Aida Pons Moreno, Doctoral Thesis. Ignacio Pinazo y la acuarela valenciana de su tiempo (Ignacio Pinazo and the Watercolor of his Time in Valencia), 2015. University of València (Estudi General).
This research focuses on the watercolour facet of Ignacio Pinazo Camarlench and the watercolour art of his time. Through a specific analysis of Pinazo’s water-based works, the local watercolour tradition is examined on the basis of the watercolour contributions of various Valencian artists. Pinazo moved from his most academic productions towards a considerable experimental drive. From his beginnings in wash, gouache and watercolour, the Valencian painter’s learning process in these techniques was unstoppable. He began his foray into the art of watercolour with the practice of washes and studies executed in one or two colour inks, inspired by the Baroque wash models of Alonso Cano, Murillo and Pablo Pontons, and years later by the watercolour work of Mariano Fortuny.
The evolution of Pinazo in water-based techniques is traced from the time he enrolled in the free evening classes in Life Drawing and Colour taught by Professor Fernández Olmos at the Academia de Bellas Artes de San Carlos de Valencia, located at the time in the old Carmelite convent. His attendance at the evening watercolour class opened in November 1874 by the Ateneo Científico y Literario is then examined. Following these periods, the thesis delves into the artist’s years as a scholarship holder in Italy (1876–1881), a particularly prolific and revealing stage in terms of his watercolour output. The fourth section of the thesis addresses the Valencian example and the local watercolour tradition.
This important research arose, among other works, from the curatorship of the exhibition Pinazo y la acuarela (Pinazo and Watercolour) that Pons Moreno carried out in 2009 for the IVAM, and forms the basis of the exhibition Primeros referentes de la acuarela valenciana (First References of Valencian Watercolour) that Pons Moreno curated in 2017 at the Casa Museo Benlliure.
Available at https://roderic.uv.es/items/32d20a5a-8979-41ae-b056-18c25d96432c/full
Willy Ramos (Guillermo Ramos Mestre), Doctoral Thesis. Ignacio Pinazo Camarlench. Dibujante. Las claves de su obra gráfica. (Ignacio Pinazo Camarlench. Draughtsman. The Keys to his Graphic Work), 1993. Polytechnic University of València. Faculty of Bellas Artes de San Carlos.
The thesis studies the vital and artistic attitude of Ignacio Pinazo and the graphic values of his drawn work, the vast majority of which was practically unpublished at the time of the research. It sets out to demonstrate the originality, richness and, at the same time, the enduring relevance of the career of an artist born and trained under the most rigorous limitations, and how it is precisely his deepening engagement with his most personal world that allows him to escape any such limitation. The arguments therefore focus on the exploration of his extensive drawn corpus, situating it within the whole of his work and analysing the artist’s use of graphic elements: line, mark-making, tone, movement, composition…
The research comprises the following chapters: I Ignacio Pinazo Camarlench; II Ignacio Pinazo, Draughtsman; III Formal and Technical Components; IV Drawing and Creativity; V Analysis of Twelve Significant Drawings; Conclusions; Index of Illustrations; Bibliography and Articles on Ignacio Pinazo; General Bibliography; and an Appendix reproducing the inaugural address delivered at the Real Academia de Bellas Artes de San Carlos.
The conclusions of the thesis offer a notably enriched understanding of the drawings, as well as a solidly grounded affirmation, supported by his example, of the enduring relevance of the values contained in the daily practice of drawing as a means of expression and creation in its own right.
For Ramos, “Ignacio Pinazo reaches one of the highest peaks of drawing practice in the history of Valencian art. His intimate personal attitude, of unbreakable fidelity to himself, became the nucleus that allowed us to progressively distil the main hypothesis: the drawings of Ignacio Pinazo constitute the sap that day by day fertilises all his creativity in a splendid and resounding example of harmony between life, drawing and art, between the deepening of one’s inner self and the universality of the dreamed ideal.”
Available at the Polytechnic University of València and in the library of the Casa Museo Pinazo.
María Eugenia Ibáñez Guardiola, Undergraduate Dissertation. Vida y obra del escultor Ignacio Pinazo Martínez (1883-1970) (Life and Work of the Sculptor Ignacio Pinazo Martínez (1883-1970)), 1980. University of Murcia. Department of Historia del Arte.
This is the first academic research carried out on the life and work of the sculptor, whom the author approaches through her family relationship with his descendants. The sources are the research and consultation of part of the documentation preserved at the Casa Museo Pinazo, as well as various interviews with the artist’s family. It comprises two volumes, the first containing the written part and the second incorporating photographs of the works. The chapters developed after the introduction are: The Pinazo Dynasty; Biography of the Sculptor Ignacio Pinazo Martínez; Civil Sculpture, in which 25 works and 9 plaques are selected and studied; Religious Sculpture, which includes and analyses 11 works; Analysis of his Work; Artistic Thinking of the Sculptor Ignacio Pinazo Martínez; Conclusion; Catalogue, which includes Series A with 108 works, Series B with 19 sketches, studies and projects, Series C with 10 drawings and Series D with 3 paintings, 1 watercolour and 2 oil paintings; Appendices and Bibliography.
It is precisely in the work of cataloguing and systematisation that the main contributions of Ibáñez Guardiola’s work lie; she has subsequently published various articles on the religious imagery of Pinazo Martínez.
Available at the University of Murcia and in the library of the Casa Museo Pinazo.
María Paloma Herrero Antón, Undergraduate Dissertation. Ignacio Pinazo Camarlench (1849-1916). Su vida y su obra. (Ignacio Pinazo Camarlench (1849-1916). His Life and Work). Academic Year 1959-60. University of Las Palmas de Gran Canaria.
Research carried out on the basis of conversations and letters exchanged between the sculptor Ignacio Pinazo Martínez and the author, drawing very significantly on González Martí’s 1920 publication on Pinazo.
The research comprises the following chapters: I Ignacio Pinazo, Precursor of Spanish Impressionism. Reassessment of his Work; II The Life of the Artist; III The Work of the Painter, which includes nine sections: History paintings, nudes, portraits, childhood themes, decorative painting, landscapes and seascapes, religious painting, sketches and studies, and drawings. There is finally a bibliographic appendix.
Herrero Antón argues for the recognition of Pinazo “…as the first Spanish Impressionist in a large part of his output, which is of loose execution and in which the spatial sensation has been captured with great mastery, and in which the great pictorial conquest of the third quarter of the nineteenth century has been realised: ‘illuminated air’.”
Available at the University of Las Palmas de Gran Canaria and in the library of the Casa Museo Pinazo.
