The Sorolla exhibition in the National Gallery (London) stunned me. I didn’t know enough to have expectations, and then found myself in front of immense canvasses that spilled light and colour into the gallery. My absolute favourite was this one:
The image onscreen doesn’t do justice to the overwhelming effect of the painting, its power and colour, its radiant peace. I have never seen this subject in a painting before. For all the madonna-and-child images we’ve seen since childhood, this exact idea, the calm-after-birth/storm, was new to me in art. The paradox is that it is the distance between the mother and her newborn baby that is so evocative: they are separate now, at peace, something new beginning. Photographs of me at similar times testify more to the blotchy, sweaty and usually untidy physical reality that follows birth. This painting is the emotion made physical: we made it and there you are.
I see you.
A patronising review in The Guardian more or less says that only an idiot could think highly of this artist’s work, but this idiot doesn’t care. Several standout paintings in the exhibition will make you sit and stare, then stare longer. Give yourself plenty of time, you won’t want to rush this.
Sorolla: Spanish Master of Light runs until 7 July in the National Gallery; more info here
It will be in the National Gallery of Ireland from 10 August – 3 November; more info here