"Café Cantante" Oil on Cardboard by Spanish Painter Eustaquio Marín Ramos

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Eustaquio Marín Ramos
"Café Cantante" Oil on Cardboard by Spanish Painter Eustaquio Marín Ramos
1910

About the Item

EUSTAQUIO MARÍN RAMOS Spanish, 1873 - 1959 CAFÉ CANTANTE signed "Marin Ramos" (lower right) oil on cardboard 19-3/4 X 28-1/4 inches (50 X 71,5 cm.) framed: 27-3/4 X 36 (70 X 91 cm.) PROVENANCE Private French Collection In this work of constumbrista root, of clear Goyesque influence, he plays with the tenebrism, the contrasts of light and the spots of color that blurs and breaks the profiles of the drawing, transmitting a sensation of movement and mystery at the same time. His birth on February 3, 1873 - son of Pedro Marín Álvarez and Dolores Ramos Sousa - in the Sevillian town of Sanlúcar la Mayor could condition a childhood that on the other hand has something fanciful under the aura - somewhat legendary - that surrounds to the main events of those initial years, seen from a first approach, more literary than biographical, that would trace the imaginative pen of the fertile novelist and art critic José Francés (French 1915b). Smuggler's novels reader for a gypsy family who shuddered when he heard him declare, accordionist and self-taught guitarist who, before he was ten years old, already accompanied the homemade dances of Seville, the future painter goes through the Institute and the Normal School before prolonging a gray and bland stage although short in his teens, as a young apothecary. He dares to break with all this by throwing himself to practice drawing in an intuitive way, without any learning, taking inspiration from his previous life among gypsies and dancers from the Andalusian fairground and patio booth. This self-taught way of approaching painting - despite some advice from José Villegas and the discipline of copying Velázquez - supported by a strong conviction of what he was doing even with some fainting and “drawing more with the brushes than with the charcoal »(Cascales 1929), meant asserting oneself in a type of painting as brave as it was original, Goyesca without even knowing Goya (possessing the aggressive vigor of Goyesque fantasies) and relating to the subtlety of Carrière - also without knowing it - and his dreamy mist . And even with Rembrandt and the "modern" Brangwyn associates the peculiar art of Marin Ramos in his cosmopolitan scholarship. Art that translates with truth and consistency the being of Andalusia, mystical and pagan Andalusia at the same time, sensual and romantic Andalusia, focusing mainly on dancers, that is, the "tablao bailaoras". The magic and fantasy that emerge in Marín's painting are adequately perceived and described (Cascales 1929) when the smear aspect is noted that in a first impression they acquire their paintings, then gradually distinguish themselves confusingly and finally capture the perfectly detailed figures, with a sense of movement such that they seem endowed with life, as if they were really running, dancing or talking. Already entrenched in his career he presented himself to the National of Fine Arts of 1906 with Gypsy Party (170 x 195 cm, No. 669), whose subject refers to the vital experiences of his early years even if it is not worth it to get a prize. Until eleven years later he will not repeat the experience - and equally without benefit in terms of rewards - by attending the one in 1917 with a gypsy head (33 x 25 cm, no 315) and Feria de Sevilla (81 x 100 cm, no 316) . In the meantime he has exhibited in May 1910 in Huelva, in the Mercantile Circle, leaving a strong mark on the young local artists, particularly in Manuel Cruz Martínez, who will adopt a vibrant and material brushstroke of the Sevillian, rich in pictorial contents - according to Velasco - a the time he will assume his modernist procedures and even certain expressionist contents, that is, a torn lyricism in the compositions, as happens with another painter who influences the Huelva, Zuloaga. In the same 1910 he exhibited at the Iturrioz Hall in Madrid with favorable reception; the same happens in Barcelona and the following year in Paris, here with such success that prestigious magazines praise his painting, which goes on to be quoted in four and five thousand francs for each of those cartons. This would encourage him to reside in that capital from 1911 to 1915, taking advantage to make numerous trips (apparently, visiting even Rome), but also for the complete decoration of a Parisian café entitled «The Fair» with matters taken from the Seville Fair itself , being «work that called the attention of the intelligent extraordinarily and precisely», according to the complimentary topics that were poured into the bibliography of the time (Cuenca). The confessed source of news of the latter, which is José Francés although he quotes him with the pseudonym of Silvio Lago, writes for his part of the art of Marín, which «produces thousands of francs in the house of a Parisian, London or Munich dealer , and that it is worth some rude and stupid comments in the exalting Spain of politicians, bullfighters and cupletists ». In these same years in which he turns to exhibitions, he once again exhibits work in Madrid in 1915, in a "quite absurd room of the Athenaeum" and then in October - a sample that motivates the French chronicle -, in the Vilches Room «a all presentation honor »(gallicism that is already quoted in the writer). Paintings that can be seen at that time in the Athenaeum are La gitana and her hosts, Light study, The novelty cafe of Seville, La Rafaela, Café café, In the temple, The «connoisseur» of livestock, The « tablao »of News, From the fair of Seville, A spree, The night of San Juan in the Alameda de Hércules, The fair, La« mercé », The gauchos of the buñolerías, La Carmen, Dancers of the fair, When falling of the afternoon, In the house of the Joaquina, Andalusian Fair, Departing a bull, In the Prado de San Sebastián, The insistence of the gaucho, A corner of the Cava, The time of purchase, Sevillian Veraneo, and others. And he even exhibited again in Madrid, in the Artistic Hall in 1920. Other works apart from those mentioned are Gypsy Wedding, Prended to the Master, After the wedding, After a fight, Argentine Tango, The gaucho and the lady, The Tavern of Quintero, On stage !, The favorite or Gypsy Zambra. One more, Spring in Seville, is reproduced on the cover of Europe, weekly magazine of popular culture, No. 11, 1 / V / 1910. As for portraits, those of Rosita Pacheco, Mr. Pedro Bueno, Javier de la Fisca, count of the Watchtowers, located in Seville, and that of Agustín Tolosa, formerly in Parisian collection, are cited. Eustaquio Marín Ramos died in 1959. We know his image thanks to the portrait made by José Villegas (remember the data of the advice given by this other Sevillian and cosmopolitan according to the biography of the Sevillian of lesser projection) in 1900 with dedication included that keeps the Museum de Huelva (oil / canvas of 60.2 x 43.2 cm, signed, dated and dedicated: «To my dear friend / Eustaquio Marín / in memory of the short time we have / spent together in the / Pilatos house / Seville / September 1900 / Villegas »).

Creator:
Eustaquio Marín Ramos (1873 - 1959)
Creation Year:
1910
Dimensions:
Height: 19.69 in (50 cm)Width: 28.15 in (71.5 cm)
More Editions & Sizes:
50 X 71.5 cmPrice: $9,882
Medium:
Oil,Cardboard
Movement & Style:
Expressionist
Period:
1910-1919
Condition:
Gallery Location:
Madrid, ES
Reference Number:
1stDibs: LU128115024632

"Café Cantante" Oil on Cardboard by Spanish Painter Eustaquio Marín Ramos

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