View of Venice

Eliseu Meifrèn i Roig

Meifrèn i Roig, Eliseu

1858, Barcelona - 1940, Barcelona

View of Venice, c. 1890-1891

© Colección Carmen Thyssen-Bornemisza

Signed lower right: ''Eliseo Meifren / Venecia''
Carmen Thyssen-Bornemisza Collection

Oil on canvas

39,5 x 81 cm

CTB.1994.27

Artwork history

  • Ansorena Auctions, Madrid, May 12, 1994. lot 80.

  • Carmen Thyssen-Bornemisza Collection.

1996

De Canaletto a Kandinsky. Obras maestras de la Colección Carmen Thyssen-Bornemisza, Madrid, Museo Thyssen-Bornemisza, n. 30, p. 104.

1997 - 1998

El paisatgisme català del naturalisme al noucentisme en la Col·lecció Carmen Thyssen-Bornemisza, Andorra, Sala d'Exposicions del Govern d'Andorra, n. 24, p. 84, lám. p. 85.

1998 - 1999

Fortuny e la pittura preziosista espagnola. Collezione Carmen Thyssen-Bornemisza, Catania, Museo Civico Castello Ursino; Roma, Accademia di Spagna, n. 17, p. 104.

1999

La pintura preciosista española de la Colección Carmen Thyssen-Bornemisza, Valencia, Sala de Exposiciones del Edificio del Reloj, Puerto de Valencia, n. 18, p. 70.

2000 - 2001

Eliseo Meifrén i Roig. 1857-1940, Valencia, Museo del Siglo XIX, p. 100.

2006

Meifrèn y el paisaje catalán en la Colección Carmen Thyssen-Bornemisza, Los Arcos (Navarra), Casa de Cultura Carmen Thyssen-Bornemisza; Castejón (Navarra), Museo de Castejón, p. 28, lám. p. 29.

2007

Pintura Catalana del Naturalismo al Noucentisme. Colección Carmen Thyssen-Bornemisza, Oviedo, Sala de Exposiciones Banco Herrero, n. 14, p. 64, lám. p. 65.

2012

Paisatges de llum, paisatges de somni. De Gauguin a Delvaux. Col·lecció Carmen Thyssen-Bornemisza, Sant Feliu de Guíxols, Espai Carmen Thyssen, p. 48, lám. p. 49.

2021

Pintar la luz. Maestros catalanes de la Colección Carmen Thyssen. Museo Carmen Thyssen Málaga. Cat. 9 , p. 51.

2022

Caminos de modernidad. 1860-1980. Colección Carmen Thyssen-Bornemisza. Centro Cultural Bancaja, Valencia. Fundación Bancaja. P. 54-55.

  • -De Canaletto a Kandinsky. Obras maestras de la colección Carmen Thyssen-Bornemisza Museo Thyssen-Bornemisza. Llorens Serra, Tomàs (ed.). [Exhib. Cat. Madrid, Museo Thyssen-Bornemisza]. Madrid, Fundación Colección Thyssen-Bornemisza, 1996, n. 30, p. 104. [Sheet by Francesc Fontbona].

  • -El paisatgisme català del naturalisme al noucentisme en la Col·lecció Carmen Thyssen-Bornemisza, Andorra, Sala d’Exposicions del Govern d’Andorra, 1997, n. 24, p. 84, lám. p. 85.

  • -Fortuny e la pittura preziosista espagnola. Collezione Carmen Thyssen-Bornemisza, Catania, Museo Civico Castello Ursino; Roma, Accademia di Spagna, 1998, n. 17, p. 104.

  • -La pintura preciosista española de la Colección Carmen Thyssen-Bornemisza, Valencia, Sala de Exposiciones del Edificio del Reloj, Puerto de Valencia, 1999, n. 18, p. 70.

  • -Meifrèn y el paisaje catalán en la Colección Carmen Thyssen-Bornemisza, Los Arcos (Navarra), Casa de Cultura Carmen Thyssen-Bornemisza; Castejón (Navarra), 2006, Museo de Castejón, p. 28, lám. p. 29.

  • -Pintura Catalana del Naturalismo al Noucentisme. Colección Carmen Thyssen-Bornemisza, Oviedo, Sala de Exposiciones Banco Herrero, 2007,  n. 14, p. 64, lám. p. 65.

  • -Paisatges de llum, paisatges de somni. De Gauguin a Delvaux. Col·lecció Carmen Thyssen-Bornemisza, Sant Feliu de Guíxols, Espai Carmen Thyssen, 2012,  p. 48, lám. p. 49. [Exhib. Cat.]

  • -Pintar la luz. Maestros catalanes de la Colección Carmen Thyssen. Museo Carmen Thyssen Málaga [Exhib. Cat.], Ed. Fundación Palacio de Villalón, Málaga, 2021. Cat. 9 , p. 51.

  • -Caminos de modernidad. 1860-1980. Colección Carmen Thyssen-Bornemisza. Centro Cultural Bancaja, Valencia [Exhib. Cat. Cur.: Moreno Molina, L.; Beltrán Alandete, M.]. Fundación Bancaja, Valencia, 2022. P. 54-55   [Sheet by Francesc Fontbona]

Expert report

Meifren was a painter who was very closely connected with Modernism since his early youth. His name is linked to the magazine that promoted this movement in Catalonia, «L’Avenc», one of whose founders in 1881 was his brother Josep. Eliseu Meifren brought Rusiñol to Sitges for the first time in 1891 and from then onwards was one of the regular members of the «Cau Ferrat», and later became an asiduous visitor to the most charismatic Modernist café, Els Quatre Gats, in Barcelona.

Nevertheless, Meifren, who was a little older than the main Modernist painters, had already begun a conventional career as a painter when these entered the Catalan artistic scene. Despite his closeness to the new tendencies, as a painter he did not openly approach them then and instead at the most he adopted some of the new discoveries.

Meifren, whose first successes date from as early as 1879, only nine years later had a reputation that was so established that he was appointed member of the jury at the artistic section of the Universal Exhibition in Barcelona in 1888; and in 1890 he held a large solo exhibition with forty oils at the Sala Pares in Barcelona, which was very rare in those days as paintings were mostly shown in large or small group exhibitions.

The view of Venice at hand belongs to a series of Italian subjects that Meifren painted and exhibited between 1889 and 1890. These are often horizontal works, as was usual in Italy at the time, that usually exhausted the subject of Ven ice which painters like Martin Rico, Rafael Senet and Antonio Reyna had popularized.

This painting is signed but not dated and, rather than the ambitious achievement of a restless artist -in the style of what his great friends Rusiñol and Casas were starting to do- it is a solid and, let’s say, eminently «professional» work of art that is representative of the type of work the public demanded at the time. It is a variantion with slight differences on his canvas Souvenir of Ven ice (ca. 1890) which in those years was made known in a relatively wide circle.

Francesc Fontbona