Eugenio Álvarez Dumont

Last updated • 1 min readFrom Wikipedia, The Free Encyclopedia
The Death of Churruca Churruca death.jpg
The Death of Churruca

Eugenio Álvarez Dumont (1864, Tunis - 1927, Buenos Aires) was a Spanish painter; primarily of Orientalist and costumbrista scenes, although he is best remembered as a battle painter, for his scenes from the Peninsular War. His brother, César Álvarez Dumont  [ es ], was also a well known artist.

Contents

Biography

He received his first artistic training at the Escuela de Bellas Artes de San Fernando in Madrid, then at the Academia de España  [ es ] and the Accademia Chigi in Rome. He received an honorary mention there for one of his first sketches; The Death of Churruca, which later served as the basis for one of his best known paintings. Vicente Palmaroli had a major influence on his work.

In 1898, he travelled through North Africa with his brother, producing Orientalist scenes. Later, he moved to Paris then, finally to Madrid, where he dedicated himself to teaching, at the Escuela de Artes e Industrias, and painting costumbrista scenes. He was awarded medals at the National Exhibition of Fine Arts in 1887 and 1892.

In 1906, he exhibited his works at the "IV Exposición de Arte Español", held in Buenos Aires under the sponsorship of the painter and art dealer, José Pinelo Llull (1861-1922). [1] In 1910, he was invited to participate in an exhibition celebrating the centennial of Buenos Aires, but that showing was not as successful. [1]

Toward the end of his life, he settled in Buenos Aires, where he did decorative paintings as well as canvases, and provided illustrations for Argentine books and magazines.

Related Research Articles

<i>Costumbrismo</i>

Costumbrismo is the literary or pictorial interpretation of local everyday life, mannerisms, and customs, primarily in the Hispanic scene, and particularly in the 19th century. Costumbrismo is related both to artistic realism and to Romanticism, sharing the Romantic interest in expression as against simple representation and the romantic and realist focus on precise representation of particular times and places, rather than of humanity in the abstract. It is often satiric and even moralizing, but unlike mainstream realism does not usually offer or even imply any particular analysis of the society it depicts. When not satiric, its approach to quaint folkloric detail often has a romanticizing aspect.

<span class="mw-page-title-main">Luis Menéndez Pidal</span> Spanish painter

Luis Menéndez Pidal was a Spanish painter; primarily of genre scenes..

<span class="mw-page-title-main">Manuel García y Rodríguez</span> Spanish painter (1863–1925)

Manuel García y Rodríguez was a Spanish costumbrista and landscape painter, who also painted Orientalist scenes.

<span class="mw-page-title-main">José Moreno Carbonero</span> Spanish artist (1860–1942)

José Moreno Carbonero was a Spanish painter and decorator. A prominent member of the Málaga School of Painting, he is considered one of the last great history painters of the 19th century. He was a celebrated portrait painter who enjoyed the patronage of Madrid's high society. He also created genre scenes and some landscapes, vedutas and still lifes.

<span class="mw-page-title-main">Luis Álvarez Catalá</span> Spanish painter

Luis Álvarez Catalá was a Spanish painter of historical scenes and Director of the Museo del Prado from 1898 to 1901.

<span class="mw-page-title-main">Luis de Madrazo</span> Spanish painter

Luis de Madrazo y Kuntz was a Spanish painter of portraits and religious scenes from a well-known family that included his father José, and his brothers Federico, Pedro and Juan. His Polish grandfather Tadeusz Kuntze was a painter as well.

<span class="mw-page-title-main">José Villegas Cordero</span> Spanish painter

José Villegas Cordero was a Spanish painter of historical, genre and costumbrista scenes.

<span class="mw-page-title-main">Plácido Francés y Pascual</span> Spanish painter

Plácido Francés y Pascual was a Spanish painter who specialized in portraits, historical scenes and Costumbrista.

<span class="mw-page-title-main">Eugenio Lucas Velázquez</span> Spanish painter

Eugenio Lucas Velázquez was a Spanish painter in the Romantic style, known for genre and costumbrista scenes which often featured fantastic elements. Nineteenth-century sources refer to him as Eugenio Lucas Padilla, which has caused some confusion, although it seems reasonable to assume that Velázquez was an adopted name. Few of his paintings are signed, causing a problem with attribution.

<span class="mw-page-title-main">Joaquim Espalter</span>

Joaquim Espalter i Rull or, in Spanish, Joaquín Espalter y Rull was a Catalan painter who spent most of his career in Madrid; known primarily for portraits and historical scenes.

<span class="mw-page-title-main">Eugenio Lucas Villaamil</span> Spanish painter (1858–1918)

Eugenio Lucas Villaamil, sometimes called "The Younger" was a Spanish costumbrista painter. Many of his works were painted in the style of Francisco de Goya; and the attributions are sometimes confused.

<span class="mw-page-title-main">Eugenio Oliva</span> Spanish painter (1852–1925)

Eugenio Oliva y Rodrigo was a Spanish painter, primarily known for his murals.

<span class="mw-page-title-main">Juan José Gárate</span> Spanish painter (1869–1939)

Juan José Gárate y Clavero was a Spanish painter; known for his portraits, landscapes and costumbrista scenes of Aragonese life.

<span class="mw-page-title-main">Juan Melé</span> Argentine sculptor,painter and art critic(1923-2012

Juan Nicolás Melé was an Argentine sculptor, painter, and art critic. Melé was a member of the Asociación Arte Concreto-Invención as well as co-founder of the Grupo Arte Nuevo.

<span class="mw-page-title-main">Julia Wernicke</span>

Julia Wernicke was a painter and engraver from Argentina. She is known as the first animalist painter from Argentina, and was unique at the time in incorporating exotic animals into her paintings. She paved the way for female artists in Argentina through many firsts, especially within the discipline of engraving. Wernicke was one of the first women to have an individual exhibition of works in Buenos Aires, in 1897; and the first person to have an individual exhibition of engraved etchings in Argentina, in 1909.

<span class="mw-page-title-main">Marceliano Santa María Sedano</span> Spanish painter (1866–1952)

Marceliano Santa María was a Spanish painter, noted for his Castilian landscapes, historical art, and portraits.

<span class="mw-page-title-main">Manuel García Hispaleto</span> Spanish painter (1836–1898)

Manuel García Hispaleto, originally Manuel García y Martínez was a Spanish painter; known for portraits and costumbrista scenes. His brother, Rafael García Hispaleto, was also a painter. Many sources refer to him as Manuel García y García, but his mother's maiden name appears to have been Martínez.

<span class="mw-page-title-main">Ventura Álvarez Sala</span>

Buenaventura Álvarez Sala Vigil was a Spanish painter and illustrator; known for portraits and genre scenes, many involving maritime subjects.

<span class="mw-page-title-main">Antonio Ortiz Echagüe</span> Spanish painter (1883–1942)

Antonio Ortiz Echagüe was a Spanish costumbrista painter, who spent much of his career in other countries. Alongside Ignacio Zuloaga and Joaquin Sorolla, he forms part of the trio of aces of Spanish costumbrist painting at the turn of the twentieth century. The recognition and international awards which he won, as well as the presence of his paintings in first-rate museums in Europe, U.S.A. and South America, give witness to the extraordinary relevance of this painter, who knew how to blend tradition with modernity. He was the older brother of the photographer, engineer and entrepreneur, José Ortiz Echagüe.

<span class="mw-page-title-main">Eduardo Cano de la Peña</span>

Eduardo Cano de la Peña was a Spanish painter in the Romantic style; specializing in historical scenes.

References

  1. 1 2 Ana María Fernández García, Arte y emigración. La Pintura española en Buenos Aires 1880-1930, Universidad de Oviedo. Universidad de Buenos Aires, 1997 ISBN   84-7468-929-5