One thing is certain: the six works of Julio Romero de Torres which belong to the collection of Doctor Pozoalban Blas García will not be seen in Cordoba during the events of the 150th anniversary of the birth of Julio Romero de Torres. The City Hall has forcefully closed the door through the mayor, but that does not mean that “La Sulamita” or “Portrait of Adela Carboné” will no longer be visible in Córdoba in the future. What is more, they should do so.
ABC interviewed experts on the author’s work and cultural leaders and they showed their vision of what happened, always with the hope that at some point it could be shown in the city. This is the case of Mercedes Mudarrawho was director of the Municipal Museums of Cordoba in the last years of the 20th century, then delegate for Culture of the Government of Andalusia and who also dedicated to him thesis doctorate to the Romero de Torres family.
He first checked the quality of all the works, both those he knew and those he did not know, such as ‘The Shulamite’. And he spoke of his public presentation in two senses: in its difficult integration into the events of the time. 150th anniversary and the possibility that they may occur in the future.
“It is possible that the technical criterion, that of the commissioner, weighed more than the criterion policy“, he said. Because it is clear that the exhibitions carry a discourse that has something innovative: the work of Romero de Torres is shared with that of other authors.
In one of the exhibitions, with that of his contemporary Ignacio Zuloaga. In another, with that of artists from various later periods. “You have to see the discourse that the exhibition carries and especially the value of the works.” If the curators do not agree with their discourse, they will have notified the mayor and the Municipal government “Don’t accept the transfer,” he said. In other words, with the lineup planned for 2024, they would have no place. But what about the future?
Mercedes Mudarra insisted that the works from the collection donated to the City Council of Córdoba deserve an opportunity for their quality and for the new character they have.
He not only confirmed its authenticity, but also its artistic level. And that is why he hopes that in the future the City Council of Cordoba or any other institution can organize a sample in which they are present.
“The fairest thing is to do another exhibition project so as not to coincide with the anniversary”
Mercedes Mudarra
Former Delegate for Culture and former Director of Municipal Museums
“It is not for me to say what those responsible should do, but in my case I would try to ensure that, given its value, the people can see themperhaps in a big exhibition. That the public can see works that they do not know is always a good thing,” he stressed. Perhaps a smaller sample than those that have been proposed, but it seems interesting that they arrive. “What is right is another exhibition and not interfere” he insisted.
He agrees with the idea that the technical criteria of the exhibition curators are above Alberto VillarEmeritus Professor of Art History at University from Cordoba.
“The exhibition will have its curator, and the absolute responsibility for what will be exhibited will fall on you; the rest is disputes,” he insisted. In these criteria “scientists and technicians” He believes that the decision of the City of Cordoba not to accept the offer of the works can be better explained. And that “technical” interest, typical of any exhibition, could explain what happened.
Of course, Alberto Villar did not hesitate to insist on the interest of the paintings by Romero de Torres that were offered to him and which qualityhe admitted, would not be in doubt. In addition, he recalled that there are other conditions in this case, since the work of Romero de Torres, as a great artist born in the city of Córdoba, is considered in Córdoba with a special sensitivity.
The fact that the owner, Blas García, offered to exhibit them in Córdoba in a disinterested way, suggests that their arrival could be possible at any other time. Without meeting them in person, only through photographs, Mercedes Mudarra was sure of herself authenticity.
“The exhibition will have its own curator, who will have scientific criteria”
Alberto Villar
Professor Emeritus of Art History
Many of them, for example, are portraits of specific people, and not of works in which the author wants to express something. They had almost always remained within the reach of the families who commissioned them.
In quality, it matched Fuensanta Garcia de la Torreformer director of Museum of Fine Arts from Cordoba and also a student of the work of Julio Romero de Torres. He stopped at “La Sulamita”, which he admitted not knowing and which he found “quite interesting”, but also at “Portrait of Adela Carboné”, which he considered a work of great value. There he highlighted The Tanagrathe reproduction of the archaeological discovery that the protagonist shows and that is present in other paintings.
Thus, he referred to “La Niña de la Tanagra” or “Teresita de la Cruz Carbonell”, in addition to various drawingsaccording to the book “Julio Romero de Torres (1874-1930), painter” which she herself published in 2008, and in which the work that is now proposed to the City Hall for exhibition is already mentioned.
Assignment
Among the statements that the mayor made to ABC last Monday, one sentence caught our attention, and that is the possible “interest” of the individual, while the owner had not even asked for anything for the property. free transferand the fact that the works are revalued when they are exhibited. Had he suggested that his real intention was to profit from the fact that the paintings he owned would have a higher price on the market in the future?
The experts consulted by ABC affirm that this is something that can happen, although at no time did they want to say that what Blas García is pursuing is precisely that. Jose Maria PalenciaFormer director of the Museum of Fine Arts of Cordoba, clarifies that participation in exhibitions “is not something that increases value in itself, but rather can bring a more addedbecause the work is known and localized.
“These are very good and interesting works, which until now were hardly known”
Fuensanta Garcia de la Torre
Former director of the Museum of Fine Arts
In fact, he claimed to already know some of the works that were part of an exhibition in Valencia without knowing the status of their owner. What is normal is that in the samples and in the catalogues they speak of “private collection“, without citing its owner.
Mercedes Mudarra also confirms that this is something that can happen, precisely because the work is known, it remains in a state catalog and authenticity, already guaranteed at the time of purchase, would be reinforced. “If they are not catalogued and identified, it could be the brand,” he admitted.
Nor did he mean to say that this is what can happen with works that, in the opinion of all experts, are of sufficient quality not only to be signed by Julio Romero de Torres, but to be exhibited.
