Josep Tapiró i Baró stands as a significant, if sometimes overlooked, figure in the rich tapestry of 19th-century European art. A Catalan painter hailing from Spain, Tapiró carved a unique niche for himself, becoming renowned for his exquisitely detailed watercolor portraits and scenes depicting the people and culture of North Africa, particularly Tangier in Morocco. His work not only showcases remarkable technical skill but also serves as a vital visual record of a society undergoing profound transformation during the colonial era. Unlike some of his contemporaries who merely flirted with Orientalist themes, Tapiró immersed himself in his chosen environment, making Tangier his home for nearly four decades and producing a body of work that offers a nuanced and deeply humanistic perspective on its inhabitants.
Early Life and Artistic Formation in Catalonia
Born in Reus, Catalonia, in 1836, Josep Tapiró i Baró (often his first name is Hispanicized to José) demonstrated an early aptitude for art. His formative years were spent in a region with a burgeoning artistic scene. In 1849, he began his formal artistic training, a period that would lay the groundwork for his meticulous technique. He initially studied at the art school in his hometown before moving to Barcelona to attend the prestigious Escola de la Llotja (the Llotja School of Fine Arts).
At the Escola de la Llotja, Tapiró studied under Claudi Lorenzale i Sugrañes, a prominent painter and a key figure in the Catalan Romantic movement. Lorenzale was deeply influenced by the German Nazarene movement, which emphasized Christian piety, a return to the artistic principles of the early Italian Renaissance (particularly Raphael and Perugino), and a clear, linear style. While Tapiró's later work would diverge significantly in subject matter, the emphasis on precise draughtsmanship and careful composition absorbed from Lorenzale likely contributed to the clarity and detail that would characterize his mature style.
A pivotal relationship formed during these early years was his friendship with Marià Fortuny i Marsal (Mariano Fortuny). Born just two years after Tapiró, also in Reus, Fortuny would become one of Spain's most internationally acclaimed artists of the 19th century. The two young artists shared a common ambition and a passion for their craft. In 1853, their talents were recognized when they were given the opportunity to exhibit their work at the Club de Casas de Reus, an early affirmation of their potential. This shared journey of artistic development forged a strong bond between them, one that would later lead Tapiró to the land that would define his career.
The Roman Sojourn and the Allure of the Orient
Like many aspiring artists of his generation, Tapiró sought to further his education and broaden his horizons by traveling to Italy. Rome, with its classical ruins and Renaissance masterpieces, was the ultimate finishing school. During his time in Rome, Tapiró continued to hone his skills and expand his artistic network. He encountered other Spanish artists, such as Tomás Moragas i Torras, who, like Fortuny, would also explore Orientalist themes, and possibly Joaquín Agrasot, another Valencian painter who spent time in Italy and later painted North African subjects.
It was during this period, and largely through his association with Fortuny, that the allure of North Africa began to take hold. Fortuny had first traveled to Morocco in 1860 as a war artist, commissioned by the Barcelona Provincial Council to document the Hispano-Moroccan War. The experience was transformative for Fortuny. He was captivated by the vibrant colors, the exotic costumes, the intense light, and the different way of life. His sketches and paintings from this period, such as "The Battle of Tetuan," though a grand historical composition, were imbued with a new dynamism and luminosity.
Fortuny's enthusiasm for Morocco was infectious. He made subsequent trips, and in 1871, he invited Tapiró to accompany him to Tangier. This journey marked a crucial turning point in Tapiró's life and artistic direction. While Fortuny's engagement with Morocco was intense but intermittent, for Tapiró, it would become a lifelong commitment.
Tangier: A New Home, A New Muse
Tangier in the latter half of the 19th century was a city of extraordinary contrasts and a unique geopolitical status. It was a melting pot of cultures – Moroccan, European, Jewish – and a hub of international intrigue, trade, and, as some contemporary accounts suggest, a degree of lawlessness that gave it a "city of sin" reputation. However, it was also a place of immense artistic inspiration, attracting writers and artists drawn to its perceived exoticism and the vibrant street life. Artists like the French master Eugène Delacroix had visited decades earlier, in 1832, producing seminal works that helped ignite the Orientalist fascination across Europe. Later, figures like Henri Matisse would also find inspiration in Tangier.
For Tapiró, Tangier was more than just a source of exotic subjects; it became his home. In 1876, following the tragic early death of his friend Fortuny in 1874, Tapiró made the decisive move to settle permanently in Tangier. He was one of the first Spanish artists to establish long-term residency in the city, and he remained there until his death in 1913. This deep immersion allowed him to develop an intimate understanding of the local culture far beyond that of a passing visitor.
His life in Tangier was dedicated to his art. He set up a studio and began meticulously documenting the people around him. His approach was often described as almost ethnographic, a careful observation and recording of customs, attire, and individual personalities. This contrasted with some Orientalist painters who often relied on fantasy or staged studio scenes. Tapiró's work, while still viewed through a European lens, carried an air of authenticity and direct observation.
Artistic Style: The Mastery of Watercolor
Josep Tapiró i Baró is best known for his mastery of watercolor. While he also worked in oils, it was in watercolor that his distinctive talent truly shone. He developed a highly refined technique characterized by meticulous detail, a rich but controlled palette, and an ability to capture the textures of fabrics, the sheen of metalwork, and the nuances of human expression with remarkable precision.
His watercolors are not loose, impressionistic washes; rather, they are built up with careful layers and fine brushwork, achieving a depth and luminosity often associated with oil painting. This technical virtuosity allowed him to render the intricate patterns of Moroccan textiles, the elaborate details of Berber jewelry, and the subtle gradations of skin tone with astonishing realism. This dedication to detail aligns with the broader Realist tendencies in 19th-century art, but applied to subjects that were, for his European audience, decidedly exotic.
His compositions are typically focused and uncluttered, often centering on a single figure or a small group. This allows the viewer to engage directly with the subject, emphasizing their individuality and dignity. The backgrounds are often simple, ensuring that the human element remains paramount. This approach distinguishes him from artists like Jean-Léon Gérôme, whose Orientalist scenes were often grander, more narrative, and sometimes more theatrical.
Key Themes and Subjects in Tapiró's Oeuvre
Tapiró's body of work in Tangier revolved around several key themes, all drawn from his direct observation of Moroccan life.
Portraits of Indigenous Peoples: This is perhaps the most significant aspect of his work. He painted numerous portraits of the diverse inhabitants of Tangier and the surrounding regions – Arabs, Berbers, men, women, and children. These are not generic "types" but individualized portrayals that convey a sense of personality and presence. He seemed particularly interested in capturing the character etched into the faces of older individuals and the solemn dignity of traditional figures. These portraits stand in contrast to the often-sensationalized or overly romanticized depictions of North Africans by some of his contemporaries.
Traditional Attire and Adornment: Tapiró had a keen eye for the richness and variety of Moroccan clothing and jewelry. His paintings meticulously document traditional djellabas, haiks, kaftans, and the intricate silverwork of Berber necklaces, bracelets, and fibulae. These elements were not mere decorative additions but integral parts of the cultural identity he sought to portray. His detailed rendering of these items provides invaluable historical information about the material culture of the time.
Religious Ceremonies and Cultural Practices: Tapiró also depicted scenes of religious life and cultural rituals. These might include portrayals of religious scholars, scenes related to Islamic festivals, or depictions of musicians and dancers. Works like "The Snake Charmers" (Encantadores de Serpientes) capture a specific cultural performance, rendered with his characteristic attention to detail and a sense of focused observation.
Documenting a Changing World: Implicit in Tapiró's work is the documentation of a culture undergoing change due to increasing European colonial influence. While his paintings often focus on traditional aspects of Moroccan life, they were created during a period of significant political and social upheaval. His commitment to recording these traditions can be seen as an attempt to preserve a visual record of a way of life that was gradually being altered. His work, therefore, serves as an important historical document, reflecting the European interest in, and impact on, North African societies during the colonial era.
Representative Works
Several works stand out as emblematic of Tapiró's style and thematic concerns:
"A Tangerian Beauty" (La Belleza de Tánger, circa 1881): This is one of his most famous works. It depicts a young woman in traditional attire, her gaze direct and engaging. The painting showcases Tapiró's skill in rendering the textures of her clothing, the intricate details of her jewelry, and the subtle modeling of her features. The work conveys a sense of quiet dignity and individual presence.
"Parache, the Dancer" (Parache, la Bailarina): This work captures the energy and costume of a traditional dancer. Tapiró's attention to the specifics of the attire and the pose of the dancer provides a vivid glimpse into Moroccan performance traditions.
"A Moroccan Bride" (Novia Marroquí): Depictions of brides in their ceremonial attire were a recurring theme. These paintings allowed Tapiró to showcase the richness of wedding costumes and the cultural significance of marriage rituals. The detail in the fabrics, headdresses, and jewelry is typically exquisite.
Portraits of Notable Figures or "Types": Many of his works are titled simply with the subject's role or origin, such as "Sidi Ahmed Ben-el-Hadji," "A Moorish Chief," or "Berber Man." These portraits are characterized by their psychological insight and the artist's ability to convey the subject's character through their expression and bearing.
These works, and many others like them, were exhibited in Europe and helped shape the European perception of Morocco. They were admired for their technical brilliance and the perceived authenticity of their depictions.
Contemporaries, Influences, and the Wider World of Orientalism
Tapiró's work must be understood within the broader context of 19th-century Orientalism, a widespread artistic and cultural phenomenon in Europe. This fascination with the "Orient" – a term then used to describe North Africa, the Middle East, and sometimes parts of Asia – was fueled by colonial expansion, travel literature, and a romantic desire for the exotic and the picturesque.
Direct Connections:
Marià Fortuny i Marsal: As mentioned, Fortuny was a pivotal figure. His vibrant, light-filled depictions of Moroccan scenes, such as "Arab Fantasia" or "The Carpet Seller," set a high bar for technical brilliance and influenced a generation of Spanish painters, including Tapiró. Fortuny's style, often termed "Fortunysmo," was characterized by its dazzling brushwork and rich color.
Claudi Lorenzale i Sugrañes: His early teacher, whose Nazarene-influenced emphasis on line and clarity, likely provided a foundational discipline.
Spanish Orientalists: Tapiró was part of a significant group of Spanish artists who engaged with North African themes.
Francisco Lameyer y Berenguer: A contemporary who also traveled to Morocco and depicted its life and landscapes, sometimes with a more romantic or anecdotal approach.
Antonio Muñoz Degrain: Known for his more dramatic and colorful interpretations of Orientalist subjects, often with a focus on historical or biblical narratives set in the East.
Mariano Bertuchi: A later artist who, like Tapiró, spent much of his life in Morocco (Tetouan) and became known as "the painter of Morocco," focusing on everyday life and landscapes.
Joaquín Agrasot: A Valencian painter who, though known for genre scenes, also produced some notable Orientalist works.
International Orientalists: The Orientalist movement was pan-European.
Eugène Delacroix (French): His 1832 trip to Morocco and Algeria revolutionized Orientalist painting, introducing a new level of dynamism, color, and romanticism with works like "Women of Algiers in their Apartment."
Jean-Léon Gérôme (French): A highly successful academic painter whose meticulously detailed and often dramatic scenes of the Middle East and North Africa (e.g., "The Snake Charmer," "The Carpet Merchant") were immensely popular, though sometimes criticized for their ethnographic inaccuracies or sensationalism.
Eugène Fromentin (French): Both a writer and a painter, Fromentin produced sensitive depictions of Algerian life and landscapes, often focusing on equestrian scenes.
John Frederick Lewis (British): Lived in Cairo for a decade and became renowned for his incredibly detailed watercolors and oil paintings of Egyptian domestic interiors and street scenes, such as "The Midday Meal, Cairo."
David Roberts (British): Famous for his topographical views and architectural renderings of Egypt and the Holy Land, his lithographs widely disseminated images of these regions.
Alberto Pasini (Italian): Traveled extensively in the Ottoman Empire and Persia, known for his detailed and atmospheric depictions of street scenes, markets, and caravans.
While Tapiró shared the Orientalist interest in exotic subject matter with these artists, his long-term residency and focus on individual portraiture in watercolor gave his work a distinct character, often perceived as more intimate and less theatrical than some of his contemporaries.
The Complexities of Orientalism and Tapiró's Position
It is important to acknowledge the complex and often problematic nature of Orientalism. As articulated by scholars like Edward Said, Orientalism was frequently intertwined with colonial power structures, often presenting the "Orient" as static, sensual, or inferior, thereby justifying European imperial ambitions. Many Orientalist works catered to Western fantasies and stereotypes.
Tapiró's work, however, tends to be viewed with more nuance. His long-term commitment to living in Tangier and his focus on individual dignity suggest a deeper engagement than that of a mere tourist painter. While his perspective was inevitably that of a European outsider, his portraits often convey a sense of respect and empathy for his subjects. He largely avoided the overtly sexualized or violent tropes common in some Orientalist art. Instead, his "scientific" or ethnographic approach, while still framing his subjects through a particular lens, aimed at a faithful representation of what he observed. His art can be seen as a valuable, if partial, window into Moroccan society at a specific historical juncture, capturing aspects of its cultural richness before the full weight of colonial transformation took hold.
Legacy and Historical Impact
Josep Tapiró i Baró's legacy is that of a dedicated and highly skilled artist who created a unique and valuable body of work. His watercolors are prized for their technical mastery and their sensitive portrayal of Moroccan life. He holds a significant place in the history of Spanish art and is a key figure in the more nuanced and observational wing of the Orientalist movement.
His paintings serve as important historical documents, offering insights into the material culture, customs, and individual appearances of Moroccans in Tangier during the late 19th and early 20th centuries. They reflect the broader European fascination with North Africa but do so with a degree of intimacy and sustained observation that sets him apart.
His works are held in major collections, including the Museo Nacional del Prado in Madrid, the Museu Nacional d'Art de Catalunya (MNAC) in Barcelona, and various private collections. Exhibitions of his work, though perhaps not as frequent as those of some of his more famous contemporaries, continue to draw appreciation for his unique contribution.
In conclusion, Josep Tapiró i Baró was more than just a painter of exotic scenes. He was an artist who found his lifelong muse in the city of Tangier and its people. Through his meticulous watercolors, he not only achieved remarkable artistic feats but also left behind a legacy that invites us to look closely at the individuals he portrayed, recognizing their humanity and the richness of their culture during a pivotal moment in history. His dedication to his subjects and his chosen medium ensures his enduring importance in the annals of art history.
