UNTIL SUNDAY 16/2
VAT. Guillem de Castro, 118
Ignacio Pinazo captured the dynamic character of reality before other painters who gained world fame. With very loose brushstrokes and color fillings he reached impressionism., but without looking at the French movement, rather the fruit of a personal evolution that drank from Goya and Fortuny. This is how he paved the way for a Joaquín Sorolla, who would end up establishing himself as THE Valencian painter par excellence. But the truth is that, twenty years before, Pinazo had already done it all: paint fishermen's huts, tartans and animals loose on the beach, destructure surfaces and give prominence to the stain. Through the unfinished aspect of its forms, it wanted to tell us that time alters the course of things.. Pinazo fixed the temporality of the most popular demonstrations in fleeting works, evocative and synthetic that, especially then, They seemed to be unfinished.
The collection donated by the Pinazo family to the IVAM in 1986 It was one of the founding stones of a museum that today has the legal obligation to exhibit and claim it., that's why it comes to us Pinazo: identities, focused on the representation of people in their individual and collective dimensions. In the section Recognition self-portraits hang, commissioned portraits of strangers and family and friends; Anonymous focuses on traditions, religious acts and party scenes; and in Absences we have rural landscapes of l'Horta Nord, urban spaces and inhabited places where people are no longer. One more review of the work of a painter who opened the door to impressionism in Valencia. AU
