Publications

The Real Academia de Bellas Artes de San Carlos de València publishes the inaugural address delivered by Ignacio Pinazo Camarlench on 4 October 1896 upon his admission to the institution, in volume 1, issue 1 of its journal Archivo de Arte Valenciano. In the address, entitled De la ignorancia en el arte (On Ignorance in Art), Pinazo reveals his references from the great tradition, Holbein the Younger, Joan de Joanes, El Greco, Velázquez, Goya, as well as more recent ones, Eduardo Rosales and Mariano Fortuny, and reflects on the importance of portraiture in the history of art, while criticising the role played by the Renaissance in the evolution of painting. Beyond laying the foundations of his artistic credo, the relationships between form, drawing, colour and nature, the centrepiece of the address is his description of “perfect ignorance”, a concept that earned the author the rejection of the very institution that had welcomed him, which felt directly alluded to by the content of the speech.

Pinazo Camarlench, Ignacio. “De la ignorancia en el arte” (On Ignorance in Art) in Archivo de Arte Valenciano, No. 1, Issue 1, 1915. Real Academia de Bellas Artes de València, pp. 24–35. ISSN: 0211-5808.

Manuel González Martí publishes the first biography of the painter: Pinazo. Su vida y su obra, 1849-1916 (Pinazo. His Life and Work, 1849-1916). The work was awarded the first prize offered by the Círculo de Bellas Artes de Valencia in 1917. As the author himself notes in his preface, Pinazo, through his life and his art, is an exception, and an exception of extraordinary force, to the proverbs and sayings that state that no one is a prophet in their own land. On that premise, an admirable account of the painter’s biography and a defence of his art is written. The biography, which begins in ancient Valencia, is described in stages up to his death, followed by further chapters with documents of interest, references to the painter’s work, and appendices with valuable bibliographic and journalistic references and illustrations of his work. The publication was reissued in 1971 by the Ayuntamiento de Valencia.

González Martí, M. (1920). Pinazo. Su vida y su obra, 1849-1916. 2nd edition. Ayuntamiento de València. 224 pp., 47 b/w illustrations. DL: V-1529-1971.

Ricardo García de Vargas publishes Godella y los Pinazo (Godella and the Pinazo Family). This publication, based on a lecture delivered by the author at the inaugural session of the 1968 course of the Section of Official Chroniclers of the Kingdom of Valencia of the Centro de Cultura Valenciana, covers not only the description of the family home and the ties of the three artists to Godella, but also evokes the relationships each of them maintained with the town and its inhabitants, and the way in which these determined some relevant aspects of their artistic output.

García de Vargas, R. (1968). Godella y los Pinazo. València, 1968. 48 pp. and 33 illustrations. DL: V-4508-1968.

 The Real Academia de Bellas Artes de San Carlos de València publishes in volume 39 of Archivo de Arte Valenciano the address Arte-Amor-Trabajo (Art-Love-Work), delivered by Ignacio Pinazo Martínez on 30 April 1968 upon his reception as a full academician. Through his address the sculptor pays a tacit tribute to his father, which he complemented with the gift to the Academy of a bronze portrait of Pinazo Camarlench.

Pinazo Martínez, Ignacio. Arte-Amor-Trabajo, in Archivo de Arte Valenciano, No. 39, 1968. Real Academia de Bellas Artes de València, pp. 115–117. ISSN: 0211-5808.

Ricardo García de Vargas publishes El escultor Ignacio Pinazo Martínez (The Sculptor Ignacio Pinazo Martínez), compiling biographical notes shortly after the death of the artist. The author, who was the official chronicler of Godella and maintained a close relationship with the sculptor, develops a biographical account complemented by the aesthetic credo of Pinazo Martínez, his human profile and a broad overview of his work. The publication also contains a summary of some of the prizes and distinctions he achieved, as well as illustrations of the artist’s sculptures.

García de Vargas, R. (1971). El escultor Ignacio Pinazo Martínez. Ayuntamiento de Godella. 126 pp. and 32 illustrations. DL: V-5061-1971.

Vicente Aguilera Cerni, commissioned by Vicent García Editores, publishes I. Pinazo, a monograph in which, for the first time, Ignacio Pinazo Camarlench appears publicly as a painter and thinker capable of expressing his opinions on art, life and political circumstances. An indispensable work for understanding the artist’s output and personality, written by the prestigious art historian and critic whose personal drive and professional career brought him significant national and international recognition. The work provides complete answers to important questions: Did we truly know who Ignacio Pinazo Camarlench was? Were we acquainted with his human character, his motivations, his thinking? Did we have a full understanding of his true place within the society, art and ideas of his time? The three parts of this publication, a critical essay on his image, the biographical and informative section, and finally his own texts, together constitute perhaps one of the most important works for understanding the authentic and decisive historical significance of Ignacio Pinazo Camarlench.

Aguilera Cerni, V. (1982). I. Pinazo. Vicent García Editores. València. 413 pp., 152 colour illustrations. ISBN: 84-85094-01-8.

The IVAM, under the direction of Kosme de Barañano and written by Francisco Javier Pérez Rojas and José Luis Alcaide Delgado, publishes Ignacio Pinazo en la Colección del IVAM (Ignacio Pinazo in the IVAM Collection), a catalogue raisonné of the works by Ignacio Pinazo Camarlench held in the institution: 108 oil paintings and more than 600 drawings. The authors explain how in Pinazo formal and narrative particularity are interlinked, how he breaks with the hierarchy of the arts by relativising the value of formats and techniques. His painting is a continuum that transports the viewer through a universe brimming with sensations that are, for the artist, the path to knowledge. He is an artist of integrated realities, difficult to categorise, who cultivated all genres of painting and fought for his independence from his retreat in Godella, where his Casa Museo is preserved today.

Pérez Rojas, F. J.; Alcaide Delgado, J. L. (2002). Ignacio Pinazo en la Colección del IVAM. Instituto Valenciano de Arte Moderno, IVAM. 424 pp., 645 colour illustrations. València. ISBN: 84-482-2928-2.

 Xesqui Castañer publishes José Pinazo Martínez (1879-1933). Un pintor ecléctico entre la tradición y la modernidad (José Pinazo Martínez (1879-1933). An Eclectic Painter between Tradition and Modernity). The author addresses in full the life and work of the painter who worked between Madrid and València, while also enjoying significant international success. According to the author, Valencian, Andalusian and Madrilenian themes initially fill his career; but from the 1920s onwards he begins a formal refinement, stripping his work of all ornamental decorativism. Through this refinement, his figures are no longer folkloric archetypes suggesting a superficial image of reality, but timeless, classical characters, beyond the reach of fashion. Furthermore, his personal attitude, that of an elegant, well-mannered, somewhat stiff man who stands above good and evil, coincides with the attitude of the noucentistes.

Castañer, Xesqui (2011). José Pinazo Martínez (1879-1933). Un pintor ecléctico entre la tradición y la modernidad. Punto Rojo Libros, S.L. Sevilla. 234 pp. ISBN: 978-84-15350-98-9.

Francisco Javier Pérez Rojas publishes Pinazo y las vanguardias (Pinazo and the Avant-Gardes). The author delves into the most complex and controversial aspects of Ignacio Pinazo Camarlench, reinterprets many of his facets, and invites us to see and reflect on his affinities, connections and similarities with great artists who came after him, while offering a magnificent gallery of the artist’s work, comprising more than 250 pieces, which in themselves already constitute an expository narrative of a painter who remains largely unknown. In this way, a radical Pinazo is revealed, radical in his attitude towards the fashions of his time, an artist who grows in stature the further we venture into his pictorial universe, where he operates with a freedom found only in the great masters.

Pérez Rojas, F. J. (2021). Pinazo y las vanguardias. Ediciones Contrabando, València. 240 pp. ISBN: 978-84-124473-0-9. DL: V-3341-2021.