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A Bolero Dancer

Entdecken Sie Antonio Cabral Bejarano (1798-1861), einen spanischen Maler der Romantik & des Costumbrismo aus Sevilla. Erforschen Sie seine lebendigen Darstellungen andalusischen Lebens, historischer Szenen und seine Museumsarbeit.

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Gesamtpreis

$ 258

reproduction

A Bolero Dancer

Art der Reproduktion

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Gesamtpreis

$ 258

Beschreibung des Kunstwerks

On the banks of the river Guadalquivir, in Seville’s riverside district of Triana opposite the Arenal and the Torre del Oro, which are clearly visible in the background, a girl dances and plays the castanets. Dressed in the typical costume of bolero dancers, identified by the cut, pointed hem and ruffles of the dress and by the demi-pointe shoes that were used solely for dancing, she performs a typical dance step with castanets. The composition, in which the dancer is depicted opposite one of Seville’s main landmarks, is significant as it combines the most appealing aspects of the city in the first half of the 19th century – its fascinating Arab ruins and ancient buildings – with the bolero, which from the Romantic Age onwards became one of the most successful dances performed in theatres across Europe, identified clearly with Spain and, initially, with Andalusia.One of the attractions of the bolero was how difficult it was to perform, as it required not only legs and arms to move in rhythm – like those of the dancer in the picture – but also involved the movement of the trunk and the handling of the castanets simultaneously. As a result few dancers included it in their repertoires and it was practically beyond the abilities of amateurs. The Romantics who travelled around Andalusia often stressed that it was impossible to convey the excitement of watching these dances being performed in a spontaneous way in the city of Seville, one of the most recognised centres of bolero dancing from the early 19th century. They often stressed that Andalusian women were best at them and the dance was soon identified with the region, becoming one of its distinguishing features and main tourist attractions.“It gives the French, English, Italians and all the nations of Europe pleasure to see the bolero danced. They all learn it and few come to perform it moderately well”, wrote one of the most famous authors of treatises on the choreology of the bolero in 1820, the master Antonio Cairón, referring to the dance performed by the girl in this picture. It is possible that the particular piece being performed by this dancer is the one known as the “Olé” or the “Olé de la Curra”, as it matches the depiction of this step in various engravings of the period illustrating the first figure in this dance. At the time dancers of European fame, such as Fanny Essler and Pauline Duvernay – the latter for the dance known as “La Cachucha” – had achieved extraordinary prestige and even had their own iconographies. In general, these pictures featured their most famous performances and in order to identify them they were always shown performing the same step of a bolero, which became popular above all through prints. In addition, the bolero was commonly represented in pictures similar to those in the Thyssen Collection, which always focused on the most complex and elegant position of the dancer executing this particular figure that was so easy to identify.It is therefore not surprising that an iconography like that shown in this painting should have been repeated on several occasions given its valuable significance as a well-established image of Sevillian identity and also the commercial success it must have enjoyed. Indeed, three versions of this composition are known to date. The finest is the one housed in the Palacio de Liria in Seville, which until only recently was also thought to be by Antonio Cabral Bejarano, like the rest, but is now ascribed – although the reasons for the change of attribution have not been explained – to his son Manuel. It displays very slight variations with respect to the present work and its clear, crisp execution and particularly vivid colouring, especially in the sky, have led to the assumption that it is the first in the series of these paintings, or at least the most accomplished version of those known. In addition, the work in that collection is the only one that preserves its companion piece showing a man dancing a bolero before a backdrop in which Seville cathedral and the Giralda can be made out. However, the work in the Carmen Thyssen Collection is of greater quality than the one formerly preserved in the Bosch Collection and also held to be by Antonio, which is the version of least artistic interest. The Thyssen painting, executed for certain by Antonio Cabral, displays certain exquisite painterly details that set it apart from the Bosch version. In this painting the artist takes the liberty of varying certain features of the figure, giving it an individual quality compared to the other two, such as the position of the dancer’s necklace, in which the strands are separated, and the rendering of the swirling flounces of her skirt and the background foliage in very supple brushwork. The similarity of these three versions – whose composition ties in with those of the collections of human types which were already circulating in prints and of which wash versions were made – does not necessarily indicate that the../..

Über den Künstler

Antonio Joaquín María de Todos los Santos Ignacio de Loyola Quintín (1798–1861): Andalusian Romanticism Embodied

Antonio Cabral Bejarano, commonly known as Antonio Cabral Quintín, stands as a cornerstone of Spanish Romantic painting and Costumbrismo—a movement dedicated to portraying authentic Andalusian life with remarkable realism and emotional resonance. Born in Seville in 1798, he descended from a lineage steeped in artistic heritage; his great-grandfather Diego Bejarano established him firmly within a tradition prioritizing visual expression and upholding established stylistic conventions. This familial connection profoundly shaped his formative years, instilling an early passion for capturing the essence of human experience through art. Initially trained by Joaquín Cabral Bejarano—his father—Antonio’s artistic journey commenced under the tutelage of a master who instilled in him the foundational principles of neoclassical painting, providing him with a grounding in classical aesthetics and compositional techniques.

Early Life & Family Background

Antonio's upbringing was characterized by familial ties to prominent artists, notably Joaquín Cabral Bejarano whose influence extended beyond mere instruction; it fostered an appreciation for artistic legacy and a commitment to upholding established stylistic conventions. His marriage to Escolástica Pérez Junquitu Fernández produced Maria Bejarano, who subsequently married Pedro Cabral, resulting in the birth of Joaquín Cabral Bejarano II—continuing the family’s artistic tradition across generations. This lineage underscored the importance of artistic heritage within Andalusian society and instilled a deep understanding of artistic history from an early age.

Formal Training & Artistic Influences

Antonio's education at La Escuela de Tres Nobles Artes (School of Three Noble Arts) proved invaluable in exposing him to contemporary artistic trends—particularly the burgeoning Romantic movement. Marked by emotional intensity, dramatic narratives, and an embrace of imagination—Romanticism captivated artists across Europe—it profoundly impacted Antonio’s creative vision. Eugène Delacroix and Francisco Goya served as pivotal inspirations, informing his stylistic choices and thematic preoccupations. Delacroix's dynamic compositions and expressive brushwork encouraged Antonio to explore bold color palettes and dramatic perspectives—techniques that would become hallmarks of his oeuvre. Similarly, Goya’s unflinching portrayal of human suffering and social critique instilled in him a desire to engage with complex moral dilemmas through artistic representation.

Career Highlights & Artistic Output

Antonio Cabral Bejarano's artistic career unfolded against the backdrop of significant historical upheaval—the Napoleonic invasion of Spain and its subsequent restoration—influencing his subject matter and artistic endeavors. He actively participated in commemorating pivotal moments in Spanish history, notably the arrival of Portuguese royal families—Maria Isabel de Braganza and Francisca de Braganza—on their journey to Madrid for their marriage ceremonies—demonstrating a dedication to capturing grandeur and conveying solemn emotion. His monumental decoration projects—particularly the façade of the Cathedral of Seville and the interior murals of the General Archive of the Indies—exemplified his technical prowess and artistic ambition. These commissions demanded meticulous attention to detail and masterful execution—reflecting Antonio’s unwavering commitment to upholding the highest standards of artistic craftsmanship. Furthermore, he served as professor of perspective at La Escuela de Tres Nobles Artes—a role that ensured the transmission of artistic knowledge and fostered a vibrant intellectual environment within Seville. His leadership at the Museo de Bellas Artes de Sevilla—established in 1835—represented a transformative moment for Andalusian cultural heritage—solidifying Seville’s position as a center for art appreciation and scholarship. He championed innovative pedagogical approaches—promoting critical engagement with artistic masterpieces—and fostering a dialogue between artists and scholars alike.

Style & Technique: Costumbrismo & Romantic Expression

Antonio Cabral Bejarano's artistic style is inextricably linked to Costumbrismo—a distinctive Spanish genre that sought to depict everyday life and customs with unflinching realism and emotional depth. Rejecting the idealized representations prevalent in neoclassical art—Costumbrismo embraced spontaneity and observation—capturing the nuances of Andalusian society through vibrant color palettes and expressive brushstrokes. His paintings frequently portray scenes from Seville’s urban landscape—bustling marketplaces, tranquil plazas, and solemn religious processions—infused with palpable emotion and imbued with a sense of immediacy. Unlike academic conventions—Cabral Bejarano prioritized conveying psychological states—reflecting the Romantic preoccupation with subjective experience. His technique involved loose brushstrokes—characteristic of Romantic painting—designed to evoke feelings of warmth, vibrancy, and dramatic intensity. He skillfully utilized color—inspired by Delacroix’s bold palettes—to create atmospheric effects—capturing the subtleties of light and shadow—and conveying emotional resonance. His meticulous attention to detail—evident in his depictions of architectural grandeur and human figures—underscored his commitment to artistic excellence and his ability to transform observation into compelling visual narratives. Antonio Cabral Bejarano’s legacy extends beyond his individual artworks; he embodies the spirit of Andalusian Romanticism—a testament to the enduring power of art to illuminate human experience and capture the essence of a bygone era.
Antonio Cabral Bejarano

Antonio Cabral Bejarano

1798 - 1861 , Spanien

Kurzinfos

  • Artistic Movement Or Style: Romantik Malerei & Costumbrismo
  • Artists Or Movements Influenced By This Artist: ['Neoklassik']
  • Artists Who Influenced This Artist: ['Diego Bejarano']
  • Date Of Birth: 31. Oktober 1798
  • Full Name: Antonio Joaquín María de Todos los Santos Ignacio de Loyola Quintín
  • Nationality: Spanier
  • Notable Artworks: ['Ein Bolero Tänzer']
  • Place Of Birth: Seville, Spanien