Al moler

ID: #6032 | Romanticismo | Retratos

El cuadro representa a un hombre vestido con el traje tradicional de pueblo que sostiene un hacha y se inclina hacia delante con la mano en la oreja, como si estuviera escuchando algo atentamente. El hombre está de pie en un camino de tierra desenfocado, y detrás de él se ve una casa de campo con una valla de madera. La escena da la impresión de una vida sencilla en el campo.

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Brazilian artist José Ferraz de Almeida Júnior (1850-1899) started painting when he worked as a bell ringer at the church of Our Lady of Candelaria. In his free time, he painted several small paintings with religious themes. The chief priest was so impressed with his work that he organized a collection enabling Júnior to attend drawing lessons. In 1869, he studied at the Academia Imperial de Belas Artes. After graduation, he opened his own studio in order to earn a trip to Europe. In 1876, he exhibited in Sao Paulo, where he came to the attention of the Emperor Pedro II. He was so fascinated by his paintings, for example Yearning and Waterfalls, that he offered Júnior financial support. This fulfilled his dream to travel to Paris and study at the Beaux-Arts. After returning to Brazil in 1882, he gave lessons in his studio. He didn’t leave Sao Paulo even when he received an offer to become a professor of art history at the Academy. His life ended violently at the hands of his cousin, who stabbed him because of a long-standing affair with his wife. For his work from the Romantic period, Júnior was awarded the title of Knight of the Rose Order from the emperor.