Sixty-four

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Granadina

1914 by Hermen Anglada Camarasa
Museu Nacional d’art de Catalunya

Granadina is appropriately placed in the Museu Nacional d’art de Catalunya, lying somewhere between the decadence of their twenties room (see postcard fifty) and the Modernists; it is a melody of stylistic traits. The background, a mystical darkness of shadowy inky hues, is like trees in the night, a dark patchwork of nature reminiscent of Cézanne – she is a floral queen with her forest behind her. Her cloaking then provides a magical illumination in colour; an array of flowers blooming in rainbows across the regal deep purple, which runs, slightly horrifically, down her white skirts. Klimt-like this floral patterning adds to the hinted fantastical atmosphere, though, unlike Klimt’s floating figures, she stands tall, strong and upright, but serenely calm. Her expression is almost glazed, encouraged by the paleness of her pallor; snow and translucent white, she stands like a ghost in the dark. Camarasa’s construction of his muse, his Granadina, reminds of mythical portraits; a Modernist Botticelli’s La Primavera. She is eerily bewitching, standing head to one side, mirroring the angle of the white rose she holds.

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