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Ramón Casas Carbó <<Julia>> 1915 ca. 
Museo Carmen Thyssen, Málaga. 
Julia Peraire era una joven vendedora de lotería que trabajaba en la Plaza de Cataluña de Barcelona y a la que Casas conoció en la tertulia de la Maison Dorée, un popular café de la zona. La llamaban La Sargantain y tenía fama de lista y descarada. Desde el primer momento, Ramon Casas quedó deslumbrado por la belleza de una mujer que era veinticinco años más joven que él. Fueron amantes hasta la muerte de la madre del pintor, que nunca aceptó la diferencia social que había entre los dos. En 1922, a pesar de que Julia seguía ignorada por la familia burguesa del pintor y por la prensa cultural de la época, ambos se casaron. Durante todos los años que compartieron juntos, Julia se convirtió en la musa del artista modernista que, entre pinturas y dibujos, llegó a retratarla en más de un centenar de ocasiones. Lo hizo como mujer fatal, como señora o ataviada con llamativas prendas de indumentaria popular. En esta ocasión posó con elegancia castiza y con los brazos en jarras, en una actitud casi desafiante. Está vestida con prendas típicas de España: una torera de intenso rojo bordada en negro, un chaleco dorado con reflejos plateados, y un escotado y elegante vestido verde. El aspecto folclórico del atuendo se incrementa al adornar el oscuro cabello con una peineta alta de carey y unas flores rojas, a juego con la torera.

Ramón Casas Carbó <<Julia>> 1915 ca. Museo Carmen Thyssen, Málaga. Julia Peraire era una joven vendedora de lotería que trabajaba en la Plaza de Cataluña de Barcelona y a la que Casas conoció en la tertulia de la Maison Dorée, un popular café de la zona. La llamaban La Sargantain y tenía fama de lista y descarada. Desde el primer momento, Ramon Casas quedó deslumbrado por la belleza de una mujer que era veinticinco años más joven que él. Fueron amantes hasta la muerte de la madre del pintor, que nunca aceptó la diferencia social que había entre los dos. En 1922, a pesar de que Julia seguía ignorada por la familia burguesa del pintor y por la prensa cultural de la época, ambos se casaron. Durante todos los años que compartieron juntos, Julia se convirtió en la musa del artista modernista que, entre pinturas y dibujos, llegó a retratarla en más de un centenar de ocasiones. Lo hizo como mujer fatal, como señora o ataviada con llamativas prendas de indumentaria popular. En esta ocasión posó con elegancia castiza y con los brazos en jarras, en una actitud casi desafiante. Está vestida con prendas típicas de España: una torera de intenso rojo bordada en negro, un chaleco dorado con reflejos plateados, y un escotado y elegante vestido verde. El aspecto folclórico del atuendo se incrementa al adornar el oscuro cabello con una peineta alta de carey y unas flores rojas, a juego con la torera.

Julia Peraire 1915 era una joven vendedora de lotería que trabajaba en la Plaza de Cataluña de #Barcelona y a la que Casas conoció en la tertulia de la Maison Dorée, un popular café de la zona. #RamónCasas Carbó #pintor #español
#MuseoCarmenThyssen, #Málaga www.carmenthyssenmalaga.org.
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Agostino Brunias, born in Rome around 1730, spent much of his career in the British Caribbean (especially Dominica) after traveling there in the 1760s. His paintings frequently depict the complex societies of the Lesser Antilles, where African, Caribbean, and European cultures intersected. His canvases depicted daily activities such as washing clothes, trading in markets, or walking through town. He often highlighted the clothing and social identities of free women of color within colonial society. While Brunias’s paintings can provide visual records of Caribbean fashion and community life, they also present an idealized vision of colonial harmony that softens the realities of plantation slavery and colonial hierarchy. The painting’s calm tone reflects both careful observation and the expectations of European collectors.

Two Caribbean women walk together along a path after leaving a market, their bodies angled slightly toward one another as if in relaxed conversation. Each balances bundles and baskets likely filled with produce or textiles and carried with practiced ease. Their clothing is vivid and layered with long skirts with aprons, fitted bodices, and colorful headwraps tied high. One woman turns her head toward the other as she gestures gently with her hand, suggesting companionship and familiarity. The tropical landscape is warm earth tones and soft vegetation that frame the figures rather than dominate the scene.

The women’s clothing likely carries social meaning within the colonial Caribbean context. Free women of African descent frequently participated in local markets as vendors, traders, and small-scale entrepreneurs, and their dress became an important marker of identity and status. The brightly colored skirts, fitted bodices, jewelry, and carefully tied headwraps seen correspond to historical descriptions of Caribbean fashion among these women, who used clothing both to express cultural identity and to signal respectability or prosperity.

Agostino Brunias, born in Rome around 1730, spent much of his career in the British Caribbean (especially Dominica) after traveling there in the 1760s. His paintings frequently depict the complex societies of the Lesser Antilles, where African, Caribbean, and European cultures intersected. His canvases depicted daily activities such as washing clothes, trading in markets, or walking through town. He often highlighted the clothing and social identities of free women of color within colonial society. While Brunias’s paintings can provide visual records of Caribbean fashion and community life, they also present an idealized vision of colonial harmony that softens the realities of plantation slavery and colonial hierarchy. The painting’s calm tone reflects both careful observation and the expectations of European collectors. Two Caribbean women walk together along a path after leaving a market, their bodies angled slightly toward one another as if in relaxed conversation. Each balances bundles and baskets likely filled with produce or textiles and carried with practiced ease. Their clothing is vivid and layered with long skirts with aprons, fitted bodices, and colorful headwraps tied high. One woman turns her head toward the other as she gestures gently with her hand, suggesting companionship and familiarity. The tropical landscape is warm earth tones and soft vegetation that frame the figures rather than dominate the scene. The women’s clothing likely carries social meaning within the colonial Caribbean context. Free women of African descent frequently participated in local markets as vendors, traders, and small-scale entrepreneurs, and their dress became an important marker of identity and status. The brightly colored skirts, fitted bodices, jewelry, and carefully tied headwraps seen correspond to historical descriptions of Caribbean fashion among these women, who used clothing both to express cultural identity and to signal respectability or prosperity.

“Dos mujeres antillanas viniendo del mercado” (Two Caribbean Women Returning from the Market) by Agostino Brunias (Italian) – Oil on canvas / c. 1770–1780 – Museo Carmen Thyssen Málaga (Málaga, Spain) #WomenInArt #AgostinoBrunias #Brunias #MuseoCarmenThyssen #CaribbeanArt #ColonialArt #art #artText

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Vista del #Puerto de Málaga 1896 #GuillermoGómezGil #Málaga, 1862- 1942 fue un #pintor perteneciente al #costumbrismo #español, especializado en #marinas.
#MuseoCarmenThyssen Málaga #museoparticular #painting #art

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Museo Carmen Thyssen, Málaga – Salterton Arts Review The Museo Carmen Thyssen presents a private collection of mostly Andalusian, 19th century art. A great way to learn more about this region and its representation in art, just get ready for a lot of ge...

A second post from Málaga today, as we get to grips with Andalusian art at the Museo Carmen Thyssen.

👉 saltertonartsreview.com/2025/12/muse...

#museocarmenthyssenmálaga #museocarmenthyssen #andalusianart #spanishart #malagaspain #málaga #artlover

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#anewdayhascome #comienzaunnuevodía Pintura liberada. Joven figuración española de los 80 #MuseoCarmenThyssen #exposicióntemporal #pintura #arte #temporaryexhibition #painting #art

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“Looking for Shells on the Beach.” Ricardo Verdugo Landi (Spanish; 1871–1934). Oil on canvas, ca. 1920–30. Colección Carmen Thyssen-Bornemisza, on loan to the Museo Carmen Thyssen, Málaga, Málaga, Spain.

#RicardoVerdugoLandi
#museocarmenthyssen
@thyssenmalaga
#VerdugoLandi

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