Le paon blanc, 1904

Hermen Anglada Camarasa

Anglada Camarasa, Hermen

Barcelona, 1871 - Puerto de Pollensa, 1959

Le paon blanc, 1904 (The white peacock)

© Hermenegildo Anglada Camarasa, VEGAP, Madrid, 2017

Signed lower right: ''Hermen Anglada-Camarasa / 1904''
Carmen Thyssen-Bornemisza Collection

Oil on panel

78,5 x 99,5 cm

CTB.1996.49

Artwork history

  • Dr. Pierre Delbet, París, c. 1908.

  • Art Market, Madrid.

  • Art Market, Barcelona, c. 1988.

  • Barcino Art, Barcelona.

  • Carmen Thyssen-Bornemisza Collection.

1904

Eduard Schulte Kunstsalon, Berlín, . - Como "Jardin Concert".

1904

Salon National, París, n. 4.

1905

IV Biennale Internazionale d’Arte, Venecia, n. 11.

1905

Münchener Kunstverein, Múnich.

1982

Anglada-Camarasa, Madrid, Caja de Pensiones, n. 20.

1982

Anglada-Camarasa, Palma de Mallorca, Caixa de Pensions, n. 12.

1990 - 1991

El Modernisme, Barcelona, Museu d'Art Modern, n. 467, vol. I (pp. 180-181, lám.); vol. II (p. 188, lám.).

1994

El París de Anglada-Camarasa, Madrid, Sala Blanquerna, n. 18.

1994

El París de Anglada-Camarasa, Palma de Mallorca, Fundació "La Caixa", n. 18.

1996

De Canaletto a Kandinsky. Obras maestras de la Colección Carmen Thyssen-Bornemisza, Madrid, Museo Thyssen-Bornemisza, n. 87, p. 222.

1997

Capolavori dalla Collezione di Carmen Thyssen-Bornemisza: 60º anniversario dell'apertura della Pinacotecca di Villa Favorita, Lugano, Villa Favorita, n. 111, p. 282.

1997

Del vedutismo a las primeras vanguardias. Obras maestras de la Colección Carmen Thyssen-Bornemisza, Bilbao, Museo de Bellas Artes de Bilbao, n. 59, p. 190.

1997

Pintura simbolista en España (1890-1930), Madrid, Fundación Cultural Mapfre Vida, p. 64.

1998

La pintura española del cambio de siglo en la Colección Carmen Thyssen-Bornemisza, Zaragoza, Palacio de Sástago, n. 23, p. 86.

1999 - 2000

Jardines de España. 1870-1936, Madrid, Fundación Cultural Mapfre Vida, p. 194, lám.

2000

El modernismo catalán. Un entusiasmo, Madrid, Sala de Exposiciones de la Fundación Santander Central Hispano, p. 173.

2000 - 2001

La Révolte de la couleur. De l'impressionnisme aux Avant-gardes. Chefs-d'oeuvre de la Collection Carmen Thyssen-Bornemisza, Bruselas, Musée d'Ixelles, n. 12, p. 50.

2001 - 2002

París-Barcelone: de Gaudí à Miró, París, Galeries Nationales du Grand Palais; Barcelona, Museu Picasso, p. 193.

2002

París. Capital of the Arts. 1900-1968 / París. Capital de las artes, 1900-1968, Londres, Royal Academy of Arts; Bilbao, Museo Guggenheim Bilbao, n. 1, p. 56.

2003

De Fortuny a Tàpies. Aspectes de la pintura catalana moderna dins la Col.lecció Carmen Thyssen-Bornemisza, Barcelona, Museu Nacional d'Art de Catalunya, p. 30, lám. p. 31.

2003

La ciudad placentera. De la verbena al cabaret, Valencia, Museo del Siglo XIX; Alicante, Caja de Ahorros del Mediterráneo, n. 62, p. 213 (Valencia).

2003 - 2004

Mujeres pintadas. La imagen de la mujer en España. 1890-1914, Madrid, Fundación Cultural Mapfre Vida, n. 9, p. 112, lám. p. 113.

2004

Pintura catalá do Naturalismo ao Noucentisme. Colección Carmen Thyssen-Bornemisza, Santiago de Compostela, Fundación Caixa Galicia, n. 9, p. 54.

2004

Pintura catalana del Naturalismo al Noucentisme. Colección Carmen Thyssen-Bornemisza, Madrid, Museo Thyssen-Bornemisza, n. 39, p. 120, lám.

2006 - 2007

El món d'Anglada-Camarasa, Barcelona, CaixaForum; Palma de Mallorca, Centre Cultural de la Fundació ''La Caixa'', n. 32, p. 196, lám. p. 94.

2010

De Gaudí a Picasso, Valencia, Institut Valencià d'Art Modern, p. 139, lám. (cover)

2010 - 2011

Jardines impresionistas, Madrid, Museo Thyssen-Bornemisza - Fundación Caja Madrid, n. 130, p. 292, lám. p. 293.

2011

La tradición moderna en la Colección Carmen Thyssen. Monet, Picasso, Matisse, Miró, Málaga, Museo Carmen Thyssen Málaga, p. 86, lám. p. 87.

2011 - 2012

L'Espagne entre deux sigles, de Zuloaga à Picasso, París, Musée de l´Orangerie, n. 29, p. 85, lám.

2012

Paisatges de llum, paisatges de somni. De Gauguin a Delvaux. Col·lecció Carmen Thyssen-Bornemisza, Sant Feliu de Guíxols, Espai Carmen Thyssen, p. 86, lám. p. 87.

2012 - 2013

Anglada-Camarasa. Arabesco y seducción. Colección Fundación "la Caixa", Málaga, Museo Carmen Thyssen Málaga, n. 16, p. 92, lám. p. 93, det. p. 36.

2015

La rosa di fuoco. La Barcelona di Picaso e Gaudí, Ferrara, Palazzo dei Diamanti, n. 92, p. 102, lám., det. p. 99.

2017 - 2018

Escenarios. De Monet a Estes. De Trouville a Nueva York. Colección Carmen Thyssen-Bornemisza. Museu Carmen Thyssen Andorra. p. 40-41.

  • -Kuzmany, K. M.: ”Die VI Internationale Kunstausstellung der Stadt Venedig”. Die Kunst. vol. XI, n. 20, July 15, 1905, p. 471, lám.

  • -”La VI Esposizione di Arte a Venezia. La pittura straniera”. Tempo. 1905.

  • -Leblond, M. A.: ”Hermen Anglada”.  L’Art et les Artistes. Paris, April-September 1908, vol. 5, n. 7 , pp. 213-218, lám.

  • -Monneret de Villard, U.: ”Anglada”.  Vita d’Arte. February 1908, vol. I, n. 2, pp. 80-97, lám.

  • -Marcel, H.: ”Hermen Anglada”. Gazette des Beaux Arts. París, 1909, year 51, pp. 106-117.

  • -Periquet, F.: ”El pintor Anglada-Camarasa”. Hojas Selectas. Barcelona, 1909, vol. VIII, pp. 564-568, lám.

  • -Enciclopedia universal ilustrada europeo-americana. Barcelona, José Espasa e Hijos, 1909-1933, (1909), vol. 5, p. 561, lám.[- T. I-LXX : A – Z – Appendices I-X : A – Z — 1934-1998, annual supplements — Index 1934-1996].

  • -Gozalbo, A.: ”Hermen Anglada y Camarasa”. Athinae. Revista Argentina de Bellas Artes. March 1911, year III, n. 31, pp. 65-73, lám.

  • -Pica, V.: ”Hermen Anglada y Camarasa”. Kunst für Alle. Múnich, February 1, 1912, pp. 196-209, lám.

  • -Owen Lublin, C.: ”Hermen Anglada of Spain, a Spanish genius little known in America”. Town and Country. February 1917, lám.

  • -Hutchinson Harris, S.: The Art of H. Anglada-Camarasa. A Study in Modern Art. London, The Leicester Galleries, 1929, p. 23, lám. XXII.

  • -Bocchoritano, A. S.: ”Centenario de H. Anglada Camarasa. Instantánea de toda una obra”.  Diario de Mallorca, July 20, 1973, lám.

  • -Torrel-Borderioux, F.: ”Anglada-Camarasa en París”. Estudios Pro Arte. Barcelona, April-June 1976, n. 6, p. 13, lám.

  • -Fontbona, Francesc y Miralles, Francesc: Anglada-Camarasa. Barcelona, Polígrafa, 1981, pp. 61 (lám. 129), 248 (n. B122, lám.), 309.

  • Anglada-Camarasa. [Exhib. Cat.]. Madrid, Obra Cultural de la Caja de Pensiones, 1982, p. 64, lám.

  • Anglada-Camarasa. [Exhib. Cat.]. Palma de Mallorca, Obra Cultural de la Caixa de Pensions, 1982, p. 59, lám.

  • -Paz, M.: ”Anglada-Camarasa”.  Pueblo. Madrid, February 26, 1982, lám.

  • -Mendoza, Cristina: “La pintura del Modernisme”. Barcelona 1990, vol. II, pp. 167-181, lam. pp. 180-181.

  • El Modernisme. [Exhib. Cat. Barcelona, Museu d’Art Modern, 1990-1991]. 2 vols., Barcelona, Olimpíada Cultural, 1990, vol. II, n. 467, p. 188.

  • El París d’Anglada-Camarasa. [Exhib. Cat]. Madrid, Sala Blanquerna, 1994, pp. 40, 62, lám.

  • 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. 87, p. 222. [Sheet by Francesc Fontbona].

  • Jardines de España (1870-1936). [Exhib. Cat. 1999-2000]. Madrid, Fundación Cultural Mapfre Vida, 1999, p. 194, lám. p. 195 [Sheet by Lily Litvak].

  • -Calvo Serraller, F.: Las cien mejores obras del siglo XX. Historia visual de la pintura española. Madrid, 2001, p. 28, lám.

  • -Fontbona, F. (ed.): El Modernisme III. Pintura i dibuix. Barcelona, Edicions L’isard, 2002.

  • -Fontbona, Francesc: “Anglada-Camarasa i els postmodernistes de París”. El Modernisme III 2002, pp. 241-260, cit. p. 242.

  • -García Guatas, Manuel: “El mundo pictórico de Anglada-Camarasa”. Fontbona, Francesc y Miralles, Francesc: Anglada-Camarasa [1871-1959]. [Exhib. Cat.]. Madrid, Fundación Cultural Mapfre Vida, 2002, pp. 28-45, cit. p. 30, lám. p. 31.

  • -Balsach, Maria-Josep (ed.): Modernismo e Avanguardia. Picasso, Miró, Dalí e la pittura catalana. [Exhib. Cat. Cremona, Museo Civico Ala Ponzone]. Milan, Skira, 2003.

  • -Faxedas, M. L.: “Dementi, belle di notte e paessaggio catalano: pittori di fine secolo tra modernismo e noucentisme”. Cremona 2003, pp. 47-59, n. 10, lám. p. 59.

  • -Mendoza, Cristina y Eduardo: Barcelona modernista. Barcelona, Seix Barral, 2003, n. 96, p. 168, lám.

  • -Fontbona, Francesc: Hermen Anglada-Camarasa. Madrid, Fundación Mapfre. Instituto de Cultura, 2006, cit. p. 28, lám. pp. 40-41.

  • La tradición moderna en la Colección Carmen Thyssen. Monet, Picasso, Matisse, Miró, Málaga, Museo Carmen Thyssen Málaga, 2011,  p. 86, lám. p. 87.

  • -Paisatges de llum, paisatges de somni. De Gauguin a Delvaux. Col·lecció Carmen Thyssen-Bornemisza, Sant Feliu de Guíxols, Espai Carmen Thyssen, 2012, p. 86, lám. p. 87. [Exhib. Cat.]

  • Anglada-Camarasa. Arabesco y seducción. Colección Fundación “la Caixa”, Málaga, Museo Carmen Thyssen Málaga, 2012, n. 16, p. 92, lám. p. 93, det. p. 36. [Exhib. Cat.]

  • La rosa di fuoco. La Barcelona di Picaso e Gaudí, Ferrara, Palazzo dei Diamanti, 2015, n. 92, p. 102, lám., det. p. 99.[Exhib. Cat.]

  • -Escenarios. De Monet a Estes. De Trouville a Nueva York. Colección Carmen Thyssen-Bornemisza. Museu Carmen Thyssen Andorra, 2017,  p. 40-41. [Exhib. Cat.] [Sheet by Francesc Fontbona]

Expert report

Le paon blanc is one of the most important works of Herman Anglada-Camarasa’s first Parisian period, which lasted from 1894 -the year in which the painter first entered in contact with the French capital- until 1904, when a stay in Valencia during the summer introduced a new concept and a new subject matter into his work.

When he conceived Le paon blanc, the title with which Anglada established a metaphore in which he compared the courtesan in the white dress who dominates the painting with a peacock, the painter was already at the height of his glorious international career. He had already exhibited in Barcelona, París, Berlin and London several times as well as in Brussels, Ghent, Dusseldorf, Dresden and Vienna. When he showed the panel in Munich and Venice it was already the second time that he exhibited his work in these cities.

The painting was bought around 1908 by Dr. Pierre Delbet irom Paris, in whose collection it remained for many years so that it was kept from participating again in exhibitions until the 1980’s, when it belonged to a Madrilenean art dealer. Around 1988 it was passed on to a group of Catalan dealers.

At the beginning of the century Anglada already conceived of his art as a mere exercise for pure painting in which the subject matter was only an excuse for developing his magnificent chromatism.

No moral interest conditioned his work despite some expresionistic tendencies, and no Naturalist interest either. Anglada fully departed from the concept of a painting as «a flat surface covered with colors that are put together with a certain amount of order» as Maurice Denis, the Nabi painter, preached.

The latter belonged to the same generation as Anglada and like him and the rest of the members of the group he had passed through the Académie Julian.

As far as his style is concerned, between the Garden of Paris, from around 1900, and Le paon blanc -of four years later- Anglada elaborated a very personal interpretation of the most sincere form of Post-Impressionism, which at the time was becoming successful amongst Europe’s most innovating circles, by very frequently working with artificial ligbting.

Without changing his concept of painting, over the course of these four or five years Anglada’s work evolved from a magnetic and soft style to a vibrant chromatic joy that was supported by a solid structuring of stains in which he wisely combined intensely iridescent whites with darker tones of a very ample variety that were prepared with the highest-quality pigrnents. This stooped violence after Anglada’s previous aestheticism and the exuberant richness of his colors made a sharp critic like Elie Faure qualify the Catalan artist as «outstanding.»

All in all and despite the little testimonial interest shown by Anglada, his works of this period are -amongst many other things and seen from today’s perspective- fascinating images of Paris by night during a legendary period, which the artist fully experienced and participated in. He reigned in its artistic circles with enormous authority until World War I chased the artist away and made his world come apart, which during many years made people forget the high degree of recognition he had once
enjoyed.

Francesc Fontbona