Initially lured by big name Picasso, Meadows visitors will quickly discover that Prelude to Spanish Modernism has very little to do with the 20^th century painter. Instead, Picasso takes a back seat to Joaquin Sorolla and Mariano Fortuny – two artists revered in Spain but relatively unknown in the U.S. Finally, with the arrival of newcomer Mark Roglán something productive is being done with the Meadows’ collection of nineteenth-century Spanish paintings - which has maintained a rather sedentary existence until now.

Contributions from Spanish and American museums help flesh out the developments in Spanish art as a result of increased cosmopolitanism with monumental canvases by Ignacio Zuloaga, Hermengildo Anglada Camarasa, Joaquín Mir, Ramón Casas and two entire rooms devoted to Sorolla. Sorolla’s exquisite Spanish landscapes and life-size portraits clearly demonstrate the artist’s unequaled finesse with color and light. His work in and of itself could stand alone in this exhibition. In a connecting room, the viewer cannot overlook the psychological works of Santiago Rusiñol’s portrait of Miguel Utrillo and Ramon Casas’ Interior in Open Air.

The other side of the museum contains paintings and drawings by Fortuny and the artists that he influenced. These smaller canvases demand close attention. Fortuny’s color techniques and quick, yet precise brushwork make his Antiquaries and Arab Fantasia an indulgence for the eyes. Further into the galleries the visitor will be surrounded by the tranquil landscapes of Martín Rico and Sanchéz Perrier. Loans of paintings by Ricardo and Raimundo Madrazo help place the Meadow’s existing works within the context of nineteenth-century Spanish painting.

Though the need to include Picasso seems to be a pre-requisite to encourage Dallasites’ attendance, his works draw the viewer away from the intended narrative. His Celestina and Woman with a Pointed Hat are worth seeing, but certainly not the focal point. Because Picasso’s works and those of his Els Quatro Gatz cohorts are placed throughout the museum, a clear development of turn-of-the century Spanish modernism is vague. Limited loans of artists such as Ramón Casas and Isidro Nonell make it difficult to understand their particular artistic aims. Also missing are works by women artists who were actively involved in the international art market.

Overall, however, this exhibition is unprecedented in the U.S. Many of these works rarely travel outside of their home museums and they have never been organized in this manner. The viewer will have a greater understanding of art production in nineteenth-century Spain and will be exposed to dozens of exquisite paintings. Prelude to Spanish Modernism is certainly a refreshing reprieve from the run-of-the-mill blockbusters of the French Impressionists and worth the trip to the often-overlooked Meadows museum.

Prelude to Spanish Modernism held at Southern Methodist University’s Meadows Museum is located at Southern Methodist University’s campus at 5900 Bishop. Parking is free. Hours: Tues thru Saturday 10:00 a.m. to 5 p.m.; Sunday 12:00 p.m. to 5 p.m.; Thursdays until 8 p.m. Admission is $8 and free Thursday evenings.

http://www.meadowsmuseumdallas.org/exhibitions_current.htm

Michelle Swindell is a s a Phd. candidate at the University of Texas at Dallas who received her Masters in Art History at SMU.

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