rusiñol in A Sentence

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    Santiago Rusiñol went on his third trip to Granada in December 1897.

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    In the foreground we see Rusiñol, while Casas is seated further back.

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    Rusiñol came to Sitges in October 1891 to spend a few months here.

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    This is one of the most beautiful portraits painted by Rusiñol in his entire career.

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    Rusiñol brought his art collection from his Barcelona studio to exhibit it in this house.

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    Rusiñol and Mas spent a great deal of time painting the open air settings of the city.

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    Alexandre Riera, a friend and patron of Hugué, acquired the piece and later traded it to Rusiñol for one of his paintings.

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    Later, by which time it was in Cau Ferrat, he painted it again in a portrait of his daughter, Maria Rusiñol.

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    This was where Rusiñol would often read fragments of his literary works to his friends from Sitges as they sat around the fire.

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    In 1894, during his third and last stage in Paris, Rusiñol painted two very similar canvases, both featuring a thinly delicate young woman.

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    During his first stay in the French capital, which lasted until May 1890, Rusiñol alternated his artistic work with an intense bohemian lifestyle.

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    It is an extraordinary painting where Rusiñol, by means of a play of light sustained through three tones(gray, ochre and white) is able to create a saddened mood.

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    Can Ferrat Museum founded in 1893 by the artist Santiago Rusiñol(1861-1931) as a home-based workshop, becoming a public museum in 1933, preserving the artistic spirit of its founder.

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    Cau Ferrat, located in Sitges, was the home and study of artist and writer Santiago Rusiñol, one of the most important figures of the Modernisme movement in Catalonia.

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    From the first moment he saw it, the light of Sitges had an impact on Rusiñol's retina, as it did for all the painters of the luminist school.

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    The Cau Ferrat Museum was founded in 1893 by the artist Santiago Rusiñol(1861-1931) as a home-based workshop, becoming a public museum in 1933, preserving the artistic spirit of its founder.

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    Cemeteries, burials, the nearby presence of death in general, were all fairly common subjects in the pictorial and literary work of Santiago Rusiñol, especially in the decade of the 1890s.

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    In effect, starting in his youth and until the end of his days, this image of Rusiñol was repeated by illustrators and painters, and was frequently used ironically by caricaturists.

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    The friendship between Rusiñol and Canudas began in 1885 after being introduced by Miquel Utrillo, and grew over the years, especially in the period they both lived in Paris in the barracks on Rue de l'Orient.

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    As can be seen in the painting's dedication, Arcadi Mas i Fondevila gave Granada Landscape to Santiago Rusiñol as a gift, as a memento of the time they both spent in the city of the Alhambra from the autumn of 1895 into early 1896.

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    Rusiñol on top of a wrought iron lamp, an oil painting by Ramon Casas from 1893, has been one of the most emblematic works of the Catalan bohemian art nouveau, ever since it appeared on the cover of a 1942 book by Josep Pla, Rusiñol y su tiempo(Rusiñol and his Time).

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