Pinazo at the Museo Nacional de Cerámica
The Museo de Cerámica y Artes Suntuarias holds works by all three Pinazo artists. From Ignacio Pinazo Camarlench the collection comprises 11 paintings and 18 drawings. From José Pinazo Martínez the museum holds two paintings and one drawing. The collection of Ignacio Pinazo Martínez comprises eight sculptures and one drawing.
On the occasion of the creation of the gallery dedicated to the Pinazo family in the museum, Ignacio Pinazo Martínez donated an indeterminate number of works by all three artists in 1965. The personal relationship between Manuel González Martí and Pinazo Martínez dates back to 1897, the year in which González Martí wrote his first journalistic chronicle about Pinazo Camarlench. From that date onwards, the Pinazo–González Martí partnership would become a fertile relationship for Valencian culture.
Among the works of Pinazo Camarlench, particular prominence is given to the group of large-format pieces he produced for the now-demolished café El León de Oro, recovered by González Martí through various acquisitions and donations, among which are Carnaval en la Alameda de València (Carnival on the Alameda de València), Retrato de María Luis Laval (Portrait of María Luis Laval) and Desnudo de frente-Friné (Front Nude-Phryne), a recent acquisition.
José Pinazo is represented by the paintings Desencanto y desengaño (Disenchantment and Disillusion), which addresses the effects of the Cuban War, Retrato de la Señorita Revestz (Portrait of Miss Revestz), and an interesting coloured pencil portrait of a Valencian farmworker, El tío Cono (Uncle Cono).
Among the sculptures of Pinazo Martínez are Retrato de mi padre (Portrait of my Father) dated 1965, Autorretrato (Self-portrait) of 1924, marble portrait Cantante Lucrecia Bori (The Singer Lucrecia Bori) and the scale model of the Monumento a Pinazo Camarlench (Pinazo Camarlench Monument).
