The scent of the Mediterranean, the vibrant dance of light on crystalline waters, and the profound stories etched into the coastal landscape – these are the elements that Joaquín Sorolla, the ‘painter of light,’ masterfully captured on canvas. Now, Barcelona’s Palau Martorell invites visitors on an immersive journey into this luminous world with the exhibition ‘In the Sea of Sorolla with Manuel Vicent,’ running until April 6th, 2026.
A Dialogue Between Brushstrokes and Words
This unique exhibition showcases 86 of Sorolla’s works, but with an extraordinary twist: they are narrated and given deeper context by the acclaimed Valencian writer, Manuel Vicent. For both Sorolla and Vicent, the sea transcends a mere landscape; it is a living entity, a repository of memories, and a profound life experience. Vicent, acting as an atypical curator, weaves his words and descriptions around Sorolla’s dynamic brushstrokes, revealing the ‘invisible details’ that truly define the Mediterranean spirit.
As the exhibition eloquently suggests, ‘Only with the heart can one see rightly; what is essential is invisible to the eye.’ This sentiment, famously from ‘The Little Prince,’ perfectly encapsulates Sorolla’s approach to his art and Vicent’s interpretation. Sorolla observed the coast not just with his eyes, but with his heart, translating the subtle nuances of waves, light, and warmth into canvases that pulse with life.
Palau Martorell: A Neo-classical Gem Reborn
The Palau Martorell itself, a magnificent neo-classical building designed by architect Joan Martorell and built between 1886 and 1890, provides a breathtaking backdrop for this artistic dialogue. Originally the headquarters of the old ‘Sociedad del Crédito Mercantil,’ the building was revitalized in late 2022 by the private initiative of Jesús Rodríguez (director of Evolucionarte) and José Félix Bentz (president of the Real Círculo Artístico de Barcelona). Its grand central skylight, Novecentista ornamentation, floral stained-glass windows, and Doric columns create an atmosphere of timeless beauty, making it a central element of every exhibition it hosts, from Botero to Mucha.
Sorolla holds a special place in the Palau Martorell’s history, as it was with an exhibition of his miniatures, ‘Cazando impresiones,’ that the venue debuted as a museum over three years ago. While that initial show featured 193 miniatures, the current exhibition, guided by Vicent’s words, presents 86 larger works that transport visitors through the Valencian artist’s captivating world. Among the selected paintings are some of Sorolla’s most renowned oils, including ‘El balandrito’ and ‘La hora del baño.’
A Glimpse into Sorolla’s Soul: The Sea as a Microcosm
This exhibition offers a unique opportunity to explore Sorolla’s coastal visions without traveling to Madrid. The works on display typically reside at the Sorolla Museum in Madrid, which has been closed since 2024 for an ambitious restoration and expansion project. These very pieces, which once adorned the walls of Sorolla’s studio and refuge, are now gracing Barcelona’s Palau Martorell for a limited time.
Sorolla’s deep connection to the sea is palpable in every brushstroke. He found his personal paradise in coastal towns like Xàbia (Jávea), where the continuous presence of fishermen and naked children playing under the sun symbolized freedom, entertainment, and innocence. In a letter to his wife Clotilde, he described his visit to Xàbia: ‘The water was such a fine blue! And the vibration of the light was crazy. I have witnessed the return of the fishing: the beautiful sails, the groups of fishermen, the lights of a thousand colors reflecting in the sea… which today was of a sublime intensity.’
Manuel Vicent echoes these sentiments, associating innocence and freedom with the coast. Recalling his own childhood by the sea, he writes, ‘I too was one of those children who sailed in a paper boat… Throughout my life there has been no safer boat, more resistant when facing the most hazardous journeys.’ Vicent even describes a profound sense of recognition upon first seeing Sorolla’s light, as if he had always known it, ‘because to know is only to remember. Sorolla’s light had been wandering like a synthetic idea through the spheres since time was created.’
Two Worlds Intertwined: Bourgeoisie and Fisherfolk
The exhibition navigates the multifaceted nature of the sea, from the tranquility of women and children enjoying simple pleasures on the shore in works like ‘El baño’ and ‘Muchacho en la orilla del mar,’ to the daily dedication and effort of those who dedicate their lives to the sea: the fishermen and fisherwomen of Cabanyal, depicted in paintings such as ‘La llegada de las barcas’ and ‘Repasando la vela.’
In Cabanyal, the sea becomes a microcosm where two distinct worlds and social classes converge: the universe of bourgeois vacationers, adorned in their elaborate hats and residing in colonial-style houses, and that of the fishermen, surviving in humble shacks and carrying knives beneath their sashes. Sorolla masterfully portrays this dynamic, with himself and his family serving as examples of the bourgeoisie who observed the sea from a distance, free from the toil and suffering it demanded. Vicent also recalls this societal blend: ‘at the beginning of the 20th century, the maritime towns were united with the summer colonies that the Valencian bourgeoisie had established on the beach, and in them the happy shopkeepers of the city and the fishermen of elemental passions coexisted for a few months a year.’
Beauty as an Aesthetic Challenge: A Philosophical Stance
Sorolla’s scenes are rendered with dynamic brushstrokes and a keen focus on beauty and the interplay of light on figures and landscapes. While this might appear superficial at first glance, depicting bourgeois characters and their coastal amusements, it is in fact a deeply philosophical stance. At the turn of the 20th century, artistic avant-gardes like Expressionism, Surrealism, and Cubism emerged, advocating for the deformation, darkening, and even evasion of reality.
In this context, Sorolla, much like the French Impressionists, chose not to conceal reality but to portray it, paying particular attention to those ‘invisible details’ such as light and the movement of waves. He painted not just reality, but what he felt while experiencing it, often working directly on the beach under the scorching sun to capture the essence of his subjects through both sight and emotion.
This artistic choice was not born of ignorance of contemporary art movements; Sorolla had trained and exhibited in major cities like Paris, Berlin, London, and New York. Instead, it was a deliberate commitment to conveying a ‘joie de vivre’ – those small pleasures and the profound sensations one experiences when encountering the sea. As Vicent affirms in one of his accompanying texts, ‘Miguel de Unamuno exclaimed: “Valencians, aesthetics are your undoing.” He believed that this Mediterranean coast was inhabited by frivolous, hedonistic, superficial, and even pagan people. Apparently, this philosopher entangled in the tragic sentiment of life was incapable of imagining that in Sorolla’s painting there was a natural paganism that was also a no less profound philosophy.’
The ‘joie de vivre’ and aesthetics that Unamuno deemed superficial become universal in Sorolla’s brushstrokes, allowing visitors to Palau Martorell to experience the purity and beauty of the Mediterranean that also bathes Barcelona. This exhibition is not merely a display of art; it is an invitation to feel, to remember, and to connect with the timeless spirit of the sea through the eyes and heart of a master.
Source: https://www.thenewbarcelonapost.com/barcelona-luz-mediterraneo-sorolla-martorell/
