IGNACIO See also:

• IGNACIO ZULOAGA (1870— )

ZULOAGA (1870— )  , See also:

• SPANISH

Spanish painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Eibar, in the Basque See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country, the son of the See also:

• METAL
• METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)

metal-worker and damascener Placido See also:

• ZULOAGA, IGNACIO (1870— )

Zuloaga, and See also:

• GRANDSON (Ger. Grandsee)

grandson of the organizer and director of the royal armoury in See also:

• MADRID

Madrid . The career chosen for him by his See also:

• FATHER

father was that of an architect, and with this See also:

• OBJECT

object in view he was sent to See also:

• ROME
• ROME (Roma)

Rome, where he immediately followed the strong impulse that led him to See also:

• PAINTING

painting . After only six months' See also:

• WORK

work he completed his first picture, which was exhibited at the See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris See also:

• SALON

Salon of 1890 . Continuing his studies in Paris, he was strongly influenced by Gauguin and See also:

• TOULOUSE
• TOULOUSE, LOUIS ALEXANDRE DE BOURBON, COUNT OF (1678-1737)

Toulouse See also:

• LAUTREC, ODET DE

Lautrec . Only on his return to his native See also:

• SOIL

soil he found his true See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style, which is based en the See also:

• NATIONAL

national Spanish tradition embodied in the work of See also:

• VELAZQUEZ, DIEGO RODRIGUEZ DE SILVA Y (1599-166o)

Velazquez, See also:

• ZURBARAN, FRANCISCO (1598–1662)

Zurbaran, El See also:

• GRECO, EL

Greco, and See also:

• GOYA

Goya . His own country was slow in acknowledging the See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young artist whose strong, decorative, rugged style was the very negation of the aims of such well-known See also:

• MODERN

modern Spanish artists as See also:

• FORTUNY, MARIANO JOSE MARIA BERNARDO (1838-1874)

Fortuny, Madrazo, and Benlliure . It was first in Paris, and then in See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels and other See also:

• CONTINENTAL

continental See also:

• ART

art centres, that Zuloaga was hailed by the reformers as the regenerator of Spanish national art and as the See also:

• LEADER, BENJAMIN WILLIAMS (1831– )

leader of a school . He is now represented in almost every See also:

• GREAT

great continental See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery . Two of his canvases are at the Luxembourg, one at the Brussels Museum (" Avant la Corrida "), and one (" The Poet See also:

• DON
• DON (anc. Tanais)

Don See also:

• MIGUEL, MARIA EVARIST (1802–1866)

Miguel ") at the See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna Gallery . The See also:

• PAU

Pau Museum owns an interesting portrait of a See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

lady, the See also:

• BARCELONA

Barcelona Municipal Museum the important See also:

• GROUP

group " Amies," the See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice Gallery, " Madame See also:

• LOUISE [AUGUSTE WILHELMINE AMALIE LUISE] (1776-1810)

Louise "; the See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin Gallery, " The Topers." Other examples are in the See also:

• BUDAPEST

Budapest, See also:

• STUTTGART

Stuttgart, See also:

• GHENT (Flem. Gent, Fr. Gand)

Ghent and See also:

• POSEN
• POSEN (Polish Poznan)

Posen galleries and in many important private collections . A fully illustrated See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of the artist and his work, by M . Utrillo, was published in a See also:

• SPECIAL

special number of Forma (Barcelona, 1907) .