Adolph Guiard (Bilbao April 10, 1860 - March 8, 1916) was a Spanish painter.
Adolfo Guiard
Paintings
The Little Village Girl with Red Carnation
The Ship's Boy
Biography
Born into a family of fifteen children, was the son of a French photographer based in Bilbao, Alphonse Guiard, and Juliana Larrauri. Guiard began his art studies in his hometown with the painter Antonio Bilbao Lecuona in his study of the Rue de la Cruz. He later moved to Barcelona and then to Paris, where he settled in 1878, whereas "is the first time a Basque painter of the Spanish state and changes in Paris for Rome artítica their training abroad." 1 Painters in Catalonia already had more links with the painting that was made in Paris than in Rome, that his command of French and prompted him to choose the French capital, where he attended the Colarossi Academy. In those years, the publication La vie moderne, directed by Edmond Renoir, brother of the famous painter, he published several pictures of Guiard. Juan de la Encina Paris mentions that the painter knew and frequented Zola, Daudet and Degas. The city began to throb Impressionist painting to Guiard what led him to take an important step, painting outdoors.
Between 1886 and 1887 was established in Bilbao, where he opened the studio in E Street, No. 23, where "... try to vindicate his painting in an environment not conducive to new artistic and commercial infrastructure is sufficient for art anchored in the past. ", 2 whereas Bilbao will be the first Spanish city in which impressionist painting will be painted in Spain.
The pictures of the Bilbao
His work was soon recognized as Bilbao Society in 1887 commissioned three large canvases to Guiard, through its president at that time, Ayarragaray, who had proposed to modernize the club in all aspects, starting with the very decoration of the same. In the three large canvases, called The Axpe estuary, on the terrace and Hunters in the North Station, the artist depicts aspects of life in Bilbao, with cargo ships in the river, people sitting in a cafe near the beach and environment in the train station made up of people, trains and smoke. They reflect a new bourgeoisie emerged in Bilbao, Bilbao and the Company represented. They are scenes that reflect the new interests of the oligarchy: sports, trips, gatherings, hunting ...
Painting outdoors
With his eagerness to paint outdoors, close to nature, he settled in Baquio, a small town very close to Bilbao but his country life turns out to be totally opposed to Bilbaina. But even open-air painting, the landscape will remain secondary in his work as will be placed on the human figures who live and work in the field. Its range of green, so intense in the surrounding landscape, it is becoming more strongly in blue and gray, which will eventually give finality to his work.
Promise.
Contemporary critics
Unamuno published in the magazine "Hermes (Basque Country Magazine" in 1918 about Guiard, "What dominates in the pictorial art of the contour Guiard, his figures are silhouettes. Might say of his paintings, small in size almost all that rather than drawing painting are lit. was of the first to draw the figure, and all consciousness, and then give it color. A color light and transparent. Guiard The human figures are natural. I mean belonging to the nature as a tree belongs. vegetative and human figures are a fresh green of spring, at least reconcentradas possible. They are men who are living, decorative and simple as the Chinese fans "
The well-known critic Juan de la Encina published in the same journal: "The germs that in his youth brought from Paris, here barely developed new contributions Paris. His art, indeed, evolved constantly, but always in the same direction and with prudent parsimony. Guiard also represented in this to his people and to bring art and art trends that once prevailed in Paris, brought with them the desires of new forms of art. opened with it in our little art world perspectives on all directions. All artists who came after him without any outside Anselmo Guinea, owed nothing directly to his art-followed the routes of early modern Guiard established in Bilbao. As our sailors put us since time immemorial in physical communication with all the countries of the world, so he put us in continual contact with the focus more intense and varied modern-art production. Since then, the so-called Basque art is sealed from the influence of modern French art. "
Selection of works
Source-Guiard monument in Bilbao.
Promise (Museo de Bellas Artes de Bilbao)
Red Carnation Aldeanita Museum of Fine Arts in Bilbao.
The male (Museo de Bellas Artes de Bilbao)
Washerwomen in the river
On the terrace (Society Bilbao)
Hunters Society (Bilbao)
The estuary Axpe Society (Bilbao)
The harvest (Museo de Bellas Artes de Bilbao)
. Aguero and Segurola sculptors made a source-monument in honor of Adolph Guiard, paid for by public subscription. Located in the park Iturrizar Casilda in Bilbao.
Literature
-Tradition and Modernity in Basque Painting. Collections of the Museum of Fine Arts in Bilbao and Santiago Javier Archdeacon Aldama. Edit. Museum of Fine Arts in Bilbao, 2000
-Spanish art of the Enlightenment and the nineteenth century: Around the image of the past José Enrique García Melero. Meeting 1998. ISBN 84-7490-478-1
-Adolfo Guiard. Bilbao and modernity. Pencil, International Journal of Art. October 1984. Sparta Txema ISSN 02121700
-Painting and painters in 'Bilbao'. History of the Society Bilbao. Several authors. Bilbao 1965.
-Adolfo Guiard. Biographical study, aesthetic analysis. Javier Gonzalez de Durana Isusi. Bilbao 1984. ISBN 84-505-0180-6
- Dictionary of Basque painters. Mario Angel Marrodán. Madrid 1989. ISBN 84-86534-23-2
- Adolph Guiard. Anecdotal account of his life. Luis de Urrutia. Bilbao 1940
- Guiard and Regoyos Juan de la Encina. Bilbao 1921
- Something about Adolph Guiard. Bilbao's bullets. Alejandro de la Sota Aburto. 1952
- An artist, a Bilbao and a talker. Article published in Hermes in May 1918. Juan Carlos de Gortázar Manso de Velasco. 1918
References
↑ Ispizua Ismael Manterola. Hermes and the Basque painters of his time. Bilbao, undated. Pág.117.ISBN 84-7752-410-6.
↑ Ispizua Ismael Manterola. Hermes and the Basque painters of his time. Bilbao, undated. Pág.119.ISBN 84-7752-410-6.
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