El retrato de Enrique Larreta de Ignacio Zuloaga: génesis y carácter de una pintura icónica

The relationship between Enrique Larreta and Ignacio Zuloaga was key to the decisions made by the writer when forming his art collection; the painter not only made a portrait of him, but also assumed the role of intermediary in the purchase of artistic objects. The bond between the two had begun in...

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Autor principal: Patricia Nobilia
Acceso en línea:http://revistascientificas.filo.uba.ar/index.php/payro/article/view/11775
http://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=estuinv&d=2019_14-2_htm
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Repositorio Digital de la Universidad de Buenos Aires (UBA) de Universidad de Buenos Aires
id I28-R145-2019_14-2_htm
record_format dspace
spelling I28-R145-2019_14-2_htm2022-10-31 Patricia Nobilia 2618-4230 Estudios e investigaciones, no. 14 The relationship between Enrique Larreta and Ignacio Zuloaga was key to the decisions made by the writer when forming his art collection; the painter not only made a portrait of him, but also assumed the role of intermediary in the purchase of artistic objects. The bond between the two had begun in the Parisian capital shortly before Larreta served as Minister Plenipotentiary in France between 1910 and 1916. The success of the novel La gloria de Don Ramiro earned the Argentine  writer the admiration of many of the intellectuals and personalities from the cultural world in the Paris of those years. This is one of the reasons why Zuloaga painted the portrait of the writer and started a friendship that lasted until the end of his days. Made in 1912, the date of the painting coincides with one of the painter’s most successful moments and with a taste for the so-called “españolada” in the artistic and cultural sphere of the Gallic country. Our work deals with the analysis of this painting and the particular circumstances surrounding its realization and the changes the work had before its arrival in Buenos Aires. La relación que Enrique Larreta mantuvo con Ignacio Zuloaga fue clave en las decisiones tomadas por el escritor al momento de formar su colección de arte; el pintor no solo hizo su retrato, sino que asumió el rol de intermediario en la compra de objetos artísticos. El vínculo entre ambos había comenzado en la capital parisina poco antes de que Larreta se desempeñara con el cargo de Ministro Plenipotenciario en Francia entre 1910 y 1916. El éxito de la novela La gloria de Don Ramiro le valió al argentino la admiración de muchos de los intelectuales y personajes del mundo cultural en el París de aquellos años. Esta es una de las razones por la cual Zuloaga pintó el retrato del escritor iniciando una amistad que se prolongó hasta el final de sus días. Realizado en 1912, la fecha del cuadro coincide con uno de los momentos de mayor éxito del pintor y con el gusto por la llamada «españolada» en el ámbito artístico y cultural del país galo. Nuestro trabajo aborda el análisis de esta pintura y las particulares circunstancias que rodearon a su realización y a los cambios que tuvo la obra antes de su llegada a Buenos Aires. application/pdf http://revistascientificas.filo.uba.ar/index.php/payro/article/view/11775 Estudios e investigaciones, no. 14 El retrato de Enrique Larreta de Ignacio Zuloaga: génesis y carácter de una pintura icónica http://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=estuinv&d=2019_14-2_htm
institution Universidad de Buenos Aires
institution_str I-28
repository_str R-145
collection Repositorio Digital de la Universidad de Buenos Aires (UBA)
description The relationship between Enrique Larreta and Ignacio Zuloaga was key to the decisions made by the writer when forming his art collection; the painter not only made a portrait of him, but also assumed the role of intermediary in the purchase of artistic objects. The bond between the two had begun in the Parisian capital shortly before Larreta served as Minister Plenipotentiary in France between 1910 and 1916. The success of the novel La gloria de Don Ramiro earned the Argentine  writer the admiration of many of the intellectuals and personalities from the cultural world in the Paris of those years. This is one of the reasons why Zuloaga painted the portrait of the writer and started a friendship that lasted until the end of his days. Made in 1912, the date of the painting coincides with one of the painter’s most successful moments and with a taste for the so-called “españolada” in the artistic and cultural sphere of the Gallic country. Our work deals with the analysis of this painting and the particular circumstances surrounding its realization and the changes the work had before its arrival in Buenos Aires.
author Patricia Nobilia
spellingShingle Patricia Nobilia
El retrato de Enrique Larreta de Ignacio Zuloaga: génesis y carácter de una pintura icónica
author_facet Patricia Nobilia
author_sort Patricia Nobilia
title El retrato de Enrique Larreta de Ignacio Zuloaga: génesis y carácter de una pintura icónica
title_short El retrato de Enrique Larreta de Ignacio Zuloaga: génesis y carácter de una pintura icónica
title_full El retrato de Enrique Larreta de Ignacio Zuloaga: génesis y carácter de una pintura icónica
title_fullStr El retrato de Enrique Larreta de Ignacio Zuloaga: génesis y carácter de una pintura icónica
title_full_unstemmed El retrato de Enrique Larreta de Ignacio Zuloaga: génesis y carácter de una pintura icónica
title_sort el retrato de enrique larreta de ignacio zuloaga: génesis y carácter de una pintura icónica
url http://revistascientificas.filo.uba.ar/index.php/payro/article/view/11775
http://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=estuinv&d=2019_14-2_htm
work_keys_str_mv AT patricianobilia elretratodeenriquelarretadeignaciozuloagagenesisycaracterdeunapinturaiconica
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