Leilão 18
NO RESERVE HAUTE EPOQUE AND PRIVATE COLLECTIONS AUCTION, INCLUDING FINE JEWELRY
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LOTE 139:
Dance inside the Tavern, with the rear inscription "Escuela de Eugenio Lucas Villaamil, Spanish school of the 19th ...
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Preço inicial:
€
3 500
Preço estimado :
€6 000 - €8 000
Comissão da leiloeira: 19.5%
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Dance inside the Tavern, with the rear inscription "Escuela de Eugenio Lucas Villaamil, Spanish school of the 19th century
Oil on canvas, framed measurements: 81 x 65, canvas measurements: 70 x 56 cm. Son of the painter Eugenio Lucas Velázquez and Francisca Villaamil, he began his artistic training in his father's workshop and continued his studies at the Special School of Painting in Madrid. He participated in the National Exhibitions of Fine Arts with the Italian and Mendigo works, his paintings maintain the influence of the characteristics of those of his father, with the repetition of Goyesque themes, resolved with great compositional skill and joy of color. . He also copied various themes of the Aragonese master, as can be seen in his works Entrance to the bulls, Sun of 1885 or Exit of the bulls, rain of 1885, works set in that traditional Madrid, starring majas and sparklers, of great picturesqueness and folk flavor. He was a skilled copyist of some of Goya's paintings, which are kept in the Prado Museum, and was protected by the well-known collector José Lázaro Galdiano. He had a truly versatile style and was undeniably creative. However, despite his enormous capacity to work, he never managed to enter the great public and official artistic circles of his time. His father's name has always kept him in the dark. Reference bibliography: E. Pardo Canalís, “The ignored world of Eugenio Lucas”, in Goya, no. 116 (1973), pp. 70-75 he never managed to enter the great public and official artistic circles of his time. His father's name has always kept him in the dark. Reference bibliography: E. Pardo Canalís, “The ignored world of Eugenio Lucas”, in Goya, no. 116 (1973), pp. 70-75 he never managed to enter the great public and official artistic circles of his time. His father's name has always kept him in the dark. Reference bibliography: E. Pardo Canalís, “The ignored world of Eugenio Lucas”, in Goya, no. 116 (1973), pp. 70-75
