1901. Los Nabis ride to Cordoba (2Part)

(It comes from an earlier chapter)

And. Bibesco. Cordoba, woman and child in the street (1901). Musée DORSAY, Paris.
And. Bibesco. Cordoba, woman and child in the street (1901). Musée d'Orsay, Paris.

The journey of our illustrious visitors gave rise to take snapshots of a city were discovering every step thanks to the curiosity and… their cameras.

This was possible thanks to a number of important technical innovations in the field of photography that took place on precipitously in the late nineteenth century: dry collodion plates for negative, las pleasing to gel-bromide plate, the paper prints aristotype… And in 1888, are introduced to the market the first handheld cameras, being the most commercialized Kodak, our travelers carrying luggage on this legendary and little-known tour Spanish that took them to Sevilla, Cordova, Granada, Zaragoza and Toledo.

They must have at least two cameras, as evidenced by the fact that in the first fototografía our previous chapter Vuillard wearing a low arm; Clearly, the second was that Prince Bibescos used for taking the image itself. Anyway it seems strange that no take Bonnard own a third of its interest in the new technology.

Vuillard con su Kodak (note: this photograph was not performed in Cordoba).
Vuillard con su Kodak. (Note: this photograph was not performed in Cordoba).

Édouard Vuillard (1868-1940)

“I could not see a door without asking who the traverse, or watch a park bench not imagine who would have been the last to sit. He was a keen observer, not taking anything for granted”. (John Russell).

Intimacy was one of the topics identifiers Vuillard. Perhaps the feminine vibe of their family environment determined its commitment to privacy. In fact remained unmarried with his mother, widow, while it lived. From his mother's profession, lingerie and trimmings, acquired a refined taste for the tissues reflected in paintings and scenery, touched by an air of serene everyday life. So much so that during exposure 1892 Impressionist and Symbolist Review described his work as intimate.

And. Bibesco. Vuillard and two children, Cordoba (1901). Musée DORSAY, Paris.
And. Bibesco. Vuillard and two children, Cordoba (1901). Musée d'Orsay, Paris.

Discreet in relation to your personal life, his diaries were not published until several decades after his death that we realized his numerous lovers, including the very Isadora Duncan.

In 1868 is inscribió has the École des eaux-Arts de París, although he also studied at the Académie Jullian, and his diary is full of reviews of the education he received. In 1890, two years and because of his friendship with Pierre Bonnard, faithful friend since, became involved with the Nabis group.

And. Vuillard. Inside a Table in Books. 1893.
And. Vuillard. Inside a Table in Books. 1893.

From the nineties Vuillard painting was leaving the Nabis style and turned towards a greater use of natural light and a growing tendency to define more precise details with drawing. In 1900 was already a recognized artist with many orders. And precisely in 1901, year of his trip to Spain, first exhibited at the Salon des Independants. I do not do portraits, I paint people in their homes, used to say. From 1910, genre occupied most of his creative time.

And. Bibesco. Overview of Cordoba (1901). Musée DORSAY, Paris.
And. Bibesco. Overview of Cordoba (1901). Musée d'Orsay, Paris.

It will continue…

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  1. Dr. that most interesting photos. Congratulations for the work and the research effort. The picture of woman with street children, try as I do not I situate. That is not familiar pavement and sidewalk on the left could be some of the many convents of the city, by height and privacy of the same. Width, greater than that of the usual callejas, and length without bends. Another issue is the absence of vertical,It follows by (on the assumption that it is indeed Cordoba)is located or in the medina or Axerquia, but not in the vicinity of both. At first I thought of Juan de Mena, but I find it very wide. Too bad no place detailing.

    • Paco, thanks. Your gallery of characters, also, It is most attractive. Congratulations to you too.

      As for the photo, around it popped into my head the Marqués del Villar, surrounding the lateral for the Archaeological Museum, especially taking into account the existence of another image I'll post in a later chapter that may correspond to the same path. I was also struck the pavement and cut 'Industrial’ their pavers or tiles. Y corresponds to Cordoba, you sure: Cordovan proportion oozes facades, roofs and doors, that proportion is impossible to remove from the city despite the ravages of urban savagery and.

      • Mabuse, hats off, I'm with you, I think they are the old streets of Corpus Christi, today dedicated to D. Juan Perez de Saavedra, Marqués del Villar, by the bombing that it suffered in 1717 and that cost him his life, by a discussion taurine Columbus or the Merced Golf.

        What I thought was the wall of a convent guess is the house of the Páez, and the background is the corner of the old society Silversmiths, where now the baroque convent door of Lucena, and the gate of Cuestezuela Baena. Corner and gate, alivio of próstatas inflamadas, the ethyl excesos. The curvature and convergence of the street is the one that is. In line with what was the ancient Roman theater scene. We need to confirm.

        Congratulations, it is logical, something you have the title of Dr.

        Amalgam, I think not Ambrosio de Morales, although it may be. Estúdialo. Ambrosio, the Jerome-has nothing to do with ours, had enough to want "caparse" with the lid of the ark not to succumb to the temptations.

  2. No photographs are climbing replies. Pero este link, if it works corroborates the above in almost ninety percent.

    • It could be, Paco. It could be. That yes, Archaeological facade is quite changed. Even the side door shown in photo 1901 was conveniently 'decorated'.

      • When I went to school, I was upstairs from the Plaza de Jerónimo (Paez) not ours, the facade was not arranged as now. I think then the museum was in the Moorish house Velázquez Bosco. And he was renovating the Palace of the Paez, could be (I have not found anything on that street urban development) it was the one in question. I'm talking about the year 1955. I could not superimpose the same size I uploaded Photo, if I could do some photoshopista ... Anyway the palace had considerable reform.

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