Drawing and Writing Illustrated Letters by Rafael Romero de Torres PDF

Drawing and Writing: Illustrated Letters by Rafael Romero de Torres (1865–1898)
Author(s): Fuensanta García de la Torre

Source: Master Drawings, Vol. 48, No. 4, Drawings in Spain (WINTER 2010), pp. 514-540
Published by: Master Drawings Association
Stable URL: https://www.jstor.org/stable/25767253
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Drawing and Writing: Illustrated Letters by
Rafael Romero de Torres (1865-1898)
FUENSANTA GARCIA DE LA TORRE
Drawing should be like writing: difficult in the at the Escuela de Bellas Artes when he was only eight.
beginning and, later, simple because of its spontaneity. His father got perrnission for him to enroll despite his
young age because of the evident talent he displayed
The man and the painter for both drawing and painting. Among Rafael's tutors
Reading family letters often takes us into the private
at this stage, besides his father, were Jose Salo Junquet
sphere, but those embellished with drawings?such (1810-1877), Jose Maria de Montis Fernandez
(1822[?]-1888), Jose Marcelo Contreras Munoz
as the group of fifteen illustrated letters by Rafael
Romero de Torres (1865-1898) reproduced in this(1827-1890), and Julio Degayon (dates unknown).
article?deserve to be made public, since they are Rafael Romero's early years were spent in his
father's studio, the Escuela de Bellas Artes, and the
imbued with an artistic value that goes beyond their
purely documentary significance. Nevertheless, asmuseum in the Plaza el Potro, where his family lived
documents, they increase our knowledge of the beginning in 1862, when his father was appointed
curator. This environment nurtured the develop
artist's life, his family, and the different phases of his
ment of the Romero brothers' artistic talent. In fact,
career. In the above paraphrase of a quote in a letter
sent by Vincent van Gogh (1853-1890) to his broth
members of the family continued to live within the
walls of the museum until twenty years ago, when
er Theo, he tells him that "drawing should be like
Julio Romero's daughter Maria Romero de Torres
writing." This belief accords perfectly with the illus
trated letters of Rafael Romero de Torres, in which
Pellicer (d. 1991) died, signalling the end of an artis
he draws what he sees and writes what he feels. tic dynasty of great importance to Cordoba.
Rafael Romero de Torres was born in Cordoba After his formative years in Cordoba, Rafael
Romero de Torres obtained a grant from the
on 25 June 1865.1 He belonged to a large family of
artists: he and his younger brothers, Enrique
Diputacion Provincial in 1884 to travel to Madrid,
where he studied at the Real Academia de S.
Romero de Torres (1870-1956) and Julio Romero
de Torres (1874-1930), both also painters, were theFernando. He was accepted as a sculpture student,
sons of the painter, archaeologist, and humanistalthough from the outset he intended to study paint
scholar Rafael Romero Barros (1838-1895), who ing. At the academy, he met not only other young
was director of the Escuela Provincial de Bellaspainters at the start of their careers, but also estab
Artes, Cordoba, and curator at the city's Museo de
lished masters, such as Federico de Madrazo (1815?
Pinturas (now the Museo de Bellas Artes). In addi
1894), Dioscoro Teofilo de la Puebla Tolin (1832
tion, their father was the founder of Cordoba's 1901),2 and Casto Plasencia Maestre (1846-1890).
Museo Arqueologico and was deeply involved in theHis progress was recognized by several awards and
preservation of the city's heritage. by an increase in the stipend he received from the
Rafael Romero de Torres began studying painting
Diputacion. Even after moving to Madrid (where he
514
remained for two years), Rafael maintained strong Romero took part under the guise of the most Spanish
links with Cordoba and his father, which explains character that could be imagined: Don Quixote. When vis
his frequent return trips to his hometown. We also iting Cordoba, the secretary at our embassy at the Quirinal
have valuable visual evidence of journeys to Ceuta described the scene to some of his friends, which he believed
and Granada, which he visited together with his deserved to be written down with a golden quill. On the
father in 1885 and 1888. occasion of the birthday of the great painter Madrazo, some
The increasing recognition of Rafael Romero's of his fellow countrymen decided to offer him a serenade as
artistic gifts was borne out by a second grant from a typically Spanish gift. After changing into Andalusian
the Diputacion of Cordoba, this time to pursue fur costumes in another painter's studio, they set off for
ther studies in Rome. He received a stipend of 3,000 Madrazo's place to pay homage. A merry group gathered
pesetas to live there for two and a half years (August in front of his house, and suddenly their talking and laugh
1889-January 1891). His time in Rome?which ing gave way to deep silence, broken only by the sound of
coincided with what has been termed the third gen a masterfully played guitar. An extraordinarily powerful,
eration of Spanish artists in this city (1885-90)? seemingly preternatural voice with an Argentinian accent
proved to be decisive, both for his personal devel started singing Spanish songs with immense taste and feel
opment and his future oeuvre. ing. Passers-by paused and neighbors appeared on nearby
Despite what has been published, Rafael balconies, all seduced by that marvellous concert. When
Romero de Torres was not one of the Spanish stu Madrazo, full of joy, opened the doors of his splendid home
dents officially enrolled at the Academia Espanola de to the friends that feted him in this fashion, he found them
Bellas Artes on the Janiculum Hill.3 That he surrounded by a crowd overpowered by emotion of the sort
nonetheless had contact with the school and its that true greatness never fails to inspire. Do you know who
pupils is clear, as can be inferred from published ref the musicians were? The singer was Gayarre, the guitarist
erences and his own writings. It is possible that he Rafael Romero de Torres.5
lived near the Via Margutta, a gathering place for
artists of different nationalities. A number of Spanish On his return to Spain in 1891, Romero de
artists had their studios in this street, which was also Torres divided his time between Madrid and
the home of the Accademia Chigi and, from 1887, Cordoba and threw himself into his work. But sev
the Associazione Artistica Internazionale. The latter eral professional disappointments and his failing
had been founded in 1870 by a group of artists under health (despite his young age) resulted in a decrease
the auspices of Prince Baldassare Odescalchi (1844 in his activity, especially after the second-class prize
1909). During Romero de Torres's years in Rome, he won at the national exhibition of 1893 was inex
he often worked at the Associazione, which had a plicably demoted to a third-class medal. By then, he
Circolo Artistico Internazionale that offered artists was ill, and his wife, Remedios Alcayde, had already
the use of a reading room with newspapers and died. Rafael Romero returned to the family home at
works of art, a permanent exhibition gallery, and a the museum in Cordoba, where he himself died on
common room for conversation.4 He thus lived and 29 July 1898, leaving his young daughter, Julia, in
worked in the midst of a thriving community of the care of her grandmother, uncles, and cousins.
artists and antique dealers, an atmosphere that com Besides the story about the Roman carnival
bined creativity with a certain bohemian charm. quoted above, Ricardo de Montis left an endearing
Many of the amusing anecdotes we know about account of his friend's everyday life, focusing on his
Spanish artists in Rome at that time come from cheerful character, skill as a guitarist, and his person
Romero de Torres's friend Ricardo de Montis y al and social interests. Like his brothers, he belonged
Romero (1871-1941). For instance, he wrote that: to the Working Men's Association in Cordoba,
called La Caridad (a club aimed at providing the sons
...during one of Rome's celebrated carnivals, [Rafael of working men with access to professional and
Romero] obtained one of the most coveted prizes: the artistic activities), in which he succeeded his father as
award for the best mask representing a historical or leg secretary. The obituary of Rafael Romero by
endary character executed at the least expense. Rafael Enrique Redel (1872-1909), published in the local
515
newspaper, was equally touching. In addition to a shown in the Exposicion Nacional de Bellas Artes of
summary of his life and work, it made special men 1881, and Columbus Leaving the Cathedral Mosque
tion of his deep religiosity and social conscience, (1892; Cordoba, Museo de Bellas Artes),9 inspired
playing on the titles of his most famous works to by a story written by the Romantic poet/dramatist
craft the narrative: "Judging from a chronological Angel de Saavedra, 3rd Duke of Rivas (1791-1865).
arrangement of Rafael Romero's main works, we However, Rafael Romero's most individual and
must admire his facility and skill, for no work seems important works comprise his trilogy of large genre
to have been required to paint No Work. Having paintings chronicling social issues of deep personal
devoted himself to religious contemplation and to concern to him: No Work (1888; Cordoba,
following Christ's doctrine, he found in the Last Diputacion Provincial),10 a picture of an unem
Rites the hope of a better life and, what is more, ployed worker with his destitute family, with which
eternal glory in his Searching for the Fatherland."6 the artist secured his grant to study in Rome; the
Last Rites, also known as the Wounded Mason
Summary of his oeuvre (Cordoba, Museo de Bellas Artes; Fig. I),11 which he
Rafael Romero's oeuvre was the product of his times. sent to Cordoba from Rome in 1890; and Searching
His academic training in Cordoba, Madrid, and for the Fatherland, often known by its alternative title
Rome determined his preference for genre and his Immigrants on Board (1892; Madrid, Prado).12 His
tory painting, as can be seen in the Death of Cleopatra approach to social realist themes influenced the work
(1885; Cordoba, Diputacion Provincial),7 the of his brother Julio, who also went on to produce
Surrender of the Prince of Viana (1886; Cordoba, paintings revealing a social conscience, such as An
Diputacion Provincial),8 after an untraced original Easy Conscience (1897; Oviedo, Museo de Bellas Artes
composition by Juan Luna Novicio (1857-1900) de Asturias),13 submitted to secure his grant to study in
Rome, and later works such as the Little Piconera
(1930; Cordoba, Museo Julio Romero de Torres).14
Figure I Not all of Rafael's works depicted history or
RAFAEL ROMERO genre themes. According to Enrique Redel, "in
DE TORRES
January 1882, he designed and oversaw the installa
Last Rites (or tion of an imposing funerary monument commis
"Wounded
sioned by the church of the Saviour and S.
Mason"), 1890
Domingo de Silos. It was made for the funeral of D.
Cordoba, Museo de
Ignacio Garcia Lovera, which was one of the noisi
Bellas Artes
est and most opulent that ever took place in
Cordoba."15 And within the tradition of court por
traiture, Rafael Romero de Torres painted a double
portrait of Queen Maria Cristina and Don Alfonso xm
as a Child (Cordoba, Diputacion Provincial)16 as a
gift to the Diputacion, which had sponsored his
training. He also produced several unfinished
sketches of heads, including the Portrait of a Young
Girl and the work known as the Mad Woman (both
Cordoba, Museo de Bellas Artes).17
Of greater interest to readers of this journal are
Romero de Torres's many surviving drawings in a
wide variety of subjects and techniques (charcoal,
pencil, chalk, and pen and ink), which he produced
between 1884 and 1892. A large number of exam
ples are preserved in the Museo de Bellas Artes in
Cordoba. Besides the academies or studies of male
516
Figure 2
RAFAEL
ROMERO DE
TORRES
Study of a
Woman's Head
Cordoba, Museo de
Bellas Artes
and female models from life (e.g., Fig. 2)18 that illustrator. His extraordinary ability as a draftsman is
formed a standard part of most contemporary artists' attested by his illustrations for periodicals published
training and preliminary work for paintings, there in Madrid, Malaga, and Cordoba, such as La Gran
are numerous drawings related to an insufficiently Via, Los Lunes de El Imparcial, Cronica del Sport, La
known aspect of his career: namely, his work as an Andaluda, La Correspondencia de Espana, La Union de
517
Figure 3
RAFAEL ROMERO
DE TORRES
View of the
Carrera de San
Jeronimo, Madrid,
in Evening and
Moses Rescued
from the Nile by
Pharaoh's
Daughter, 1884-85
Cordoba, Museo de
Bellas Artes
Cordoba, El Bombo, and Almanaque del Diario elements that he would use in his history and genre
Cordoba. Both his brothers also provided illustrations paintings, such as popular figure types and activities
for these magazines. (Fig. 4),20 portraits, architectural motifs, archaeolog
Generally speaking, Rafael Romero's drawings ical remains, and urban landscapes in Cordoba,
reflect his training under his father at the Escuela Madrid, and Rome. Particularly wonderful are his
Provincial de Bellas Artes, as well as his stays in illustrations to the book by his father entitled
Madrid and Rome. They are characterized by their Cordoba monumental y artistica (Cordoba, 1884). The
blatant academicism and by a naturalism learned inscription on the bottom of its frontispiece (Fig. 5)
from his father's paintings. Special mention should states that the drawings and lettering were by Rafael
be made of the so-called Red Album, in the Museo Romero de Torres. The illustrations that accompa
de Bellas Artes, Cordoba, containing biblical sub ny the text, in pen and ink, depict local monuments
jects (e.g., Fig. 3), scenes from ancient Roman his and their ornament, such as the Cathedral Mosque.
tory and Spanish medieval history, and drawings These drawings reveal Rafael Romero to be
inspired by the plays of Shakespeare.19 Another among the most skilled Spanish draftsmen of the
important group of surviving drawings by Rafael second half of the nineteenth century, worthy of the
Romero consists of preparatory studies for the 1892 first-class medal that, according to Redel, he won
painting Searching for the Fatherland, for which he was for his drawing on 30 June 1885 in the end-of-year
awarded a third-class medal at the Exposicion exams at the Academia de S. Fernando. Although
Nacional de Bellas Artes and which was subsequent not well-known today, he was an excellent drafts
ly acquired by the Spanish State for the Museo man and a competent painter, who gained recogni
Nacional de Pintura y Escultura (now the Prado). tion as an exponent of the historicist and social real
Many other drawings by Rafael Romero show ist trends that were so much in vogue in his day.
518
MONUMENTAL Y ART (ST I OA.
JhmfcrcM HtfseoAnjtwoligico d? dich* CiudaJ c imiivulri* c?rr**p?a<liettt? <1?

la* ReaUi AtAlemUs l? Hi?Uria ij <U S.Fern*nJo
A?o de MWXCLXXXIV.
^.^.w^.^WA-W
Figure 4 (left) Figure 5 (above)
RAFAEL ROMERO
1; RAFAEL ROMERO
DE TORRES DE TORRES
Living for the Title-page to

Hunt ("Por vivir Rafael Romero
para cazar") Barros, Cordoba
monumental y
Cordoba, Museo de
artistica (Cordoba,
Bellas Artes
1884)
Cordoba, Museo de
Bellas Artes
519
Although the date the letters entered the museum is
not known, some were in the collection by 1931,
when they were mentioned by Antonio de la Rosa,
who stated that Rafael Romero "made his collection
of illustrated letters, a precious work of art that may
be seen in the Museo Provincial in Cordoba."21
The letters and drawings that Rafael Romero
sent from Rome provide valuable information about
his life and work, but their documentary value
would have been infinitely higher had they not suf
fered sometime during the two first decades of the
twentieth century from dubious museological prac
tices, which favored an attractive display over good
conservation practice.22 This resulted in the loss of
important pages from the letters, which no doubt
would have revealed further details of the artistic
milieu to which Rafael Romero belonged at a time
when Rome, along with Paris, was the capital of
Western art. Many Spanish artists traveled to both
cities in the hope of improving their skills and meet
ing colleagues of all nationalities, with whom they
shared not only their youthful joys and sorrows, but
also the art that led them there in the first place. Of
the contents of the letters that are preserved, there is
a tendency to repeat topics, with minimal variations
that result from different circumstances and changes
in the painter's personal or artistic interests.
Some doubts arise concerning the authorship of
the first letter, dated Madrid, 23 May 1887 (app. no.
1; Fig. 6). The handwriting differs from the rest of
the correspondence, but references to Rafael's
mother and to his sister Angelita prove that it was
written by a member of his family?if not Rafael
then one of his brothers. The drawing's monogram
RR (plus an illegible letter) points to Rafael
Illustrated letters Romero, but it differs from the signature that he
Figure 6
The purpose of this article is to publish a set ofadopted
fif later. With these reservations in mind, if the
RAFAEL ROMERO
teen illustrated letters by Rafael Romero de Torres
letter is by Rafael Romero, it would mean that his
DE TORRES (?)
written to his family in Cordoba between 1884 handwriting
and and his signature both changed, as did
Letter from 1891 while he was studying in Madrid and Rome
his draftsmanship to some degree. The treatment of
Madrid, dated 23
(see Appendix). Illustrated with splendid drawings ofbuilding surrounded by trees, for instance, seems
the
May 1887, with
drawing of an monuments, streets, and picturesque scenes harsher
and than the style of the later works, such as the
urban landscape types?subjects that earned him the nickname of the
drawing that illustrates his next letter, also from
(app. no. 1) "Cordoban Fortuny" in Rome?the sheets are
Madrid, dated 3 May 1888 (app. no. 2; Fig. 7 and
Cordoba, Museo de jointly owned by the Museo de Bellas Artes,
back cover). Yet these differences may have arisen
Bellas Artes
Cordoba, and the city's Romero de Torres Collec
simply from his personal and artistic evolution.
tion (acquired by the Andalusian government inIn contrast to the letter of doubtful authorship,
1988 and allocated to the museum in 1991).
this second letter already shows the personal hand
520
Figure 7
RAFAEL ROMERO
DE TORRES
Letter from
Madrid, dated 3
May 1888, with
drawings of genre
scenes (app. no. 2)
Cordoba, Museo de
Bellas Artes
writing used in his subsequent correspondence until drawing, agrees with the artist's later manner.
January 1891. Moreover, this is the only complete Although he does not reach the extremes of pre
and signed letter that has been preserved. Everything ciosity that characterize his late drawings, the style
in it, from the handwriting to the minute style of the already points in that direction. The subjects of these
521
genre scenes also anticipate the nature of his later portrait," and he extended this advice to anyone
oeuvre: a bullfighter standing in front of a bull, racing contemplating a career as a painter. Paradoxically,
jockeys competing for victory, and the ever-pleasant the only sibling who did not receive any mention
atmosphere of a street party, showing the sort of was Julio, even though Rafael's art was clearly a
entertainment popular in Madrid at the time. source of inspiration to him.
The contents of both letters are family oriented Rafael Romero's financial worries were another
and mundane, as might be expected, incorporating recurrent topic in the letters to his father. On a few
references to Madrid's changeable climate in early occasions, he mentioned that he had not received his
spring, the artist's best wishes to the rest of the fam father's allowance, and in 1890 (app. no. 8) he com
ily, and comments on his father's commissions. The plained that he had not been able to cash it because
same topics recur consistently in the letters sent from it had arrived on Epiphany. In response to his
Rome in the following years. The strong bonds father's accusation that he had failed to acknowledge
within the Romero de Torres family are revealed by receipt of the allowance, Rafael reminded him that
the warm tone in which Rafael Romero addressed he had sent it in a postcard to his mother or to his
his parents, his siblings, and his nephews. Two of the sister Rosario (app. no. 10).
letters were written to his mother (app. nos. 1 and More dramatic were the circumstances in which
13)?one of them prompted by the feast day of Our Rafael Romero found himself in January 1891 (app.
Lady of the Rosary, the saint's day of his grand no. 14), when he wrote to his father that he had not
mother, his mother, and his sister?one to his father sent any letters for a while because he did not have
and his brothers (app. no. 6), and the rest only to his "...any ink or pen[s]...or the means of getting
father, to whom he seems to have been especially them." He did not explain how he finally got hold
close. He addresses him as "Dear Papa," "My dear of these writing materials, but the letters suggest that
est Papa," and "My dearest Father," although the the grant from the Diputacion was not enough to
expression of his affection remains subject to the for cover even his most basic needs, and that it had to
mality that defined filial relationships at the time.23 be supplemented by financial support from his
Rafael Romero showed interest and concern for father. Another factor that undermined both his
his siblings, for instance, asking forgiveness for not physical state and his spirits was his failing health,
requesting news about Angelita when writing from which is a subject also touched on in the same letter
Madrid in 1888 (app. no. 1), and about Carlos's long about the need for pen and ink. Even if he repeat
journey to Argentina in 1889 (app. no. 3), noting his edly told his family that "thank God" his health was
joy when told that his brother had already left good, on this occasion he included his lack of health
Caboverde.24 He often expressed his happiness on as he also mentioned the absence of writing supplies.
learning that his family was in good health, and he Besides personal and family news, the letters
included comments in response to letters received contain details about his work as a painter and the
from his mother, his siblings Eduardo, Rosario, Roman artistic milieu in which he moved. About
Fernando, Carlos, and Angelita, as well as from his two months after the date of the first letter, he joined
brother-in-law Pepe Trigueros (dates unknown). At the Associazione Artistica Internazionale. According
some point, they made him think that his father was to Redel, he received his membership certificate on
possibly ill, since he himself had not been writing. In 22 October 1889; Redel also noted that "he wrote
October 1889 (app. no. 6), Rafael mentioned a great seventeen letters to his father from Rome, illustrat
nephew, who must be Eduardo Romero Trigueros ed with drawings in ink that truly deserve admira
(1880-1971), and he alluded to the muneca ("doll"), tion."25 This leads one to believe that some letters
possibly a reference either to his nine-year-old sister are now missing.
Angelita (whom he also called "the dancer") or to Following his father's advice, Romero de Torres
his niece Rosario Romero Trigueros (d. 1931). In worked hard to further his studies. In October 1889
January 1891 (app. no. 15), he advised Enrique to (app. no. 5), while he was working on the Last Rites,
give up plans to study painting in Madrid, despite his father asked for a sketch of a priest, so that
the fee of "twenty duros that he had received for a "Almenara" could photograph it, so the figure must
522
have been already finished by then. This must be a
reference to the photographer Eleuterio Almenara
(1887?1914) who established a practice in Cordoba
after 1887 and whose portraits of Rafael Romero
Barros (1890) and Julio Romero de Torres (1888)
suggest that he knew the family.26 A month later
(app. no. 7), Rafael Romero wrote to his father that
he was sending him a drawing "since I know you
like receiving these scribbles." Ironically, it is these
"scribbles" rather than his paintings that have
secured him a place in the history of Spanish art.
In January 1890 (app. no. 8), Rafael Romero
wrote to his father about an exhibition of paintings
by Italians and by artists who had exhibited at the
Paris Salon, adding tantalizingly that the Spaniards,
"who do all they can to...," but the fragmentary
state of the letter prevents us from knowing the rest
of his thoughts. The following month he sent a let
ter with a drawing from life of a Roman peasant
woman (app. no. 9; Fig. 8), which he might have
made in one of his regular sessions at the Circolo in
the Via Margutta. At the time, he was finishing a
painting, which, to judge from the date of the letter,
must have been his large Last Rites, sent to the
Diputacion in Cordoba in compliance with the con
ditions of his grant. From the artist's surprised com
ments in this letter, we know of his father's positive
reaction to the painting, which was shared by those
who saw it in Rome and in Cordoba.
^^^^^
After his illness, in January 1891 Rafael Romero
returned to the Associazione Artistica Internazionale
and to the Circolo to continue work on his paint
ings (app. no. 14). In the same letter he mentioned
the studio of his friend "Cuervo," possibly Aquilino
Cuervo Heras (dates unknown), a sculpture student
who studied in Rome between 1887 and 1890 with described the market situation as getting "worse and
a grant from the Academia Espanola de Bellas Artes. worse," is the same one in which he urged his Figure
father 8
Given the date of the letter, if this identification is to persuade his brother Enrique and anyoneRAFAEL
else ROMERO
DE TORRES
correct, it would mean that Cuervo probably considering a career as a painter to search for a dif
remained in Rome after the end of his grant. ferent profession. For these or other reasons,
Letter from Rome,
This, the last letter that has been preserved?also dated February
Enrique did, in fact, give up painting and became
[1890], with
the longest?has the peculiarity of consisting of two director of the Museo de Bellas Artes after the death
drawing of a
sheets and two drawings (app. nos. 14-15; Figs. 9 of his father in 1895. Moreover, he undertook
Roman peasant
10), although, again, its fragmentary state prevents us research on local art and archaeology, which woman
led him(app.
no. 9)
from knowing in full what Rafael Romero wrote to produce catalogues of the artistic patrimony of
Cordoba,
about the Spanish artists with whom he shared good Cadiz and Jaen. He also became involved in the pro Museo de
Bellas Artes
times as well as the very difficult challenges of the tection of Cordoba's heritage, and he was responsi
market. This pessimistic letter, in which he ble for the creation of the Julio Romero de Torres
523
Figure 9 (left)
RAFAEL ROMERO
DE TORRES
Letter from Rome,

dated January
1891, with
drawing of a
Roman peasant
woman (app. no.
14)
Cordoba, Museo de
Bellas Artes
Figure 10 (right)
RAFAEL ROMERO
DE TORRES
Continuation of
letter from Rome, . r~ r:
dated January
1891, with
drawing of a
peasant youth (app. *~ ^ ^/ ? ^~^~-<^~ - ^^'-"7.
no. 15) , ?^ / ?^ ?7~ -
Cordoba, Museo de
^^.^ ^
Bellas Artes
ed his
Museum, after the death of as the perfect Julio
brother training
infor his la
1930,
Roman
serving as its director until his buildings
own death in the letters sen
in 1956.
Turning away now frombetween August content
the literary and November
of 1
the letters to the drawings
ingthat embellish
Academia them,
Espanola, we
built around
convent
can identify two main types of S. Pietro
of motifs, bothinassociat
Montorio
ed with the artist's environment. On for
Janiculum Hill, theinstance,
one hand,is a sit
there are architectural and ornamental elements of B
associated with Spain ever since
the urban setting, and, on1514)
the built histhe
other, famous Tempietto
peasants and
other models that the artist
the drew from
conquest life, either
of Granada in
in 1502-10,
the course of his walks ored
ininhis
the studio.
courtyard of the church.
ing is
Urban and rural landscapes a reconstruction
always based on a
appear either
as a background or as an accessory
copied from to
thehis images
north facade of
of th
buildings and to his genre scenes.
than The
an accurate subtle of
depiction treat
it. Sim
tions from
ment of the foliage evolves were produced by the Palen
the problematic
Eugenio
1887 letter (app. no. 1; Fig. Oliva
6) and the Rodrigo (1857-19
genre scenes
of 1888 (app. no. 2; Fig.authors
7) to of
the
themore
images advanced
reproduced in
landscape elements included in the
Espanola view ofand
y Americana the
in Aca
Ulllust
demia Espanola de BellasThe
Artes
new (app. no. 3; of
headquarters Fig.
the11)
acad
and one of unidentified ruins (app.
officiaDy no. 5; Fig.
inaugurated on 2312).
January
The drawings of monuments that by
renovations directed Rafael
the architec
Herrero
Romero produced in 1884 y Herrerohis
to illustrate (dates unknow
father's
later,
text for Cordoba monumental y on 26 May may
artistica 1895, be
what might
regard
524
7'
]U~r lys^
r
jU <4&- tyl^C*- ffU^t<t y
Figure 11 Figure 12
RAFAEL ROMERO RAFAEL ROMERO
DE TORRES DE TORRES
Letter from Rome, Letter from Rome,

dated 15 August dated October
1889, with 1889, with
drawing of the drawing of ruins ^**"/ <?o /0L6c*^ ytAr&t&Siot H^ut^tn 4st*<^ A^t^l^^ ?,
Academia Espafiola (app. no. 5)
de Bellas Artes
Cordoba, Museo de
(app. no. 3) Bellas Artes
Cordoba, Museo de from Rafael Romero's drawing was used as an illus
Bellas Artes
tration to the article "La celosia" by Joaquin Alcaide
de Zafra, which appeared in the feature "Apuntes de
Roma" in ha Gran Via, a. Madrid-based magazine
that was published between 1893 and 1895.
The Imperial Fora of ancient Rome provided
other motifs of interest to the Cordoban master, and
the same section of Gran Via published Romero's
drawing of the Temple of Minerva in the Forum of
Nerva (app. no. 4; Fig. 13), which shows an elongat
ed, narrow plan, with the Temple of Minerva in one
of its ends. Although this emblematic building was
525
still over the door. These details appear in contem
porary works, such as a painting by Cesare Caroselli
(1847-1927), watercolors by Domenico Amici (b.
1808) and Alessandro Moschetti (dates unknown),
and an anonymous English drawing.27
The beautiful drawing of the Arch of the
Silversmiths that accompanies the letter to Rafael's
father and brothers (app. no. 6; Fig. 14), with its rich
vegetal and figurative ornamentation, shows the
arched gate incorporated in the seventh century ad
into the porch of the church of S. Giorgio in
Velabro. The arch was built in ad 204 in the Forum
Boarium, next to the area now called Bocca della
Verita, by the guild of silversmiths and cattle mer
chants in honor of Emperor Septimius Severus (reg.
ad 193-211), his wife, Julia Domna (ad 170-217),
and their sons, Caracalla (ad 188?217) and Publius
Septimus Geta (ad 189-211). Some of the images
with which it was decorated later suffered the conse
quences of the damnatio memoriae ordered by
Caracalla after he murdered his brother in 211.
tfcc^cU u/?V*~^ ^ f?^?_
' ^ >6*^: -7^*-+ ~7~~+ sCe^^. S^*^<?^-~ fZ%s-> ^~c-*-~-tT7 /&tJ^
inaugurated in AD 97 by Emperor Nerva (reg. AD

Figure 13 (above)
96-98), it was his predecessor, Domitian (reg. AD
RAFAEL ROMERO 81-96), who had decided to erect it to connect the
DE TORRES
fora of Caesar and Augustus with the Temple of
Letter from Rome,Peace. The Temple of Peace, situated to the south of
dated September the Subura district, in what is also known as the
1889, with
drawing of the
Transitional Forum, was built under Domitian's
Temple of father Vespasian (reg. AD 69-79). The relief statue in
Minerva in the
Romero's drawing represents the temple's goddess
Forum of Nerva
(app. no. 4)
Minerva, which was sculpted in the entablature that
is now part of the ruin of the peristyle. The artist
Cordoba, Museo de
Bellas Artes shows how the Temple of Minerva looked in the
late nineteenth century, when the sign FORNO was
526
Figure 15
RAFAEL ROMERO
DE TORRES
Letter from Rome,

dated November
1889, with detail
of Emperor Titus'
Triumphal Entrance
into Jerusalem on
the Arch of Titus
(app. no. 7)
Cordoba, Museo de
Bellas Artes
RAFAEL ROMERO
DE TORRES
Letter from Rome,

dated October
1889, with
drawing of the
Arch of the
Silversmiths
(app. no. 6)
Cordoba, Museo de
Bellas Artes
A similar descriptive minuteness characterizes This arch, commemorating the Sack of Jerusalem in
Romero's drawing of the carved relief panel repre AD 70, was built southeast of the Roman Forum
senting Emperor Titus' Triumphal Entrance into shortly after the death of Titus (reg. AD 79-81). The
Jerusalem on the Arch of Titus (app. no. 7; Fig. 15). panel on the opposite side of the inner arch shows a
527
triumphal procession of the Roman legions with
their spoils, including the seven-branched menorah
taken from the Temple of Jerusalem. Rafael must
have made the sketch on one of his Roman walks.
His exposure to the city's classical remains had a
decisive impact in his artistic development.
Most Spanish artists studying in Italy chose as the
subject of their paintings and drawings either popu
lar peasant types?ciocciari (Ciociarian folk), albanesi
(Albanians), and pifferari (traveling musicians)?or
rural scenes derived from the post-Romantic tradi
tion. Romero also embraced this trend, as can be
seen in his drawings of ciocciari and country folk in
letters written between February 1890 and January
1891, some of which are accompanied by sketches
inscribed with their Italian names. Thus we find a
Roman peasant woman ("Compagnola romana") and
a peasant youth {"Ragazino di campagna") on the last
letter (app. nos. 14-15; Figs. 9-10); a gypsy woman
wearing a shawl and holding playing cards (app. no.
10; Fig. 16); an elderly seated man (app. no. 8; Fig.
17); and a young Ciociarian ("Giovanotto ciocciaro";
Figure 16 Figure 17
^c
DE TORRES DE TORRES
Letter from Rome, Letter from Rome,

dated March 1890, dated January
with drawing of a 1890, with
Gypsy woman drawing of an
holding playing elderly seated man
cards (app. no. 10) (app. no. 8)
Cordoba, Museo de Cordoba, Museo de

Bellas Artes Bellas Artes
528
app. no. 13; Fig. 18)?all of them in the dress of the
folk seen in Rome and the surrounding countryside.
Among the popular types whose costumes and
headgear were accurately depicted in Rafael's letters
from Italy, the drawing of a sixteenth-century
Venetian Page ("Paggio veneziano del secolo XVI"\
app. no. 11; Fig. 20) is particularly interesting. The
source for this image may have been some published
Figure 18 (top left) Figure 19
illustration that the artist copied, but it is also possi
ble that he made an undocumented visit to Venice RAFAEL ROMERO RAFAEL ROMERO
DE TORRES DE TORRES
where he witnessed some event with figures dressed
in historical costume. Letter from Rome, Young Ciociarian
The Museo de Bellas Artes in Cordoba also dated February
Cordoba, Museo de
1890, with Bellas Artes
owns larger versions in charcoal of three of the fig drawing of a
ure studies in the Roman letters: the "Giovanotto young Ciociarian
ciocciaro" (Fig. 19),28 the "Paggio veneziano" (Fig. (app. no. 13)
21),29 and the Study of the Bust of a Man (Fig. 23),30 Cordoba, Museo de
Bellas Artes
which is related to a drawing on a letter dated
September 1890 (app. no. 12). It is not clear which
versions came first?whether the pen-and-ink draw
ings in the letters were records of full-scale studies
529
Figure 20 Figure 21
DE TORRES DE TORRES
Letter from Rome, Sixteenth-century

dated September Venetian Page
1890, with
Cordoba, Museo de
drawing of a
Bellas Artes
sixteenth-century
Venetian page
(app. no. 11)
Cordoba, Museo de
Bellas Artes
530
Figure 22 Figure 23
DE TORRES DE TORRES
Letter from Rome, Study of the Bust

dated September of a Man
1890, with
Cordoba, Museo de
drawing of the Bellas Artes
bust of a man
with a cape over
his shoulder
(app. no. 12)
Cordoba, Museo de
Bellas Aries
531
(academies) that Rafael made from live models in those reproduced in this article is rather unusual. As
the studio or whether the charcoal versions were we have seen, these sketches were produced either
worked up preparatory drawings made for some as preparatory studies for specific paintings or as a
other purpose. repertory of elements that became part of his cre
The answer perhaps lies in the fact that many of ative process. They show the same subjects found in
the drawings illustrating Romero's letters were pub the writings of nineteenth- and twentieth-century
lished in magazines, especially La Gran Via, includ artists in Rome who sought to share what they saw
ing the study of a seated elderly man (Fig. 17), the with their family and friends or to incorporate such
"Compagnola romana" (Fig. 9), the Gypsy woman motifs into their later works.
with playing cards (Fig. 16), the "Giovanotto cioccia A similar use of illustrated letters had been made
ro" (Fig. 18), the "Ragazzino di campagna" (Fig. 10), by Francisco de Goya (1746-1828), one of the
and the "Paggio veneziano del secolo XVF (Fig. 20), as greatest masters in the history of art, who left a vast
well as the Academia Espanola (Fig. 11), the Arch of number of drawings and a considerable correspon
the Silversmiths (Fig. 14), and the Arch of Titus (Fig. dence. Sometimes his letters were accompanied by
15). Although La Gran Via was based in Madrid, a drawings, as can be seen in those he sent to his friend
number of Cordoban artists were involved during Martin Zapater (1747-1803), now in the Museo
the three years of its production. The association Nacional del Prado, Madrid.31 Goya also used draw
with Cordoba became stronger under the director ings of hieroglyphs to refer to different aspects of his
ship of Salvador Rueda Santos (1857-1933). This life. For instance, after writing to Zapater about his
Malaga-born poet had strong links with Cordoba journey to Madrid and about the chickenpox from
through the writer Manuel Reina Montilla (1856 which one of his children was suffering, Goya drew
1905), who also contributed to the magazine, as did a heart on a head and a tiny figure representing him
Rafael's brother-in-law the writer Julio Pellicer Lopez self. Other examples of illustrated correspondence
(1872?1937) and the artists Tomas Munoz Lucena are found in the letters of Eugene Delacroix (1798?
(1860-1943) and the three Romero de Torres 1863) in the Louvre, Paris.32 They similarly reveal
brothers. Nine drawings from Rafael's Roman let interesting details of his life and his creative work.
ters appeared in different issues in 1895. In that of 6 But without question the artist who produced
January 1895, for instance, the drawings of the Arch the largest number of illustrated letters must be
of the Silversmiths, the Arch of Titus, the "Giovanot Vincent van Gogh.33 His letters to his brother Theo,
to ciocciaro," and the "Paggio veneziano del secolo XVI" with whom he shared his innermost thoughts and
were chosen to illustrate a number of poems by clas feelings, leading up to his tragic suicide, are well
sic and contemporary authors under the generic title known. A significant number of his letters are illus
"Recuerdos de Roma" ("Roman Memories"). The trated with scenes that he later used in his paintings
drawing of the Venetian page had already been pub on canvas. These sketches?in different techniques
lished two years earlier, in another Madrid-based and representing different subjects from landscapes
magazine called Cronica del Sport. The popularity of and portraits to genre scenes and the popular figure
these so-called "illustrated magazines" certainly con types that appear in his paintings?reveal not only
tributed to the diffusion of Romero's works and to his working methods, but also the need that he felt
a re-evaluation of the production of other late nine to communicate with his brother and to let him
teenth-century Spanish draftsmen like him. know what he was working on, the artists he met,
his personal situation, or the financial difficulties he
Illustrated letters: the wider context encountered. These are all topics that can be found
Rafael Romero's correspondence sheds light on in
the
Rafael Romero's letters to his family.
career and the everyday life of a young Cordoban,The letters written by Spanish painters active in
the two last decades of the nineteenth century are
who, like many other contemporary Spanish artists,
set his sights on Rome. There are numerous exam remarkably similar. Most were sent from Paris or
ples of letters to family and friends written by other since these were the two cities that attracted
Rome,
young artists, but the inclusion of drawings more
like Spaniards intending to further their studies,
532
whether they had a grant or not. For instance, the include sketches of his paintings and requests to
contents of thirty letters from the Cadiz-born Colinet to make suggestions for possible titles.
painter Salvador Viniegra (1862-1915), which were The combination of drawings, poetry, and news
acquired in 2007 by the Prado (of which he served for family and friends sometimes appears in the let
as deputy director and curator) closely resemble ters of one of Spain's greatest poets, Federico Garcia
those of Rafael Romero.34 Both painters were in Lorca (1898-1936). Several of his surviving letters
Rome at the same time, since Viniegra studied there are illustrated with sketches that share the freshness
in 1882 and 1890. Javier Baron has remarked that and spontaneity of his paintings and drawings. They
the letters Viniegra wrote to his father "provide us were addressed to colleagues and friends, such as
with an insider's knowledge, since the closeness ofMelchor Fernandez Almagro (1893-1966), to
family relations favors more freedom in the expres whom he sent a letter with drawings of Pierrot and
sion of opinions, of the knowledge of the circles in of other characters from the commedia delVarte, mir
which the painter lives and works while abroad, roring his collection of ballads El romancero gitano?1
[and] of the ambitions and the rivalries that most In his letter to the poet Jorge Guillen (1893-1984),
contemporary Spanish painters shared." The names dated 1927, Lorca drew a heart pierced with an
of artists Jose Villegas Cordero (1844-1921), Jose arrow and a bright crested cockerel with a speech
Benlliure y Gil (1855-1937), and Jose Moreno balloon coming from his beak.38 There are many
Carbonero (1858/60-1942) appear in letters written more examples of illustrated letters produced by
by both Romero de Torres and Viniegra. visual artists, writers, architects, etc., all providing a
Similarities can also be noted between Romero de dual account of personal feelings and creative ener
Torres's illustrated letters and those written and illus gy, but Lorca's drawings provide a perfect conclu
trated by the Valencian artists Francisco Domingo sion to this discussion of the dynamic interaction of
Marques (1845-1920) and Joaquin Sorolla (1863-1923) drawing and writing, or writing and drawing.
now preserved in the Museo de Cadiz.35 Domingo's
four letters were sent from Paris and Neuilfy in 1897 Fuensanta Garcia de la Torre is Director of the Museo de
and 1898. Two of them were addressed to his brother Bellas Artes, Cordoba.
Agustin, while his mother received two more letters
illustrated with studies of heads. Sorolla's letter, writ
ten from Rome in 1886, was addressed to Francisco author's note
Domingo and was illustrated with a drawing of a man The research for this article has been part of a broad
reading the newspaper in a cafe. er project on the life and the work of Rafael
This rich tradition continued in the correspon Romero de Torres undertaken in Cordoba, Madrid,
dence of some twentieth-century artists. In their and Rome. I extend my thanks to Enrique Panes,
creative process, and as Van Gogh pointed out, Director of the Real Academia de Espana in Rome,
drawing and writing become two parallel systems of as well as to Dr. Silvia Bottaro in Savona and Dr.
expression, communicating both the artists' feelings Laura Dolfi in Florence. Of my colleagues at the
and their visual surroundings in a single medium. In Museo de Bellas Artes, Cordoba, Jose Maria
June 2010, forty letters and postcards by Rene Palencia deserves special mention. The photographs
Magritte (1898-1967) were offered for auction in accompanying the article were made by Alvaro
New York.36 They were addressed to his friend and Holgado, Cordoba.
fellow countryman, the Surrealist poet Paul Colinet
(1898-1957). Besides revealing informatiton on editors' note
Magritte's personal tastes and interests, the letters Translated from the Spanish by Mercedes Ceron.
533
APPENDIX 3 Fig. 11
illustrated letters by rafael romero de Letter from Rome, dated 15 August 1889, with a draw
torres in the museo de bellas artes, cordoba
ing of the Academia Espanola de Bellas Artes
Inv. no. CE1161D.
Pen and black ink; 179 x 114 mm.
1 Fig. 6 Signed at lower left, below drawing, in black ink, R.
Letter from Madrid, dated 23 May 1887, with drawing Romero de Torres.
of an urban landscape Text of letter: Roma 15 de Agosto de 89. Mi muy

Inv. no. DJ0316D. querido padre: He recihido tu carta y veo por ella que todos
Pen and brown ink; 203 x 132 mm. estdis huenos que era lo que mas me interesaba por lo que
Inscribed (signed with monogram?) at lower right, me alegro mucho y doy gracias a Dios. Tambien veo con
in brown ink, RRT(?). placer de que Carlos, segun carta suya ha salido sin
Text of letter: Madrid 23 de mayo de 1887. novedad de Cavoverde y que dentro de muy pocos dias ten
Querida mama: he recibido tu carta y he sentido mucho dremos la noticia de que ha terminado su biaje sin novedad
que digas que no te quiero porque en mi anterior no habla tambien. Me aconsejas que trabaje mucho y que haga
ba nada de ti ni de Angelita. Ya debes comprender o mejor muchos apuntes y un ver..." ("Rome, 15 August 89.
di... ("Madrid, 23 May 1887. Dearest Mama: I My dearest Father: I have received your letter, in
received your letter and I am very sorry you write which I read that you are all fine, which was what I
that I do not love you because in my previous one I most wanted to know, so I am very pleased and I
did not mention either you or Angelita. You must thank God for it. I am also happy to read that,
understand, or better...") [would have continued on according to his letter, Carlos has left Cavoverde [sic]
another sheet, ending with the artist's signature]. without any incident and that we will soon have
news about the end of his hopefully uneventful jour
2 Fig. 7 ney. You suggest that I work hard and that I make
Letter from Madrid, dated 3 May 1888, with drawings of lots of sketches and a...") [would have continued on
genre scenes another sheet, ending with artist's signature].
Inv. no. DJ0317D. Lit.: Moreno Cuadro et al. 1997, p. 21.
Pen and dark brown ink; 205 x 133 mm. This drawing was published in the magazine La
Inscribed at lower left, in brown ink, Rafael.2,9 Gran Via, 100, 23 May 1895, [n.p.].
Text of letter: Madrid 3 de mayo de 1888. Mi muy
querido papa: He recibido tu carta fecha 2 delpresente y en 4 Fig. 13
ella he visto que estdis todos buenos, de lo que me alegro Letter from Rome, dated September 1889, with drawing
muchisimo. Yo, gracias a Dios, tambien lo estoy de lo que of the Temple of Minerva in the Forum of Nerva
no me alegro menos. Hemos estado hasta ahora mismo con Inv. no. CE1157D.
el frio al cuello, pero desde ayer se nos entro el calor por las Pen and dark brown ink; 176 x 114 mm.
puertas de tal modo que no es posible deck los litros de Signed below drawing, in dark brown ink, R.
sudor que emanamos de nuestros cuerpos. Todos tus encar Romero de Torres.
gos serdn hechos enseguida. Hasta muy pronto. Rafael Text of letter: Roma Sbre. 89. Querido papa: Ya
("Madrid, 3 May, 1888. My dearest Papa: I have habrds [paper effaced]...bido mi carta fecha 15 del corriente
received your letter dated on the 2nd of this month, con una especie de resena de los pintores amigos mios y que
in which I read that you are all fine, which makes hay por ahora en esta. Tambien he recihido una carta de
me very happy. I am also well, thank God, which mama, otras de Rosario, de Fernando, de Pepe Trigueros y
does not make me less happy. Until now we have por ultimo una de Eduardo acompanando a las de Carlos.
had very cold weather, but yesterday the tempera Dos motivos me impulsan a escribirte esta uno es que como
ture rose so high that heat kept coming into the estoy acostumbrado a no recibir mas cartas que las tuyas y este
houses and I cannot tell you how much we sweated. mes me han escrito todos menos tu creo y con fundamento, que
I will take care of all your commissions straight estas malo, porque si... ("Rome, September 89. Dear
away. Until soon, Rafael"). Papa: You must have [paper effaced]...ceived my let
534
ter of the 15th of this month, which contained a sort Text of letter: Roma Obre del 89. Querido padre y
of review of the painters who live here at present and hermanos: he recibido su carta y veo por ella que todos
whom I have befriended. I have also received letters estdis buenos y locos de contentos unos con su nieto y otros
from Mama, from Rosario, Fernando, Pepe con su sobrinillo, como me manda a decir la bailaora de
Trigueros, and, finally, one from Eduardo enclosed Angelita. He recibido tambien los retratos que me habeis
with those from Carlos. I have two reasons to write to mandado y ya que estdn aqui bien estdn, pero eran los otros
you now: one is that I am used to receiving letters only los que yo queria por que estos no parecen ninguno de mi
from you. Given that this month they have all written familia empezando por ti y concluyendo con la muneca, no
to me, I have reasons to believe that you must be ill, hay ninguno que deje de tener la cara de un patibulario,
because if..." [would have continued on another con los ojos encogidos y el color... ("Rome Oct 89. Dear
sheet, ending with artist's signature]. Father and brothers: I have received your letter and
Lit.: Moreno Cuadro et al. 1997, p. 23. I read that you are all fine and mad with joy because
This drawing was published in the magazine La of your grandson and little nephew, as Angelita the
Gran Via, 100, 23 May 1895, [n.p.]. dancer tells me. I have also received the portraits you
sent, and that is fine since they are here, but I meant
5 Fig. 12 the others, because in these there is no resemblance
Letter from Rome, dated October 1889, with drawing of to any of you, from yourself to the doll, you all look
ruins like prisoners, your eyes narrowed and the color..."
Inv. no. CE1160D. [would have continued on another sheet, ending
Pen and black ink; 177 x 114 mm. with artist's signature].
Signed at left, in black ink, R. Romero de Torres. Lit.: Moreno Cuadro et al. 1997, p. 25; Garcia de la
Text of letter: Roma Obre 89. Querido papa: He Torre 2009, pp. 100-101.
recibido tu carta y veo por ella que estdis todos buenos que This drawing was published in the magazine La
es lo principal y que todos se acorddis de mi tanto como yo Gran Via, 80, 6 January 1895, [n.p.].
/ de Vds. Me dices que te mande un apunte de la figura
del sacerdote para que Almenara le haga una / fotografia a 7 Fig. 15
lo que boy a decirte que a excepcion de la capilla, todo lo Letter from Rome, dated November 1889, with drawing
tengo ya, por que me lo han prestado unos una cosa y los of aEmperor Titus' Triumphal Entrance into Jerusalem"
otros otra. Lo unico que no encontraba era la capi... from the Arch of Titus
("Rome Oct 89. Dear Papa: I have received your Inv. no. CE1159D.
letter and I can see that you are all fine, which is the Pen and black ink; 118 x 114 mm.
main thing, and that you all remember me as much Signed at lower center, in black ink, R. Romero de
as I / remember you. You ask me for a drawing of Torres.
the figure of the priest so that it can be / pho Text of letter: Roma Nbre del 89. Querido papa: no
tographed by Almenara, and I tell you that I have te he contestado antes porque no he tenido tiempo de hac
everything already, apart from the chapel, because erte el dibujo, y no queria contestar con la carta en bianco,
some have lent me some things and others have lent despues de saber que te gusta que te mande estos mamar
me other things. The only thing I couldn't find was rachos. Pero debes haber comprendido que estoy muy bueno
the ch...") [would have continued on another sheet, y con muchos... ("Rome Nov 89. Dear Papa: I have
ending with artist's signature]. not replied sooner because I have not had the time
to make your drawing and I did not want to reply
6 Fig. 14 with a blank letter, since I know you like receiving
Letter from Rome, dated October 1889, with drawing of these scribbles. But you must have guessed that I am
the Arch of the Silversmiths fine and with many...") [would have continued on
Inv. no. CE1158D. another sheet, ending with artist's signature].
Pen and black ink on laid paper; 178 x 114 mm. Lit.: Moreno Cuadro et al. 1997, p. 27.
Signed below drawing, in black ink, R. Romero de This drawing was published in the magazine La
Torres. Gran Via, 80, 6 January 1895, [n.p.].
535
8 Fig. 17 up at the Circulo. The painting will be finished...")
Letter from Rome, dated January 1890, with drawing of [would have continued on another sheet, ending
an elderly seated man with artist's signature].
Inv. no. CE1150D. This drawing was published in the magazine La
Pen and dark brown ink; 178 x 113 mm. Gran Via, 95, 21 April 1895, [n.p.].
Signed below drawing, in dark brown ink, R.
Romero de Torres. 10 Fig. 16
Text of letter: Roma Enero 90. Querido papa: He Letter from Rome, dated March 1890, with drawing of
recibido tu carta y la mensualidad que no la pude cobrar Gypsy woman wearing a shawl and holding playing cards
hasta el dia 7 por haberla recibido el sdbado en hora en que Inv. no. CE1151D.
ya estaba cerrada la caja donde cobro y como el dia sigu Pen and black ink; 180 x 114 mm.
iente fue domingo y el inmediato el dia de Reyes. Tengo Signed at left, in black ink, R. Romero de Torres.
entendido que la exposicion venidera no sera como tu crees Text of letter: Roma. Marzo 90. Querido papa: he
[effaced] de poco mas o menos, pues casi todos los artistas recibido tu carta y por ella veo que estdis todos buenos de lo
italianos concurriran y muchos del Salon de Paris y firmas que me alegro muchxsimo. Me dices que no he acusado el
bien reputadas pero no obstante los espanoles residents / recibo a la carta en que me mandaste el dinero del mes
en Roma hacen todo lo que pueden para... ("Rome pasado por lo que supongo que estas trascordado pues en
January 90. Dear Papa: I have received your letter una cartolina que le mande a Mama o a Rosario, le decia
and the monthly allowance, which I could not cash 10 primero de todo que... ("March 90. Dear Papa: I
until the 7th, because it arrived after they closed the have received your letter in which I read that you are
bank on Saturday and the following day was Sunday, all fine, which makes me most happy. You tell me
and then Epiphany. I understand that the forthcom that I have not acknowledged receipt of the letter in
ing exhibition will not be as you imagine [effaced] which you sent last month's money, which makes me
of more or less, since almost all the Italian artists will think that you are becoming forgetful, since in a
take part, as well as many from the Paris Salon and postcard that I sent to either Mama or Rosario, I said
other well known names. Despite this, the Spaniards first of all that..." [would have continued on anoth
/ in Rome do their best to..." [would have contin er sheet, ending with artist's signature].
ued on another sheet, ending with artist's signature]. This drawing was published in the magazine La
This drawing was published in the magazine La Gran Via, 83, 27 January 1895, [n.p.].
Gran Via, 83, 27 January 1895, [n.p.].
11 Fig. 20
9 Fig. 8 Letter from Rome, dated September 1890, with drawing
Letter from Rome, dated February [1890?], with drawing of a sixteenth-century Venetian page
of a Roman peasant woman ("Compagnola romana ") Inv. no. CE1148D.
Inv. no. CE1152D. Pen and black ink; 210 x 133 mm.
Pen and dark brown ink; 180 x 114 mm. Inscribed and signed below drawing, in black ink,
Signed at left, in dark brown ink, R. Romero de Paggio veneziano del secolo XVI and R. Romero de Torres.
Torres. Text of letter: Roma sbre del 90. Querido papa: he
Text of letter: Romafebrero. Querido papa: No con recibido la tuya fecha [blank] del presente y puedes figu
cluyo la figura esta por que como me ha salido la cabeza rarte lo contento que estoy cuando he sabido que te ha gus
chica no tengo ganas de concluirla. Si antes no te he escrito tado mi cuadro como a todos los demds amigos. Hasta
ha sido por no tener apunte ninguno de mujer y he tenido ahora no me llegaba la camisa al cuerpo pues no podia fig
que esperar a que pongan esta en el circulo. El cuadro lo urar me la impresion que causaria en esa mi cuadro antes
termina... ("Rome February. Dear Papa: I cannot al contrario creia que no gustaria comparado con lo que por
finish this figure because I have made the head too esta se hace. Pero menos mal que no lo hanpitado [erased]
small, and hence I do not feel like finishing it. I have asi estoy mas tranquilo y contento. Cuando te respondia a
not written sooner because I did not have a sketch la carta en que me mandabas el dinero debiste comprender
of a woman and I had to wait until this one was put que tambien lo habta red... ("Rome Sept 90. Dear
536
Papa: I have received yours dated [blank] of this no a papa, para felicitarte por el dia de tu santo cuya felic
month and you can imagine how happy I am that itation hards extensiva a Abuelita y Rosario ahadiendoles
you and the other friends like my painting. I have que las quiero muchisimo y que mi unico deseo huhiera sido
felt so anxious, since I could not guess what impres poder estar entre Vds un dia como el 5 de este mes. No
sion my picture would cause there, on the contrary, puedes imaginarte el peso que se ha quitado de encima y la
I thought nobody would like it, in comparison with alegria tan grande que he experimentado cuando papa
what they paint there. But luckily they have not me... ("Rome October 90. Dear Mama: although
booed it [erased] so I am more at ease and happy. late, I address this [crossed out] and not to Papa, to
When I replied to the letter in which you sent the send my best wishes on the feast day of your saint.
money, you should have understood that I had also Please give them to Granny and to Rosario as well,
recei...") [would have continued on another sheet, adding that I love them very much and that my only
ending with artist's signature]. wish would have been to join you all on a day such
This drawing was published in the magazine as the 5th of this month. You cannot imagine how
Cronica del Sport, 24 December 1893, [n.p.], and in relieved and happy I was when Papa...") [would
La Gran Via, 80, 6 January 1895, [n.p.]. have continued on another sheet, ending with
artist's signature].
12 Fig. 22 This drawing was published in the magazine La
Letter from Rome, dated September 1890, with drawing Gran Via, 80, 6 January 1895, [n.p.].
of the bust of a man
Inv. no. CE1142D. 14 Fig. 9
Pen and black ink; 210 x 134 mm. Letter from Rome, dated [January] 1891, with drawing
Signed below drawing, in black ink, R. Romero de of a Roman peasant woman (<(Compagnola romana")
Torres. Inv. no. CE1143D.
Text of letter: Roma, Sbre del 90. Mi muy querido Pen and black ink; 207 x 132 mm.
papa: he recibido tu ultima junta a una de Carlos en las Signed and inscribed below drawing, in black ink,
que veo que tanto tu [crossed out] Vds, como el estdn R. Romero de Torres and Compagnola romana.
buenos y contentos. Ayer escribi una cartolina postal porque Text of letter: Roma del ano 1891. Querido papa:
estaba intranquilo por tu tardanza en escribirme, pues hoy por fin te escriho una carta ilustrada despues de tanto
desde el 27 del mes de Julio hasta hoy (2 de agosto) no he tiempo y te contesto despacio a lo que en las tuyas anteri
tenido noticias de... ("Rome, Sept 90. My dearest ores me decias y te doy pormenores de lo que en este ulti
Papa: your latest letter has arrived together with one mo mes del ano noventa, he hecho. El no escrihirte antes
from Carlos in which I read that you [crossed out] (con dihujos se entiende) ha sido por no tener salud, tinta,
both, as well and he, are well and happy. Yesterday pluma ni modelo ni por donde me viniera. Hoy que ya
I sent a postcard because your delay in writing was estoy completamente hueno, si hien todavia un poquito
worrying me, since after the 27th of July and until [illegible], que ya he continuado iendo al Circulo y que
today (2nd of August) I have not heard from...") ya he empezado mi trabajo en el estudio de mi amigo
[would have continued on another sheet, ending Cuervo con mas contentezza de dnimo te escribo con
with artist's signature]. [crossed out] una carta ilustrada por los dos lados para de
esta manera desquitarme de las que te... ("Dear Papa:
13 Fig. 18 today I am finally sending an illustrated letter, after
Letter from Rome, dated October 1890, with drawing of so long, and I reply in detail to what you wrote in
a young Ciociarian (aGiovanotto ciociaro>>) your previous letters and I give you details of what I
Inv. no. CE1149D. have been doing this last month of the year 1890.
Pen and black ink; 210 x 133 mm. The reason why I have not written sooner (I mean
Signed and inscribed at lower right, in black ink, R. with drawings) is because I did not have the health,
Romero de Torres and Giovanotto ciociaro. the ink, the pen, or the model, nor even hopes of
Text of letter: Roma Octubre del 90. Querida getting them. Today I feel completely recovered,
mama: aunque con retraso te dirijo esta, [crossed out] y although still a bit [illegible], but I have continued to
537
attend the Circulo and I have started to work in the been the worst year so far, but even worse is yet to
studio of my friend Cuervo, so I am more content come. Suffice it to say that Villegas has not sold a
and I write to you with [crossed out] a letter illus single painting, and neither have Padilla, the
trated on both sides, to make amends for those I...") Benlliures, or even those of the highest fame and
[continues on another sheet (app. no. 15), but reputation. Before, we still had America as a last
remains incomplete due to one or more missing resort, since even if there was always the risk of the
sheets that would have ended with artist's signature]. paintings getting lost en route, when they arrived
they were surely sold, whether for a lot or for a lit
15 Fig. 10 tle. This year, however, instead of selling them, the
Continuation of letter from Rome [January 1891] with agent has returned to Rome loaded with the unsold
drawing of a peasant youth (uRagazino di campagna ") paintings and almost broke. Nothing is getting sold
Inv. no. CE1144D. in either Paris or London, and the same happens in
Pen and black ink; 206 x 132 mm. other markets. This is getting worse and worse, and
Signed and inscribed in black ink: at left, R. Romero as Enrique is now still of an age to search for a future
de Torres; and below, Ragazino di campagna. in a different profession and to consider painting as
Text of letter: ...he mandado antes mis dibujos. a pastime, or not at all, that is best. On an unrelated
Hace muchos dias que te queria escribir despacio y aprove subject, I must say that I am very well and very
cho esta ocasionpara decirte lo que antes no te he dicho. Me happy although, as you can imagine, penniless and
decias en una de tus cartas que Enrique queria ir a Madrid unable to smoke. My hearing is improving and I
entusiasmado por veinte duros que habia recibido de un hope...") [continuation of the previous letter (app.
retrato, con todas las intenciones al parecer de querer seguir no. 14) and would have continued on another sheet,
la pintura. Quitaselo de la cabeza como a todos los demds or sheets, ending with artist's signature].
que como el quieran dedicarse a pintor. Cada vez esta peor This drawing was published in the magazine La
la pintura y este ano ha sido el peor y amenazan los demds Gran Via, 83, 27 January 1895, [n.p.].
ser aun mas malos. Baste decir que Villegas no ha vendi
do ni un cuadro, ni Pradilla ni los Benlliures nadie ni los
BIBLIOGRAPHY
que mas fama y reputacion tienen. Quedaba el recurso de caja de burgos 2006. Fuensanta Garcia de la Torre, Dibujar
la America que si bien se exponian a perder las obras por la mirada: Fondos del Museo de Bellas Artes de Cordoba, exh.
esos mares, vien o mal el cuadro que llegaba ayi se vendia cat., Caja de Burgos, Casa del Cordon, 2006, pp. 54-55.
por mucho o por poco, pues este ano en vez de benderse ha c6rdoba 1995. Jose Maria Palencia Cerezo et al, Rafael
llegado a Roma el encargado de las ventas cargado de Romero Barros (1832-1895), exh. cat., Cordoba, Museo
Diocesano de Bellas Artes, 1995.
cuadros y casi arruinado. En Paris y Londres no se vende
nada y asi los demds mercados. Esto esta cada dia peor y cordoba and elsewhere 1997-98. Fuensanta Garcia de la
si Enrique ahora que tiene edad y lugar debe buscar en otra Torre, Dibujos del Museo de Bellas Artes de Cordoba, exh. cat.,
Cordoba, Museo de Bellas Artes, Seville, Museo de Bellas
cosa un porvenir y dejar la pintura para pasatiempo o para
Artes, and Granada, Museo de Bellas Artes, 1997-98.
nada, que es lo mejor. Pasando a otra cosa, tengo que
decirte que estoy muy bien y muy contento aunque como cuenca 1923. Francisco Cuenca, Museo de pintores y escultores
andaluces contempordneos, Havana, 1923; facs. edn.,
debes suponer sin un cuarto y sin fumar. Cada dia oigo
Malaga, 1996.
mucho mejor y espero... ("... I have sent my drawings
before. For a while I have wanted to write to you garcia de la torre 1990. Fuensanta Garcia de la Torre,
"Rafael Romero de Torres," El Pregonero, 85, 1990, pp.
with more time, and now I take this opportunity to 21-22.
tell you what I have not said before. You wrote in
garcia de la torre 1991. Fuensanta Garcia de la Torre,
one of your letters that Enrique wishes to go to
Coleccion Romero de Torres, Cuadernos de Intervencion en
Madrid to study painting, encouraged by the twen
el Patrimonio Historico, 4, Cordoba, 1991.
ty duros that he has been paid for a portrait. Please
Garcia de la torre 1996. Fuensanta Garcia de la Torre,
take that out of his mind, and the same applies to
"Evolucion hacia el triunfo de un pintor," in Julio Romero
anyone wanting to become a painter, as he does. de Torres, exh. cat., Barcelona, Fundacio Caixa de
Painting is getting worse and worse and this has Catalunya, 1996, pp. 12-33.
538
garcia de la torre 2008. Fuensanta Garcia de la Torre, ZUERAS TORRENS AND VALVERDE CANDR 1984. Francisco
Julio Romero de Torres, pintor (1874-1930), Madrid, 2008. Zueras Torrens and Mercedes Valverde Candil, "Rafael
Romero de Torres," in Mercedes Valverde Candil, ed.,
garcia de la torre 2009. Fuensanta Garcia de la Torre,
Un sigh de pintura cordobesa, 1791-1891, exh. cat.,
"Pasado, presente y futuro de una coleccion: Los dibujos
Cordoba, Iglesia de la Merced, 1984, [n.p.].
del Museo de Bellas Artes de Cordoba," in Ars Delineandi
o el arte de dibujar: Una aproximacion a las colecciones de dibu
jo de los museos andaluces, exh. cat., Granada, Museo de
BeUas Artes, 2009, pp. 61-103.
NOTES
gonzalez and mart! 1987. Carlos Gonzalez and Montse
Marti, Pintores espanoles en Roma, 1850-1900, Barcelona, 1. Our knowledge of Rafael Romero is at present limited.
1987. The most accurate and comprehensive references to him
are those supplied by Enrique Redel, Ricardo de Montis,
martin martin 1986. Fernando Martin Martin, "Pintura
Mercedes Mudarra, and this author.
contemporanea en Cordoba," in Cordoba y su provincia, 4
vols., Seville, 1986, vol. 3, pp. 391-411. 2. A photograph inscribed Escuela Especial de Pintura,
Escultura y Grabado. Real Academia de San Fernando,
montis y romero 1911. Ricardo de Montis y Romero,
Madrid, Clase de colorido y composition. Curso de 1884 a
"Rafael Romero de Torres," in Notas cordobesas, 7 vols.,
1885, preserved in the Romero de Torres Collection in
Cordoba, 1911-26; facs. edn., Cordoba, 1989, vol. 1, pp.
the Museo de Bellas Artes, Cordoba, shows a group of
276-82.
twenty-nine pupils (with their names), including Rafael
moreno cuadro et al. 1997. Fernando Moreno Cuadro, Romero de Torres, studying under Dr. D. Dioscoro
Mercedes Mudarra Barrero, and Miguel C. Clementson Teofilo de la Puebla, who also appears in the photograph.
Lope, Becas y premios: Patrimonio Historico de la Diputacion 3. Rafael Romero de Torres's name was not found in the
de Cordoba, Cordoba, 1997.
lists of pupils during an initial examination of the acade
mudarra barrero 1996. Mercedes Mudarra Barrero, Rafael my's archive in 1998, nor after a more recent investiga
Romero Barros (1832-1895): Vida y obra, Cordoba, 1996. tion made possible thanks to the assistance of Margarita
Alonso, librarian at the Academia Espanola de Bellas
pantorba 1948. Bernardino de Pantorba, Historia y critica de
Artes, Rome.
las exposiciones nacionales, Madrid, 1948 (rev. edn.,
Madrid, 1980). 4. I am grateful to Maria Soto Cano, a Spanish researcher
currently working in Rome, for the references concern
quesada 1989. Luis Quesada, Pintores andaluces de la Escuela de
ing the Associazione Artistica Internazionale, as well as
Roma, 1870-1900, Sevilla, 1989.
her help in the archives of the Academia Espanola.
redel 1898. Enrique Redel, "Necrologia del pintor cordobes
5. See Montis y Romero 1911, pp. 277-78.
D. Rafael Romero de Torres," Cordoba, 4 August 1898.
6. See Redel 1898. It is remarkable just how few docu
-1901. Enrique Redel, San Rafael en Cordoba, Cordoba,
ments and photographs of Rafael survive in the sizable
1901; facs. edn., Cordoba, 1996, pp. 313-14.
archive that the Romero de Torres family gathered over
romero barros 1884 (ed. mudarra barrero 1991). time, which, by contrast, contains a vast amount of infor
Rafael Romero Barros, Cordoba monumental y artistica mation about other members of the family. Two possible
(Cordoba, 1884); intro. and facs. edn. by Mercedes explanations arise: the artist may have returned to
Mudarra Barrero, Cordoba, 1991, pp. 11-63. Cordoba with nothing but the sadness of the personal and
professional circumstances that marked his last years in
rosa 1931. Antonio de la Rosa, "Retablo de expensionados,
Madrid, or the documents concerning his career were
pensionados y aspirantes a pension por la Diputacion
either deliberately or accidentally destroyed.
Provincial. Rafael Romero de Torres," La Voz: Diario
republicano, 26 September 1931. 7. Oil on canvas; dimensions unknown.
sacchi lodispoto 2002. Teresa Sacchi Lodispoto, "Appunti 8. Oil on canvas; dimensions unknown.
su artisti, spazi espositivi e associazioni a Roma tra
9. Inv. no. DJ021P (oil on canvas; 84 x 62 cm).
Cinquecento e Ottocento," in Sandro Polci, ed., Roma in
mostra: Sedi e modi di una nuova cultura espositiva, Rome, 10. Oil on canvas; 206 x 152 cm.
2002, pp. 91-107.
11. Inv. no. DO0005P (oil on canvas; 318 x 210 cm).
valverde candil and piriz salgado 1989. Mercedes
12. Oil on canvas; 352 x 275 cm.
Valverde Candil and Ana Maria Piriz Salgado, Catdlogo
del Museo Julio Romero de Torres, 2nd edn., Cordoba, 1989. 13. Oil on canvas; 310 x 221 cm.
539
14. Oil and tempera on canvas; 100 x 80 cm. 28. Inv. no. CE1139D. Charcoal; 375 x 250 mm.
15. See Redel 1901, pp. 313-14. 29. Inv. no. CE1153D. Charcoal; 373 x 250 mm.
16. Oil on canvas; dimensions unknown. 30. Inv. no. CE1162D. Charcoal; 371 x 252 mm.
17. Inv. nos. DJ0240P (oil on canvas; 43 x 29 cm), possibly 31. See Mercedes Agueda and Xavier de Salas, eds., Francisco
a portrait of the painter's daughter, Julia Romero de de Goya: Cartas a Martin Zapater, Madrid, 1982; Guy
Torres Alcayde, and DJ0241P (oil on canvas; 83 x 62 Mercadier, "El dibujo en las cartas de Goya a Martin
cm). Zapater: De la ilustracion humoristica al codigo confiden
cial," in Actas del I Symposium del Seminario de la Ilustracion
18. Cordoba, Museo de Bellas Artes, inv. no. CE1155D.
Aragonesa, Zaragoza, 1987, pp. 145-67; and Artur Anson
Charcoal; 380 x 249 mm.
Navarro, "Revision critica de las cartas enviadas por Goya
19. Inv. nos. DJ0265D-DJ0285D and DJ0375D. All in pen a su amigo Martin Zapater," Boletin del Museo e Instituto
cil; 235 x 320 mm. Camon Aznar, Zaragoza, 1995, pp. 247-91.
20. Cordoba, Museo de Bellas Artes, inv. no. DJ0309D. 32. See Philippe Burty, ed., Lettres de Eugene Delacroix (1815
Pencil; 325 x 175 mm. d 1863), Paris, 1878; Etienne Moreau-Nelaton, Delacroix,
racontepar lui-meme: Etude biographique d'apres ses letters, son
21. See Rosa 1931. The letters were written on folio-sized,
journal, etc, 2 vols., Paris, 1916; and Lee Johnson and
folded sheets of paper from a cuadernillo ("notebook").
Michele Hannoosh, Nouvelles lettres: Eugene Delacroix,
These folded sheets were cut in half by a member of the
Bordeaux, 2000.
Romero de Torres family to make the letters thinner for
the purposes of their exhibition in the Museo de Bellas 33. See Vincent van Gogh, The Letters: The Complete
Artes in Cordoba. For further information, see Garcia de Illustrated and Annotated Edition, ed. by Leo Jansen et al, 6
la Torre 1997. vols., London, 2009; Painted with Words: Vincent van
Gogh's Letters to Emile Bernard, exh. cat., New York,
22. The poor state of the letters was such that they had to be
conserved at the Instituto del Patrimonio Cultural Morgan Library & Museum, 2007-8; and Ann Dumas et
al., The Real Van Gogh: The Artist and His Letters, exh.
Espanol in the 1990s.
cat., London, Royal Academy of Arts, 2010.
23. A few chronological errors may be noticed in this corre
34. See Javier Baron: "Epistolario manuscrito (130 cartas), de
spondence, as is the case in the letter with a drawing of
Salvador Viniegra," in www.museodelprado.es/coleccion/
the bust of a man (app. no. 12), which is dated in
nuevas-adquisiciones/2001.
September, despite his reference to "today, the 2nd of
August"; the correct date must be the 2nd of September, 35. The illustrated letters by Francisco Domingo are inv. nos.
since he writes that he is surprised not to have heard from 548, 550, 551, and 589. All pen and brown ink; 170 x
his family since the 27th of July. 120 mm, 170 x 120 mm, 180 x 110 mm, and 180 x 240
mm, respectively. That by Joaquin Sorolla is inv. no. 587.
24. This reference to Carlos's departure from Caboverde is
Also pen and brown ink; 180 x 110 mm. See Isabel
particularly interesting, since there is not much informa
Claver Cabrero, Museo de Cadiz. Coleccion de dibujos y
tion about his journey to America. We know that he was
gouaches: Inventarios y catdlogos-2. Consejeria de Cultura y
a sculptor and that he helped his father in the museum
Medio Ambiente, Cadiz, 1992. I am grateful to Juan
until he left Spain. He later became the co-director of the
Alonso de la Sierra, Director of the Museo de Cadiz, and
Liceo Louis-Le-Grand in Buenos Aires, after which there
his colleague, Ma Dolores Lopez de la Orden, technical
is no more information on either his professional or his advisor for conservation and curatorial research for allow
personal life. According to the family tradition, Angelita
ing me to study these drawings.
kept writing letters on his behalf, pretending that her
brother had sent them from Argentina, so that their 36. Sale, New York, Sotheby's, 6 June 2010, all part of lot
mother would not worry about this lack of news from 54, some repr. (in color).
the third of her eight children.
37. Sale, London, Christie's, 3 July 2007, lot 61, repr. (in
25. See Redel 1898, [n.p.]. color).
26. See Antonio Jesus Gonzalez Perez, La Mezquita de plata: 38. See Christopher Mauer and Andrew A. Anderson, eds.,
Un siglo de fotografos y fotografias de Cordoba, 1840-1939, Federico Garcia Lorca: Epistolario completo, Madrid, 1997.
Cordoba, 2007, pp. 223-24.
39. This is the only letter that is signed and the only drawing
27. References to these works may be found on the websites that is unsigned.
www.ottocento.it and www.fig.es.
540

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Drawing and Writing: Illustrated Letters by Rafael Romero de Torres (1865–1898)

Author(s): Fuensanta García de la Torre

FUENSANTA GARCIA DE LA TORRE

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Letter from Rome,

Letter from Rome,

Letter from Rome, Letter from Rome,

Cordoba, Museo de Cordoba, Museo de

Letter from Rome, Sixteenth-century

Letter from Rome, Study of the Bust

of an urban landscape Text of letter: Roma 15 de Agosto de 89. Mi muy

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