Editing Ignacio Zuloaga (section)

==Biography==
In his youth, he drew and worked in the [[armourer|armourer's]] workshop of his father, Plácido.<ref>Brinton 1916, page 11.</ref>  His father's craftmanship, a familial trade, was highly respected throughout Europe, but he intended his son for either commerce, engineering, or architecture, but during a short trip to Rome with his father, he decided to become a painter.<ref>Brinton 1916, page 12</ref> His first painting was exhibited in Paris in 1890.<ref>Utrillo in Five Essays, page 8.</ref>

[[File:Ignacio Zuloaga and his wife Valentine Dethomas (c.1900).jpg|thumb|Zuloaga and his wife (c. 1900)]]
[[File:Ignacio_Zuloaga_y_Zabaleta_-_Castilian_Landscape_-_42.571_-_Museum_of_Fine_Arts.jpg|thumb|''Castilian Landscape'' (1909), [[Museum of Fine Arts, Boston]]]]
[[File:Ignacio Zuloaga y Zabaleta - My Uncle Daniel and his Family - 17.1598 - Museum of Fine Arts.jpg|thumb|''My Uncle Daniel and his Family'' (1910), [[Museum of Fine Arts, Boston]]]]

At the age of 18 he moved to Paris, settling in [[Montmartre]], to find work and training as a painter. He was nearly destitute, and lived off some meager contributions by his mother and the benevolence of fellow Spaniards, including [[Paco Durrio]], [[Pablo Uranga]], and [[Santiago Rusiñol i Prats|Santiago Rusiñol]].<ref>Brinton 1916,  page 13</ref>

After only six months' work he completed his first picture, which was exhibited at the [[Paris Salon]] of 1890. Continuing his studies in Paris, where he lived for five years, he was in contact with post-impressionists such as [[Ramon Casas i Carbó|Ramon Casas]], [[Paul Gauguin|Gauguin]] and [[Henri de Toulouse-Lautrec|Toulouse-Lautrec]],{{sfn|Chisholm|1911}} yet his tendencies were always to a thematic that was more ethnic in scope.

He attempted to gain success during a sojourn in London; but lackluster patronage led him to return to Spain, settling in [[Seville]], then [[Segovia]], and developed a style based on a realist Spanish tradition, recalling [[Diego Velázquez|Velázquez]] and [[Bartolomé Esteban Murillo|Murillo]] in their earthy colouring and genre themes. He painted portraits of attired bullfighters and [[flamenco]] dancers; or portraits of family members and friends in such attire. He also painted village dwarves (''El enano Gregorio el Botero''; [[Hermitage Museum|Hermitage]], St Petersburg, Russia) and beggars, often as stark figures in a dreary landscape with a traditional landscape or town in the background. He also painted some village-scape scenes.<ref>Brinton 1916, page 16</ref>  He favored earth or muted tones, including maroon, black, and grey, with the exception of colorful folk attire or the bright red cassock in some paintings.

Zuloaga married Valentine Dethomas on May 18, 1899. Valentine's brother, [[Maxime Dethomas]], was a fellow student of Zuloaga in Paris.

Zuloaga and his patrons felt slighted in 1900, when his painting ''Before the Bull-fight'' was rejected for inclusion into the Spanish representation at the Universal Exposition in [[Brussels]]. In 1899, one of his paintings exhibited in Paris had been purchased for the [[Luxembourg Palace]]. However, he did exhibit the painting at the Exposition of the Libre Esthetique in Brussels, and did see it acquired by the Modern Gallery in [[Brussels]]. He was accepted into the [[Venice Biennale]] in 1901 and 1903,<ref>[https://books.google.com/books?id=ANhXAAAAIAAJ&printsec=frontcover&dq=Quinta+Esposizione+Internazionale+Della+Citt%C3%A0+D'arte&hl=en#v=onepage&q=Ignacio&f=false|Quinta Esposizione Internazionale D'arte Della Città Di Venezia 1903, Catalogo Illustrato], Third Edition; Premiato Stabilimento Dottore Chappuis, Bologna, 1903. page 39.</ref> and displayed 34 canvases at the Barcelona International exposition of 1907.<ref>Brinton 1916, pages 19–20</ref>

Among the more prominently displayed works is his ''Cristo de la Sangre'' (Christ of the Blood) or ''Hermandad del Cristo Crucificado'' (Brotherhood of the Crucified Christ), on display at the [[Museo Reina Sofia]] in Madrid. He also painted a similarly painting of individuals undergoing a traditional [[mortification of the flesh]] and a bleeding crucified Christ called ''The Flagellants'' (1900). These paintings were praised by [[Miguel de Unamuno|Unamuno]] in his book on ''De Arte Pictorico'' as being honest representation of Spain: a Spain ''religious and tragic, a black Spain''.<ref>"Esta Espana religiosa y tragica esta Espana negra" quoted in Nancy Dean Faires (2007), ''This is Not a Museum: the Guggenheim Museum Bilbao''.</ref> rooted in the particularly Spanish Catholic fascination with mutilating penance.

Brinton in his review of an exposition in America in 1909, he states that: <blockquote>It is this racy and picturesque life which Zuloaga seeks above all else to place on record, and it is these popular types unspoiled by ruthless modernism which he pursues into the farthest corners of his native land. In this zealous quest of congenial models he hesitates at nothing. He will haunt for hours a fiesta on the outskirts of some provincial town, or hasten away to the mountains, passing months at a time with smugglers and muleteers, with the superstitious fanatics of Anso in the extreme north of Aragon or with the monkish cutthroats of [[Las Baluecas]], a little village on the southern boundary line of [[Salamanca]].<ref>Brinton 1916.</ref></blockquote>

Gil says that the faces of the old folk he paints are <blockquote>severe, roughly mystical, beset by painful thoughts, shadowed by the remembrance of the glory they once were, they have sad souls, moaning under the weight of an ideal of centuries, they are not individual representations, but the synthesis of the sadness of the Spanish Soul.<ref>Padre M. Gil, ''En el Estudio de Zuloaga'' in Five Essays, page 98...."aquellos rostros de viejos y viejecitas, severos, rudamente místicos, preocupados por un pensamiento doloroso, ensombrecidos por el recuerdo de glorias que fueron, tienen el alma triste, gimen bajo el peso de un ideal de siglos, no son representaciones individuales, son la síntesis de la tristeza del alma española."</ref></blockquote>

One of the American collections to feature Zuloaga's work is the Johns Hopkins University's Evergreen Museum & Library, Baltimore, Maryland.  Officially owned by the Evergreen House Foundation, an independent entity started by Zuloaga's great friend, philanthropist Alice Warder Garrett (1877–1952), Evergreen's works include full-length portraits of Mrs. Garrett (1915; 1928); a seated portrait of Ambassador John Work Garrett (1872–1942); a Spanish landscape; a painting based on the opera ''Goyescas''; and a landscape of [[Calatayud]] (Spain).

An [[Iberia (airline)|Iberia]] airline [[Airbus A340|Airbus A340-642]] aircraft, registration EC-IZY, is named after him.