The Asylum, following Goyesque models, Leonardo Alenza y Nieto (Madrid, 1807-1845), 19th century Spanish school

The Asylum, following Goyesque models, Leonardo Alenza y Nieto (Madrid, 1807-1845), 19th century Spanish school
Oil on canvas, framed measurements: 94 x 80, canvas measurements: 72 x 58 cm. Certified by Arnáiz and published. Author of small-format costumbrista works, of portraits full of life in which he knew how to endow his models with expressiveness and psychological depth, and also of numerous drawings. Brown and muted tones predominate in his palette, a legacy of the more sober Goya, the Black Paintings, which he also approaches in the theme chosen in many of his works: the marginalized, the condemned... Not in vain Aureliano de Beruete considered him the most important of the painters influenced by Goya. Examples of this are El viatico and El gallego de los curritos (Prado). In the first he makes an interesting study of light, which is concentrated in the figure of the priest who carries the viaticum and contrasts with the figure in the foreground that appears from behind against the light, while around it there are several others that kneel as the Blessed Sacrament passes. Another aspect of Alenza's production to take into account is that he was a chronicler of his time; Proof of this are the paintings for the Café de Levante, of which the Museum preserves some examples. Leonardo Alenza can be considered the prototype of the cursed painter who suffered all kinds of deprivation in life and barely subsisted on the sale of his drawings. Proof of this are the paintings for the Café de Levante, of which the Museum preserves some examples. Leonardo Alenza can be considered the prototype of the cursed painter who suffered all kinds of deprivation in life and barely subsisted on the sale of his drawings. Proof of this are the paintings for the Café de Levante, of which the Museum preserves some examples. Leonardo Alenza can be considered the prototype of the cursed painter who suffered all kinds of deprivation in life and barely subsisted on the sale of his drawings.