Julio Romero de Torres is a cross-thematic nineteenth-century painter, however, usually framed in the context of Andalusian folklore.
Big fan of the actual Andalusian traditions such as bullfighting but, above all, the flamenco singing and song, were of his great inspirations to paint. In short, this Andalusian lyricism that is so characteristic of his work, be explained by explaining the key '' Cante hondo ''´.
The painting sums up the idea of this genre, breaking its structure in various shapes and portraying the various ideas conveyed by this kind of music.
The central character is shown completely naked. This is very common in painting Julio Romero, full of sensuality and eroticism, but here also the condition of divinity that has held this woman. It is the goddess of fate, or simply Goddess of Destiny (with negative connotations, as currently understood by '' fatal ''). It is destiny that occurs in people who are driven by passion. His attributes are the guitar, mantilla and comb; It is an Andalusian goddess. It is the divinity that also serves as the linchpin to cante hondo and therefore the composition. Although the pubic hair, in addition to their heels, give the image naturalism and sensuality, respectively, the truth is that your face reflects a major concern; It is concerned that uncontrolled human acts carried consequences, as its shows, fatal name. And they are inevitable.
It seems to rise on a silver throne with reliefs of classic cut that, if seen with detail, they are still mundane scenes inspired by other paintings of the author.
To the right of Doom embodiment of love couple appears, representing a woman dressed in light clothes releasing her breast as a sign of passion suffering she and her lover as they kiss then surely do love. The lass dressed in green, a color that alludes to life and fertility. The color symbolism Julio Romero also plays an important role, as will be seen later.
Big fan of the actual Andalusian traditions such as bullfighting but, above all, the flamenco singing and song, were of his great inspirations to paint. In short, this Andalusian lyricism that is so characteristic of his work, be explained by explaining the key '' Cante hondo ''´.
The painting sums up the idea of this genre, breaking its structure in various shapes and portraying the various ideas conveyed by this kind of music.
The central character is shown completely naked. This is very common in painting Julio Romero, full of sensuality and eroticism, but here also the condition of divinity that has held this woman. It is the goddess of fate, or simply Goddess of Destiny (with negative connotations, as currently understood by '' fatal ''). It is destiny that occurs in people who are driven by passion. His attributes are the guitar, mantilla and comb; It is an Andalusian goddess. It is the divinity that also serves as the linchpin to cante hondo and therefore the composition. Although the pubic hair, in addition to their heels, give the image naturalism and sensuality, respectively, the truth is that your face reflects a major concern; It is concerned that uncontrolled human acts carried consequences, as its shows, fatal name. And they are inevitable.
It seems to rise on a silver throne with reliefs of classic cut that, if seen with detail, they are still mundane scenes inspired by other paintings of the author.
To the right of Doom embodiment of love couple appears, representing a woman dressed in light clothes releasing her breast as a sign of passion suffering she and her lover as they kiss then surely do love. The lass dressed in green, a color that alludes to life and fertility. The color symbolism Julio Romero also plays an important role, as will be seen later.
The peaceful and almost lewd picture changes completely with the situation shown below, where the former wife is slumped on the floor, due to the deadly attack received by his partner. This grabs the knife hard, bloody, and holds hair in despair. It is the personification of jealousy. She died because her neck was biased, which is implied by the blood around his head, and chest stains which also falls a rosary. God will rescue his soul. On the other hand, he is dressed in black, referring to the funeral character of the facts; green dress totally contrary to the previous scene.
The last scene of this interesting composition showing the woman killed by the white shroud, alluding to his death but also their purity as a victim. It lies in a coffin while flanking two characters. The left is another young woman, possibly a close relative, perhaps his sister, or perhaps a friend who regrets her dead. On the right is a guy who does not identify at all with the murder. It could also be a relative or perhaps the lover on the woman gave her life unintentionally. And over the deceased, a huge black greyhound it stands; another possible attribute of Doom, as the race of greyhounds is typical of Spain, and hence of Andalusia. It may serve as a psychopomp Julio Romero, not only because of its position, but also its color; as Anubis of ancient Egypt, the canine dark soul rises to heaven.
In the background the Cordoba landscape, so frequently seen in the painter. And in particular two scenes, which appear daily acts of simple cut, which could have to do or not with the main significance of the work. Of these, the most particular is on the left, with the woman lying on the edge of a man who seems to succumb to the ground. You may try an alternate version of the image of jealousy seen before, but it is difficult to establish a meaningful connection to the small scene right, so this part of the composition remains in doubt as to its meaning.
The painting in the Cordoba Museum of Julio Romero de Torres
