- 338
Isidro Nonell
Description
- Isidro Nonell
- Estudio de mujer (Study of a Woman)
- signed and dated Nonell / 1902 lower left; signed and dated Nonell / 1902 on the reverse
- oil on canvas
- 46 by 38.3cm., 18 by 15in.
Provenance
Exhibited
Possibly Salon des Indépendants, 1904, no. I.776 (see label on the stretcher, inscribed Étude / Nonell-Monturiol / 50 rue Baja San Pedro / Barcelone)
Barcelona, Museu d'Art Modern MNAC, Isidro Nonell 1872-1911, 2000, no. 33, illustrated in the catalogue
Literature
Enric Jardí, Nonell, Barcelona, 1985, p. 78, no. 78, catalogued & illustrated
Faerna García-Bermejo, Isidro Nonell, Los Impresionistas y su época, Barcelona, 1995, no. 33, catalogued & illustrated
Condition
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
The present work depicts the lowered head of a gypsy woman with chromatic economy. The simplified motif, strong, dark colours and the close proximity of the sitter's head dominate the composition.
Nonell had turned exclusively to painting in oil in 1901, gypsies becoming his favourite subject matter. Painted from life, shown full length, seated or crouching and enveloped in shawls, their faces in profile or three-quarter turned, these disenfranchised figures seem to shrink back from the viewer.
While conservative critics disapproved of the gritty realism of Nonell's subjects, his daring thematic choices placed him at the forefront of Catalonia's Modernista movement (see note to lot 304).