Caballero, Joaquín Sorolla Bastida, 1883
Joaquín Sorolla, portraitJoaquín SorollaSpanish, 1863–1923

Caballero

1883 · Drawing

May one see it?

Unknown

Sorolla Museum

Madrid, Spain

The owner is known; whether it is on view today is not.

In this state since
Source
The museum

About the work

In the museum's own words — in Spanish

Anverso: Estudio de figuras masculinas luchando. Figura masculina de pie, sin dibujar la cabeza, en pose de tres cuartos a la izquierda, agarrando con su mano izquierda a una segunda figura que está medio caída, mirándola, con una rodilla doblada hincada en tierra y la otra pierna estirada. Reverso 1 (hoja 61): Caballero. Figura masculina de cuerpo entero, caminando hacia la izquierda. Viste zapatos de puntera afilada y vuelta hacia arriba, calzas, cinturón del que cuelga la espada, y lo que parece un coleto sobre la camisa o jubón. Lleva casco con visera. Descansa su mano izquierda sobre la empuñadura y con la derecha lleva un estandarte. Reverso 2 (hoja 62): Estudios de cabezas. En la parte superior, cabeza masculina de perfil a la izquierda, tocada con sombrero de ala ancha. Debajo, busto femenino de perfil a la derecha, con el cabello recogido en moño bajo. A la derecha, girando el papel 90º, cabeza masculina de perfil a la izquierda.

Sorolla Museum

Particulars

What it shows

In the catalog

Sources

Meanwhile, in the life of Joaquín Sorolla

The whole life
  1. c. 1881

    Madrid: studying the old masters in the Prado

    At eighteen Sorolla travelled to Madrid and studied the master paintings in the Museo del Prado with great energy.

  2. 1885

    A four-year grant to study in Rome

    Having completed his military service, the twenty-two-year-old Sorolla received a grant from the Spanish Academy in Rome for four years of study in Italy. In Rome he was welcomed by the academy’s director, Francisco Pradilla, in whose example the young painter found stability.

  3. 1885

    Paris: his first encounter with modern painting

    A long stay in Paris gave him his first exposure to modern painting; he was especially struck by exhibitions of Jules Bastien-Lepage and Adolph von Menzel. Back in Rome he studied with José Benlliure, Emilio Sala and José Villegas Cordero.

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