黑料不打烊

The exhibition begins with the section 鈥楩rom the Table to the Horizon. Still Life and Landscape鈥�, with two of the most iconic still-life painters in the history of the genre: Juan de Arellano, with an extraordinarily fine example of a floral still life, a subject he fully mastered, and Luis Mel茅ndez, whose balanced composition shows his vast talent for depicting things, along with the fertile legacy of 窜耻谤产补谤谩苍鈥檚 still lifes of crockery and fruit. Despite the almost one century separating them, both are painted to perfection and show this timeless painting genre鈥檚 sensorial possibilities and taste for detail.

They are displayed with four landscapes dating from the seventeenth to nineteenth centuries which show different variations on depictions of the land. While he was still young, Ignacio de Iriarte travelled to Seville, where he was probably trained in Herrera the Elder鈥檚 workshop. The exhibition displays a landscape with figures in which the dusky lighting and arrangement into different planes imbue the composition with mystery and depth. The architectural capriccio, with a catalogue of imaginary buildings in perspective, provides an opulent backdrop for the biblical story painted by Francisco Guti茅rrez Cabello. In turn, the views painted by Luis Paret make the scenic view of the village of Bermeo an exceptional forerunner to his subsequent celebrated series on the ports of the Cantabrian Sea. The dashing figures on the lower part of this oil painting on copper are echoed in the genre scene entitled Lady Reading a Letter by Jos茅 Camar贸n. Finally, Mariano Fortuny鈥檚 plein-air painting depicts the bullring of Seville in a composition divided equally between the sky, the arena and the bleachers, featuring the loose brushstrokes Fortuny used to capture the lights and shadows.