The Vicereine of Mexico (cousin
of the artist), his mother (with a friend), his father and the artist's
two brothers, Edouard and Manuel
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| Antonio de La Gandara (Paris, 1861-1917), talented Parisian painter,
draughtsman and pastellist whose work was influenced by his origins: his
father was a Spaniard born in San Luis Potosi (Mexico), and his mother a
Frenchwoman born and educated in England.
In 1878, the jury of the prestigious National School of Fine Arts admits him at the young age of 16. But while his professors Gérôme and Cabanel soon identify a Master in the making, nothing at the time would help foretell how intimately involved he would become in the intrigues and splendours of the Belle Epoque. Working with Rodolphe Salis of Chat Noir fame, he also contributes to the Salon des Incohérents organized by Jules Jouy. Close friendships develop with Rivière, Goudeau, Steinlen, Caran d'Ache, Jean Moréas and Willette. |
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The Vicereine of Mexico (cousin
of the artist), his mother (with a friend), his father and the artist's
two brothers, Edouard and Manuel
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La Gandara in 1879 |
La Gandara exhibited his works for the first time in
1883 at the Salon de la 'Société des Artistes Français'
at the Champs-Elysées. The jury of the Salon awarded him a Special
Mention in 1884.
In 1885, he meets count Robert de Montesquiou. The wealthy poet introduced him to acquaintances such the countess of Montebello of whom La Gandara made a wonderful portrait, baroness Rothshild, countess Greffulhe, Anna de Noailles, Marie d'Annunzio and Mrs. Gautreau, Sargent's famous Madame X. All are attracted by the young and handsome artist whose actor brother, Edouard, had been spotted by Sarah Bernhardt. Edouard travelled with her to England and to the USA under the stage name of Jean Dara. |
| Antonio's intelligence and charm open many doors and
he quickly enjoys privileged relations with Edmond de Goncourt -
who, distinguished honour, invites him to his Grenier - Anatole
France, Albert Samain, Alphonse Daudet, …
The artist often meets with some of the more controversial personalities of the time: Paul Verlaine, Jean Lorrain, Liane de Pougy and Colette. He is close to musicians: Reynaldo Hahn, Saint-Saëns and Gabriel Fauré, as well as other characters of the Tout-Paris: the Grand duchess of Mecklemburg, prince de Polignac, Leconte de Lisle, prince de Sagan, dancer Ida Rubinstein, painter Romaine Brooks, Gandara's student, sculptor Jean Carriès his friend as well as other celebrities of the Belle Epoque. |
Photograph for the album Félix Potin |
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Portrait for the Album Mariani |
In 1900, the artist is fully recognized as a Master, celebrated in Europe and in the United States of America where his exhibitions are greeted with enthusiasm. Emile Verhaeren insists he is influenced by Chardin, and Whistler, little inclined to express compliments, compares him… to himself. The major publication Larousse of October 1917 links La Gandara to Zurbaran and Velasquez. Other critics see in his technique a demonstration of his admiration for Goya. William B. Denmore, writing in the Metropolitan Magazine, opposes such views and insists on the individualism of Gandara's very own style. |
| But his successes also bring enemies among rivals or, according
to persistent rumours, jealous husbands. He is often seen in the company
of beautiful women whose names are actress Polaire, Marie wife of
Italian poet and politician Gabriele d'Annunzio, Liane de Pougy,
baroness Deslandes, or Ida Rubinstein.
The Gazette des Beaux-Arts explains, in 1910, "this year, Mr. de La Gandara has reached perfection when it comes to the art of painting." The Figaro Illustré and other magazines publish his work on full cover pages. The Buffalo Fine Arts Academy of New York underlines that he is one of the most admired contemporary artists. The Echo de Paris comments that his portrait of Ida Rubinstein is rare and perfect. |
Reproduction of a photograph for the centenary of art supplies Lefranc Co |
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Commemorative plaque 22 rue Monsieur Le Prince |
Comes the war. His friends write from the front, telling him about the horrors of the trenches. La Gandara contributes to several patriotic actions in support of the troops. On the last day of June 1917, his confidant André Rouveyre
informs Diaghilev, Fokine, Karsavina, Picasso
and Marcelle Meyer, meeting in a salon, that a great artist has
passed away. Nicknamed the Gentleman Painter, admired for his elegant bearing and his righteousness, Antonio de La Gandara rests at the Père Lachaise cemetery in Paris. |
| One remembers today his remarkable portraits, fascinating views of Paris, and delicate still lifes. Some unusual pieces as well, like his three versions of Don Quichotte, the Belle et la Bête, and illustrations for fairy tales. The few lithographic prints - most produced in 1895 and 1896 - are extremely delicate and difficult to find. They attracted the attention of the public when presented at the Art Nouveau exhibition organized at Bing's in Paris. Antonio de La Gandara illustrated a small number of books among which Camille Mauclair's Les Danaïdes, and a rare edition of Robert de Montesquiou's Les Chauves-souris. Several frontispieces of literary works reproduce a portrait by La Gandara. | |
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An old photograph of the artist |
He exhibited in Brussels, New York, Boston, Saragossa, Barcelona, Venice, London, Munich, Berlin, Dresden, where critics of various nationalities acclaimed his qualities. He remains better known as a mundane artist despite beautiful views of parks and statues, his still lifes and his much sought after lithographic work. He was a witness of his time and an exceptional actor among the actors of the Belle Epoque. Edmond de Goncourt, Jean Lorrain, Marcel Proust, André Rouveyre, Apollinaire, count de Montesquiou, Henri de Régnier, Albert Samain, Colette, countess de Noailles, Emile Verhaeren, José-Maria de Hérédia, Camille Mauclair, Gustave Kahn, among others, talk of Antonio de La Gandara in their work. |
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