Landscape at Hernani, c. 1900

Darío de Regoyos y Valdés

Regoyos y Valdés, Darío de

Ribadesella, 1857 - Barcelona, 1913

Landscape at Hernani, C. 1900 (Paisaje de Hernani)

© Colección Carmen Thyssen-Bornemisza

Signed lower right: ''D. de Regoyos''
Carmen Thyssen-Bornemisza Collection on loan to the Museo Carmen Thyssen Málaga

Oil on canvas

50 x 61 cm

CTB.1995.28

Artwork history

  • Salón Declaux Collection (País Vasco), 1920.

  • Private Collection (País Vasco).

  • Ansorena Auctions, Madrid, June 16, 1994. Lot 67.

  • Carmen Thyssen-Bornemisza Collection.

1996

De Canaletto a Kandinsky. Obras maestras de la Colección Carmen Thyssen-Bornemisza, Madrid, Museo Thyssen-Bornemisza, n. 72, p. 190.

1996 - 1997

From Zurbaran to Picasso. Masterpieces from the Collection of Carmen Thyssen-Bornemisza, Shanghai, Shanghai Museum; Pekín, China National Art Gallery, p. 126.

1997

Capolavori dalla Collezione di Carmen Thyssen-Bornemisza: 60º anniversario dell'apertura della Pinacotecca di Villa Favorita, Lugano, Villa Favorita, n. 91, p. 236.

1998

La pintura española del cambio de siglo en la Colección Carmen Thyssen-Bornemisza, Zaragoza, Palacio de Sástago, n. 19, p. 76.

1998 - 1999

Masterworks from the Carmen Thyssen-Bornemisza Collection, Tokio, Tokyo Metropolitan Art Museum; Takaoka, Takaoka Art Museum; Nagoya, Matsuzaka Art Museum; Sendai, Miyagi Museum of Art, n. 69, p. 156.

2010 - 2011

Jardines impresionistas, Madrid, Museo Thyssen-Bornemisza - Fundación Caja Madrid, n. 125, p. 287, lám.

2012

Paraísos y paisajes en la Colección Carmen Thyssen. De Brueghel a Gauguin, Málaga, Museo Carmen Thyssen Málaga, 2012.

2013 - 2014

Darío de Regoyos (1857-1913). La aventura impresionista, Bilbao, Museo de Bellas Artes de Bilbao; Madrid, Museo Thyssen-Bornemisza; Málaga, Museo Carmen Thyssen Málaga, n. 61, pp. 148 (lám.) y 254.

  • -De Canaletto a Kandinsky. Obras maestras de la colección Carmen Thyssen-Bornemisza Museo Thyssen-Bornemisza. Llorens Serra, Tomás (ed.). [Exhib. Cat. Madrid, Museo Thyssen-Bornemisza]. Madrid, Fundación Colección Thyssen-Bornemisza, 1996, n. 72, p. 190. [Sheet by Juan San Nicolás].

  • -Colección Carmen Thyssen-Bornemisza. Arnaldo, Javier (ed.). 2 vols. Madrid, Fundación Colección Thyssen-Bornemisza, 2004, vol. 2, p. 180, lám. p. 181 [Sheet by Juan San Nicolás].

  • -Paraísos y paisajes en la Colección Carmen Thyssen. De Brueghel a Gauguin, Málaga, Museo Carmen Thyssen Málaga, 2012. [Exhib. Cat.].

  • -Darío de Regoyos (1857-1913). La aventura impresionista, Bilbao, Museo de Bellas Artes de Bilbao; Madrid, Museo Thyssen-Bornemisza; Málaga, Museo Carmen Thyssen Málaga, 2013,  n. 61, pp. 148 (Ilust.) y 254. [Exhib. Cat.].

  • -Museo Carmen Thyssen Málaga. Colección. Catálogo razonado, Fundación Palacio de Villalón, Málaga, 2014. Pág. 364-365 [Sheet by Juan San Nicolás].

Expert report

Landscape at Hernani depicts a partial panoramic view of Hernani. To the right, but not included here, would be the city’s historic quarter, although the old bridge is featured on the left in the foreground. The still snow-capped Mount Adarra in the background suggests that the picture was painted in winter.

Here Regoyos is revealed at his peak, bringing all his mastery to bear on a winter scene in which the dusk is perfectly rendered in buildings and shadows typical of so many of his paintings. As is usual in his compositions, the human figure is inseparable from the landscape, although here only women appear – in scenes from the España negra series, they are generally seen working. Regoyos always depicted the Basque female as a working woman and often a solitary figure.

In the composition of this picture, which was executed from an elevated position, the horizontal lines serve to distribute the pictorial space and the diagonals give further support. Regoyos achieved depth in the landscape by grading the mauve, brown and green tones to obtain a skilful portrayal of light and landscape. This is complemented by a sky full of small masses of cloud filtering the sunlight onto the mountains, which in the process creates a perfect portrayal of the moment depicted.

It is not known whether the painting was exhibited during the artist’s lifetime. This seems unlikely, however, as the title does not appear on the stretcher (as was normally the case with Regoyos’s works exhibited outside Spain), nor are there any labels with numbers or information testifying to its having been shown in public. It is possible that upon completion it passed into the hands of one of the artist’s friends and later to the Salon Delclaux, where, as the purchase invoice indicates, it was reacquired on 28 January 1920 by its previous owner.

Juan San Nicolás