Francisco Iturrino, a Spanish artist born in Santander, navigated the realms of post-Impressionism with a unique flair, particularly evident in his captivating depictions of the female form. While his oeuvre spanned landscapes, portraits, and animal paintings, it is his groups of women, often nudes, that reveal a distinctive approach to light, color, and the human body in motion. Among these, Nudes (Women Dancing in a Ring) stands out as a compelling example of his innovative style and his break from traditional artistic conventions.
Alt text: Francisco Iturrino’s Nudes (Women Dancing in a Ring) painting showcases a circle of nude women dancing with bold colors and dynamic forms, exemplifying early 20th-century Fauvist-influenced Spanish art.
Iturrino’s artistic journey, though rooted in post-Impressionism, exhibits a kinship with Fauvism, especially in his vibrant use of color and light. His treatment of these elements departs from the subtle nuances favored by the Impressionists, embracing a bolder, more expressive palette. This is clearly visible in Nudes (Women Dancing in a Ring), where the setting is bathed in a luminous glow, yet the colors are rich and saturated, contributing to the painting’s overall dynamism. This energetic application of color aligns him with the Fauvist movement, known for its emphasis on strong colors and painterly qualities over realistic representation.
One of the most striking aspects of Iturrino’s art is his unconventional portrayal of women, whether clothed or nude, in states of repose or activity. In Nudes (Women Dancing in a Ring), this originality is amplified. The painting rejects traditional perspective, pushing the nude models to the forefront, occupying nearly the entire canvas. These are not idealized figures in classical poses; instead, Iturrino presents robust, contoured bodies, defined by strong outlines and modeled with a spectrum of color-rich shades. The sense of space is created not through linear perspective but through the positioning and overlapping of these substantial, vividly rendered forms. This approach emphasizes the physicality and presence of the dancing women, moving away from academic conventions of depicting the nude.
Iturrino’s artistic development was shaped by his early training in Brussels and Paris, where he encountered Symbolism and Impressionism. His initial artistic inclinations were also linked to the aesthetics of “Black Spain,” a movement exploring darker, more somber themes within Spanish art. However, a turning point came with his first visit to Andalusia in 1901. The Andalusian landscape and its intense light had a profound impact, solidifying his distinctive, more personal style characterized by brighter colors and a focus on light. His circle of friends included prominent artists such as Renoir, Derain, and Picasso, but particularly significant was his relationship with Matisse. Travels with Matisse through southern Spain in 1910 and Morocco in 1912 further cemented Matisse’s influence, which, along with that of Cézanne, is discernible in much of Iturrino’s mature work. These influences are synthesized into Iturrino’s unique vision, creating a body of work that is both modern and distinctly his own.
In conclusion, Nudes (Women Dancing in a Ring) encapsulates Francisco Iturrino’s daring approach to painting. By rejecting traditional perspective and embracing a vibrant, Fauvist-inspired palette, he created a powerful and original depiction of nude women in motion. The painting not only showcases Iturrino’s individual style but also contributes to the broader artistic dialogues of the early 20th century, marking him as a significant figure in Spanish modern art.
