Purchased by Pierpont Morgan, 1909
This drawing of an orating priest, gesticulating and brandishing a document, attests to Lucas's affinity with the art of Goya. The masklike faces of the protagonist and onlookers suggest a macabre scene, and the stage from which the priest proclaims adds a theatrical element to the episode. With this work, Lucas not only demonstrated his debt to his predecessor but also paved the way toward an abbreviated approach to figurative expression, foreshadowing his more abstract works.
From the sixteenth to nineteenth centuries, Spain witnessed the rise of the Catholic Church along with the flourishing of court artists who explored deeply spiritual visions. Concurrently, the nightmare of the Inquisition drove artists to probe the darker side of human nature through scenes of martyrdom and torture. Drawing played a central role in their conception of these diverse subjects—from Murillo's preparatory studies for painting commissions to Goya's private albums satirizing contemporary society. In addition to this rich tradition in Spain, Spanish artists also worked abroad, notably in Naples, which was a Spanish territory.
Visions and Nightmares marks the first exhibition of Spanish drawings at the Morgan, whose holdings in this area are small but significant. Showcasing over twenty sheets by Spanish artists spanning four centuries, this selection traces the shifting roles and attitudes toward the art of drawing in Spain.
This online exhibition was created in conjunction with the exhibition Visions and Nightmares: Four Centuries of Spanish Drawings, on view January 17 through May 11, 2014 and organized by Edward Payne, Moore Curatorial Fellow.
This exhibition is made possible by the A. Woodner Fund.