La Gata Rosa corresponds to this period of large-scale works, having being painted in the usual size for large exhibitions and salons of the time. Here the painter shows us one of his favourite themes in this second Parisian period (1904 – 1914): the female portrait. In this case it is Georgette Leroy, wife of the Argentinean composer and pianist Ramón Alberto López Buchardo, who had moved to Paris in 1907 to become a student of the painter.
…The curves of the model echo those of the sofa, creating a magnetic rhythm in which the viewer is ultimately caught by the hypnotic eyes of “the cat”.
All with a vivid colour palette that ranges from Georgette’s whites and roses to the green of the sofa and the gray background. The richness of these colours is accentuated by its generous application and impasto, applying the pigment directly on the canvas. This style recalls the works of Egon Schiele and Gustav Klimt (see Fig. 3.); which were familiar to him since, as already mentioned, they had coincided in international exhibitions.
In La Gata Rosa, Anglada Camarasa makes a personal contribution to the boldest post-impressionism, with certain expressionistic derivations and a very personal technique based on chromatic plasticity.
All this means that today this work is considered by experts as his masterpiece, painted at the height of his artistic maturity…
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- Hermenegildo Anglada-Camarasa, (1871-1959),
- La gata rosa
- signé ‘H. Anglada-Camarasa’ (en bas à droite)
- huile sur toile, non rentoilée
- 103,7 x 190,3 cm. (40 7/8 x 74 7/8 in.)
- Source: Christie’s
- Link: https://www.christies.com/lotfinder/paintings/hermenegildo-anglada-camarasa-la-gata-rosa-6186333-details.aspx?from=salesummery&intObjectID=6186333&sid=2a7c8685-02aa-4b62-8f36-f7c0f9a49d38
More Paintings by Hermenegildo Anglada-Camarasa
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