EL VERDADERO IGNACIO ZULOAGA

wenty authors had to come together to tackle the mission of compiling the multiple perspectives from which the human and artistic figure of Ignacio Zuloaga can be observed. As well as the large number of subjects that someone needs to master in order to research this artist, it is necessary to add the possibility of accessing the enormous amount of documentation and bibliography on the Eibar-born artist. For this reason, it is almost impossible to tackle such a complex character on one's own.

We have organised The Real Ignacio Zuloaga into four parts:

We begin by dealing with the character's interaction with his different contexts. The two initial texts deal with the Basque environment and the values of the Zuloaga saga of artists, ending with a description of Ignacio's character. The third text of the True Ignacio Zuloaga is dedicated to his estate Santiago etxea where he had his home and one of his workshops during the last thirty years of his life; this house was also one of his main creations. We then tackle the two most controversial issues: the painter's actions during the Spanish Civil War and his never-ending controversy: the ‘Zuloaga Question’.

A second section of The Real Ignacio Zuloaga is devoted to his pictorial style and the influences he received. We begin with the erratic youthful search, wandering through various styles, until he developed one of his own, very different from the rest. And then we enter into the details of the influence of various French painters during his life.

A third block of contributions in The Real Ignacio Zuloaga is devoted to some of his themes. The first is the marginalised, to whom the Eibar-born artist devoted special attention from the beginning of his career. The second text is about ‘the Basque’ in the artist's work. We then go on to describe the presence of the ‘Andalusian’ in his work. To finish this ‘territorial’ journey, we deal with the influence of the Castilian in his work, something he learned about from his uncle, the ceramist Daniel Zuloaga. Finally, we end with the painter's great interest in the performing and musical arts.

The last group of texts in the True Ignacio Zuloaga deals with the artist's international projection. It presents, successively, the influence and main vicissitudes of the artist's work in Latin America, Russia, Germany, Austria, Italy, the Czech Republic and the USA.

We trust that in this way the reader will be able to find his way around the many subjects dealt with, ‘navigate’ through their themes and gain perspective on the complex life and work of Ignacio Zuloaga. Thank you for reading. Please send your comments to contacto@fundacionzuloaga.com.

Ignacio Suárez-Zuloaga Gáldiz, President of the Zuloaga Foundation.

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