Bandits in the Cave, signed and certified Eugenio Lucas Vilaamil, 1861, 19th century Spanish school

Bandits in the Cave, signed and certified Eugenio Lucas Vilaamil, 1861, 19th century Spanish school
Pastel on paper, certificate attached, framed measurements: 79 x 68, pastel measurements: 54 x 43 cm. Son of the painter Eugenio Lucas Velázquez and Francisca Villaamil, he began his artistic training in his father's workshop and continued his studies at the Special School of Painting in Madrid. He successfully participating in the National Exhibitions of Fine Arts with the Italian and Beggar works. His paintings maintain the influence of the characteristics of his father's, with the repetition of Goyesque themes, resolved with great compositional skill and color joy. He also copied various themes from the Aragonese, as can be seen in his works Entrance to the bulls, Sun of 1885 or Exit of the bulls, rain of 1885, works set in that traditional Madrid, starring majas and sparklers, of great picturesqueness and flavor. popular. His work stands out in this thematic line. He also executed portraits, such as the children's group of the García de Palencia brothers. In addition to applying all his skill in handling light with its reflections and contrasts, he demonstrated his mastery in treating masses of people in motion. However, despite his enormous capacity to work, he never managed to enter the great public and official artistic circles of his time. His father's name has always kept him in the dark. Bibliography: Moreno, Lourdes. Museo Carmen Thyssen Málaga Collection, 2014, pp. 250-254. demonstrated his mastery in dealing with masses of people in the movement. However, despite his enormous capacity to work, he never managed to enter the great public and official artistic circles of his time. His father's name has always kept him in the dark. Bibliography: Moreno, Lourdes. Museo Carmen Thyssen Málaga Collection, 2014, pp. 250-254. demonstrated his mastery in dealing with masses of people in the movement. However, despite his enormous capacity to work, he never managed to enter the great public and official artistic circles of his time. His father's name has always kept him in the dark. Bibliography: Moreno, Lourdes. Museo Carmen Thyssen Málaga Collection, 2014, pp. 250-254.