of the Spanish school of the XIXth century. A fervent admirer of Goya, he had an incontestable influence on the Spanish and Italian painters of his epoch. Following a stay in Morocco in 1860, his topics evolve towards Orientalist subjects.

Mariano Fortuny's was not only an accomplished painter, but also a very good engraver and designer. The museum Goya, thanks to a donation of the stepdaughter of the artist in 1951 and regular purchases, has eighty-seven of his writings on paper drawings and watercolors, engravings. As part of this exhibition, this whole fund of graphic art is introduced to the public, illustrating his talent for design.

Loose translation from text via Ambassadeur du Tarn with permission of Patrick Moron

A wonderful list of his work can be viewed at Goya Museum

At the Viceroys

Artist: Mariano Fortuny
Title: At the Viceroys, Detail 1870
Size: 60 x 93.5 cm
Medium: Oil on canvas
Location: Museum del Arte, Barcelona
Spanish Orientalist

Antiquaries

Antiquaries

Title: Antiquaries 1863
Medium: Oil on canvas
Size: 47.0 x 66.3 cm (18 1/2 x 26 1/8 in.)
Location: Museum of Fine Arts, Boston

Odalisque

Read More and view more detail Images

The Anchorite- Saint Jerome in the Wilderness 1869

Artist: Mariano José Maria Bernardo Fortuny y Carbó
Title: The Anchorite- Saint Jerome in the Wilderness 1869
Size: 34.2 x 46.5 cm (13 7/16 x 18 5/16 in.)
Medium: Etching, aquatint, and drypoint
Location: Museum of Fine Arts, Boston
Spanish Orientalist

Musketeer

Musketeer

Artist: Mariano José Maria Bernardo Fortuny y Carbó
Title: Musketeer
Size: 28.9 x 21 cm (11 3/8 x 8 1/4 in.)
Medium: Pen and ink drawing
Location: Museum of Fine Arts, Boston
Spainish Orientalist

Tomb in North Africa

Tomb in North Africa

Artist: Mariano José Maria Bernardo Fortuny y Carbó
Title: Tomb in North Africa 1869
Size: 15.8 x 23.5 cm (6 1/4 x 9 1/4 in.)
Medium: Oil on paperboard
Location: Museum of Fine Arts, Boston
Spanish Orientalist

Idyll, 1868

Idyll

Mariano Fortuny Marsal
Idyll, 1868
Oil on canvas/huile sur toile
Size ?
Spanish Orientalist

A burro on the Patio

A Burro on the Patio

Artist: Mariano José Maria Bernardo Fortuny y Carbó
Title: A burro on the Patio 1874
Size: 24.5 x 37.5 cm
Medium: oil on canvas
Location: Private Collection
Spanish Orientalist

Moroccan Man

Signed bottom right Fortuny/ R. 1869
Moroccan Man/Un Marocain, 1869
Watercolor on paper, 1869
32 x20cm Watercolor on paper

("...this watercolour serves as a sort of preview of the brilliant luminosity that wll be seen in the works executed after the painter´s visit to Granada in 1870...The figure is shown leaning against a light coloured wall...Fortuny´s mastery in the representation of varied textile as well as in the flesh tones of the figure is clearly manifest in this piece...this composition can be considered among the masterpieces of the Catalan painter in watercolour medium." Source: Joan Miquel Llodrá Grandes Genios del Arte Contemporáneo Español - El Siglo XX FORTUNY p. 84)

This translated text and image have been kindly provided by Carlos Ygoa.

The Moment of Lecture

The Moment of Lecture

Artist: Mariano Fortuny Marsal
Title: The Moment of Lecture
Medium: Oil on Cardboard
Size:41.5 x 55 cm
Location: National Gallery of Armenia

Bullfight

Bullfight

Artist: Mariano Fortuny Marsal
Title: Bullfight? 1867
Medium: Oil on ?
Size: 80.5 x 140.7 cm
Location:
Spanish Orientalist

The Court of the Alhambra, 1871

Mariano Fortuny Marsal
The Court of the Alhambra, 1871
Oil on canvas/huile sur toile
29 1/2 x 23 1/8 inches (75 x 59 cm)
Spanish Orientalist

Study

Study

Signed? Mariano Fortuny Marsal
Study 1878
oil on canvas/huile sur toile
Size 46x76 cm
Location: National Museum of Catalunya
Spanish Orientalist

The Bull-Fighter's Salute

The Bullfighter's Salute


The Bull-Fighter's Salute, 1869
Signed, lower right: Fortuny
Oil on canvas/ huile sur toile
61x50.2cm


The bull-fighter salutes the crowd after having killed the bull. This may be a depiction of the bull-ring in Madrid, and the figure could be a portrait. It is one of a small number of scenes of this type executed by the artist and probably originates from one of his trips to Spain in 1867/8 and 1870/2.

The painting was possibly commissioned in Paris in 1869; said to have been painted in 1869. It is probably identifiable as a picture sent by the artist for exhibition and sale in London in 1873.

Mariano Fortuny's paintings video

This video about Mariano Fortuny's paintings was created by Alejandro Cabeza and can be found at You Tube

The Battle of Tetuan

Mariano Fortuny Marsal
The Battle of Tetuan, 1862-1864 Rome
Oil on Canvas/huile sur toile
Size?
Location?
Spanish Orientalist

Thought to be the finest Spanish painter of the nineteenth century after Francisco de Goya, Fortuny occupied a prominent place on the art scene of the period. Educated at the Llotja school, he completed his training in Rome on a grant from the Barcelona City Council, an institution which commissioned various works from him about the intervention of Catalan volunteers in the Spanish-Moroccan War that had broken out in 1859. For that reason Fortuny travelled to Tetuan at the beginning of 1860 and to Tangiers in 1862. The final result of the works in Morocco were a brace of unfinished canvases in which he depicted two of the most important clashes of the African campaign. The first, The Battle of Tetuan, a work of great size and in a format totally inhabitual in the artistic praxis of Fortuny, remained in his Rome studio, where it became a true emblem, until it was acquired on the painter's death in 1874 by the Barcelona Provincial Council. The second, The Battle of Wad-ras, is currently to be found in the Museo del Prado.

The fact that Fortuny did not finish The Battle of Tetuan and that the final result was very uneven and somewhat unhappy demonstrates the lack of motivation of the painter, who became increasingly aware that a history painting conceived within the genre's conventional parameters and characteristic stereotypes was at something of a remove from his painterly aspirations and his creative sensibility. On the other hand, notwithstanding the shortcomings of the staging that a grande machine required, the canvas is strangely compelling, given that it contains a visual poetics which paradoxically converts its compositional heterodoxy into one of the artist's chief attainments and merits.Source: National Museum of Art Catalonia

Children in Japanese Hall

Children in Japanese Hall

Signed Mariano Fortuny Marsal
Children in Japanese Hall
Oil on Canvas/toile sur huile
Size: (44 x 93 cm)
Spanish Orientalist

This painting is without doubt a small jewel. Though, because of its size it might be considered a minor work, it is actually one of his most brilliant. The painter, the first Spaniard to become a trully cosmopolitan artist, enjoyed international fame and earned a large number of commissions throughout his short life. However in this small work -Fortuny was certainly a specialist in small fomats- he wasn't working "on commission". He painted it just a few months before he died, never really finishing it, and is a reflection of his search in the last years of his life to find new roads and outlets for his painting. Thus, while some elements of the scene - such as the girl's leg - are perfectly drawn with meticulous detail, other parts of the painting show such loose, separated brush strokes that one might say that this presages Impressionism. The children in the painting are Mariano and Maria Luisa, the product of his marriage to Cecila Madrazo, the daughter of Federico Madrazo. Source: Prado Museum, Madrid

Arabe Assis

Mariano Fortuny Marsal Arabe Assis
etching and aquatint on paper

Portrait of a Girl

Mariano Fortuny y Marsal
Portrait of a Girl, c. 1860
pencil and watercolor on paper
Spanish Orientalist

An Ecclesiastic, ca. 1874

Signed Fortuny/74
An Ecclesiastic, ca. 1874
oil on panel/huile sur panneau
7 1/2 x 5 1/8 in. (19 x 13 cm)
Spanish Orientalist

The cosmopolitan Catalan painter visited Paris and London and worked at Portici near Naples during the last year of his life. Fortuny y Marsal's late works reflect an interest in light, a distinctive use of color, and an awareness of current international trends, including the influence of Japanese art on the West. Fortuny y Marsal worked closely with colleagues in Spain, France, and Italy. Not only was he a brilliant technician, but he proved to be remarkably receptive to progressive trends. This expressive image of an ecclesiastic in rose-colored robes posed against a vermilion background, demonstrates Fortuny y Marsal's audacious use of color. Source: The Walters Art Museum

Odalisque/Odalisca, 1862

Mariano Fortuny Marsal
Odalisque/Odalisca, 1862
Oil on canvas/huile sur toile
Spanish Orientalist

Books about Mariano Fortuny Marsal

Books about Mariano Fortuny Marsal

1. Fortuny: [Sketches of his life and works by various writers] (Masters in art. A series of illustrated monographs) by Mariano José María Bernardo Fortuny y Marsal (Unknown Binding - 1910)

2. Mariano Fortuny Marsal, Mariano Fortuny Madrazo: Grabados y dibujos (Unknown Binding - 1994)

3. Mariano Fortuny Marsal (Maestros del arte de los siglos XIX y XX) by Carlos Gonzalez (Unknown Binding - 1989)

4. Les orientalistes de l'école espagnole, ARC Edition

A Summer Day, Morocco

Mariano Fortuny Marsal
A Summer Day, Morocco
Oil on canvas/huile sur toile
10 x 25 7/8 inches (25.4 x 66 cm)

Muleteer

Mariano Fortuny Marsal
Muleteer
etching print

The Cafe of the Swallows,1868

The Cafe of the Swallows1868

Mariano Fortuny Marsal
The Cafe of the Swallows,1868

The Moor

Mariano Fortuny Marsal The Moor
The Moor, before 1863
Watercolor on heavy cream wove paper/ aqualrelle sur papier
16x9.31in. (40.7x23.6cm)
Spanish Orientalist

Arabian Rider in Tangiers

Mariano Fortuny Marsal
Arabian Rider in Tangiers/ Caballero árabe en Tanger, 1867
Oil
45 x 28.5 cm.

Snake Charmer, 1869

Mariano Fortuny Marsal
Snake Charmer/Encantador de serpientes, 1869
Oil
58.5 x 124.5 cm.
Spanish Orientalist

At the Gate of the Seraglio

Signed lower left 'Fortuny'
At the Gate of the Seraglio, circa 1870
Oil on panel/huile sur panneau
10x7.75in 25.4x19.68cm)

Scene in Marocco

Mariano, Fortuny Marsal
Scene in Marocco,
watercolor on paper/aquarelle sure papier
9.16x2in (90 x 51 mm)
Spanish Orientalist