New-York tribune., 1909-03-20
SENIOR zULoAGA's WORKS AT THE
HISPANIC MUSEUM.

The exhibition Of SehoT Sorola's paintings al 'h7
r5isranfc Museum has given place 70 one Oh so.ii7
,--r+v-hve or forty works By his countryuah' 0e'i
Tgrsc5o Zrloaga This gentleman, Ike his preoe-
cssso~ has made sorle little stir IN Paris ano els
-, .ro,,p47 he has not in his own land shared
TIE popularity Of Sorola- The explanation IL on
v+ops The interesting methods OF SoToila- e. !."0
already been pointed IN this place, are ol q
sr.cssl importance TO the present situation N 0p
sch a.. r-ba example OF his direct dealing WIN
open air jects has been needed by the scIool u
which he belongs. Sehor Zuloaga- a very oIi4e-
rvpe. has no inyigorating inspiration 10 'IaiiSi
% contenporaries already predisposed 10 excessive
s--iHrs lie is himself of artifce all compact one
~ hose pafnters who retire TO world OF ueII
own consulting Nature only In order 10 cloIhe hel
truths in a Fictitious garment Inc COMMUNION
.fo-.sa,d which he has produced IS not OF course
;, - cs,.aIierlv dismissed. A reputation like tnat
q senor zuloage must rest upon some more or
less substantial foundation It would seem 10 have
its basis in novelty. rather in the exploitation OF
old ideas BY a piquant personality
This nsinter derives, in substance, from Goya
He is interested national types Of picturesque
or even grotesoue order. and delineates them IN
somewhat soTnbre mood The women IN one OF ms
,,-,,,-.. here shown. The 6orceresses OF San Mil
i.n are Just such bleak old witches as Goya loved
n DIV II is the mere subject that hlnts al a
s,.n,ns+tv between the modern painter ano the
gbt.Antb century There are subtler points
- ,sentsecs+ion points Of temperament. In MS
Studies Of familiar Spanish life senor Zuloasa also
recalls the early bode0oncs OF NeasQuez out Ihe'e
nothing in common beIMeeIl MIN anu 10
great court PAINTER NelasQuez had an instinct IoI
beauty Senor ZuloaEa would seem 10 nave hotii-Is
Of the sort TeIasqueZ vas q supreme eHempIaF u
style sehor Zuloaga is manneTist Il ever lheie
one His manner, ike everything eIse III HtH
art points to an external influence, suggests "oIh
done from without rather than produced out OL
creative energy. He reproduces the accent u
Manet. without its freshness and fire his hsuIe5
painted IN broad and heavy masses or nat coIoI
not precisely Opaque. but scarcely transparent ne
is fond OF the Silhouette Though his figures 90 hol
lack relief. but are. indeed very soHdly ana even
boldly modelled. they leave ire impression OF nav
trg bsen painted in outline and then hlled IN WIN
color The result IS arresting- Few eclectlcs are
successful Senor Zuloaga has been in fusinE
diverse influences and adding a suggestion OF lndl-
siduslity. You feel that he has looked sympathet-
csly the old Spanish painters. interested hinl-
self In the types the Spanish countryside or the
buIl ring taken a leaf Of the book OF French
ImPressionisn and then set hm.elf down in the
studio 10 II all 'p effective picture for
the sason. There he would be bound 10 attract
attention. but Il Is difficult TO see how criticism
could ignored the uninspired character OF his
work and its very grave specific defects
HIS surfaces cold and inert. They are, in
fact positively ciaylike Look for example. al
Of those portraits in which he gives free rein
lis very crude TASTE in color-at the -Merce-
ces' the Mrs 2. Jr the Mile. Lucienne
rreval in Carmen. u IS almost incredible that a
painter so clever should deal in hard and
tfeless Nowhere in his work is anything Ike
elasticity 10 be disc-rned His leathery. ann du-
lated color is matched by his dogged. nerVeless
Craftsmanship. Of the Documentary value of