Vicente Nicolau Cotanda emerges from the annals of late nineteenth-century Spanish art as a figure whose career, though perhaps not as widely celebrated today as some of his contemporaries, offers a valuable lens through which to view the artistic currents of his time, particularly within the vibrant Valencian art scene. An artist, exhibitor, and notably the first art master to the acclaimed Argentine painter Cesáreo Bernaldo de Quirós, Cotanda's work and influence are intertwined with the regionalist aesthetics, the burgeoning art societies, and the academic traditions that characterized Spanish painting during this era. While precise biographical details, especially definitive birth and death dates, remain somewhat elusive and subject to scholarly debate, with some sources suggesting a birth year of 1852 and a death in 1989 (a remarkably long lifespan that may indicate confusion with another individual of the same name involved in different professional fields), the painter Vicente Nicolau Cotanda was active primarily in the latter decades of the 19th century. Other art historical records point to a more conventional lifespan for a 19th-century artist, such as 1852-1898, which aligns better with his documented activities. This exploration will focus on the painter, his artistic contributions, his role in art education, and his place among the constellation of artists active during his lifetime.
The Artistic Milieu of Late 19th Century Valencia
To understand Vicente Nicolau Cotanda, one must first appreciate the artistic environment of Valencia during the late 1800s. Valencia, a city with a rich artistic heritage stretching back centuries, was a significant provincial art center in Spain. It was home to the prestigious Real Academia de Bellas Artes de San Carlos, which had trained generations of artists. The period was marked by a tension and interplay between lingering Romanticism, the dominance of Realism (often with a strong local or "costumbrista" flavor, depicting everyday life and customs), and the nascent stirrings of modernism.
Artistic life was also fostered by various societies and exhibitions. One such entity mentioned in connection with Cotanda is "El Iris," a society or exhibition space in Valencia that played a role in showcasing the works of local artists and awarding prizes. These regional exhibitions were crucial for artists to gain recognition, sell their works, and engage with peers and critics. They provided a platform outside the more centralized art world of Madrid, though many Valencian artists, like Joaquín Sorolla y Bastida and Ignacio Pinazo Camarlench, would eventually seek fame in the capital and internationally. The atmosphere was one of active creation, local pride, and a gradual opening to broader European artistic trends, even if academicism and historical painting still held considerable sway.
Vicente Nicolau Cotanda: Artistic Style and Thematic Concerns
Based on the available descriptions, Vicente Nicolau Cotanda's artistic output appears to have spanned several genres, including genre painting, portraiture (implied by his depiction of an "Arab woman"), and historical or religious subjects. His style seems to have been rooted in the academic realism prevalent at the time, with an emphasis on competent draughtsmanship, considered use of color, and careful execution.
Genre and Figurative Compositions
His work La aguja de marear (which can be variously translated as "The Steering Needle," "The Mariner's Compass Needle," or perhaps more metaphorically, "The Swaying Needle" or even "The Mixing Needle," depending on the intended subject) is a key piece for understanding his reception. This painting earned him a silver medal at an "El Iris" exhibition, signifying a notable level of achievement and recognition from his peers and local critics. However, the accompanying critique, while acknowledging the painting's "acceptable" level in terms of drawing, color, and execution, also pointed out a perceived deficiency in the depiction of the figures. This suggests that while Cotanda possessed solid technical skills, his ability to imbue figures with convincing life or profound expression might have been seen as an area for development by some contemporary observers. Such critiques were common in an era where figure painting was paramount and subject to intense scrutiny.
Another work mentioned is a depiction of an "Arab woman." This piece was praised for achieving "perfect plasticity and lively expression" in certain parts. The subject itself points to the Orientalist trend that was popular in European art throughout the 19th century, fueled by colonial expansion, travel, and a romantic fascination with the "exotic" cultures of North Africa and the Middle East. Artists like Mariano Fortuny Marsal had spectacularly popularized Spanish Orientalism. Cotanda's engagement with this theme suggests an awareness of contemporary artistic tastes and a desire to explore subjects that offered opportunities for rich color, texture, and character study.
Religious and Historical Painting
Cotanda also ventured into religious and historical themes. The painting La visión de la de San Martín de Tours ("The Vision of Saint Martin of Tours") indicates an engagement with religious iconography. Such subjects allowed artists to explore complex narratives, dramatic compositions, and symbolic representations. The description of this work mentions a focus on the origins of religious reform and the use of complex visual elements, possibly including "double vision" techniques to convey emotional or psychological states. This suggests a sophisticated approach to narrative and a willingness to employ less conventional visual strategies. The emphasis on color and light to highlight the dynamism and emotion of figures in scenes like the St. Martin depiction aligns with broader trends in religious painting that sought to make sacred stories more immediate and impactful.
His work Alfonso X further underscores his involvement with historical subjects. Alfonso X, "the Wise," was a significant medieval Castilian monarch, a patron of arts and sciences. Historical painting was a prestigious genre, often favored by academic institutions and public commissions, allowing artists to depict grand narratives, patriotic themes, and moments of historical import.
Eclectic Influences and Romantic Sensibilities
The description of Cotanda's style as a fusion of "South Netherlandish, Tuscan (Sienese and Florentine schools), Catalan, and possibly Bohemian painting styles" is intriguing. If accurate, this points to a remarkably eclectic range of influences. South Netherlandish art (Flemish) is known for its meticulous realism and rich oil painting techniques. Tuscan art, particularly from Siena and Florence, encompasses the foundational period of the Italian Renaissance, characterized by elegant lines, spiritual depth, and innovations in perspective and humanism. Catalan art of the 19th century had its own regional characteristics, often blending Spanish traditions with French influences. Bohemian influences might suggest an interest in Central European artistic trends. Such a diverse palette of influences, if truly present and synthesized in his work, would mark Cotanda as an artist with a broad art historical awareness, perhaps seeking to create a unique personal style by drawing from various historical wellsprings.
Furthermore, his work is said to have embodied Romantic characteristics, such as a focus on the artist's personal emotions and dreams. This aligns with the lingering currents of Romanticism that persisted even as Realism became dominant. It suggests an art that was not merely descriptive but also sought to convey subjective experience and inner worlds.
Cotanda as an Educator: The Mentorship of Cesáreo Bernaldo de Quirós
One of the most significant aspects of Vicente Nicolau Cotanda's legacy is his role as the first art teacher of Cesáreo Bernaldo de Quirós (1879–1969). Quirós would go on to become one of Argentina's most celebrated painters, known for his powerful depictions of gaucho life, historical scenes, and vibrant use of color.
According to accounts, Quirós began his artistic studies under Cotanda after moving to Buenos Aires. This geographical detail is slightly confusing if Cotanda was primarily based in Valencia, suggesting either Cotanda spent time in Buenos Aires, or Quirós initially encountered him in Spain before his family moved, or there's a conflation of details. However, the core fact of the tutelage is reported. The relationship was apparently not without its complexities. One source mentions that Quirós later stated he "could not learn anything" from Cotanda. Such statements from artists about their early teachers are not uncommon and can reflect youthful impatience, a divergence in artistic vision, or simply a personality clash.
Despite Quirós's later assessment, this initial period of instruction under Cotanda would have provided him with foundational skills. Following his time with Cotanda, Quirós continued his studies at the prestigious Sociedad Estímulo de Bellas Artes in Buenos Aires. There, he learned from other notable artists, including the Spanish-born painter Vicente Cutanda (if this is the same as the botanist Vicente Cutanda y Jarauta, 1804-1865, the timeline is problematic for teaching Quirós who was born much later; it's more likely this refers to a different Cutanda or another artist altogether, or the source text has conflated names). More clearly, Quirós studied under prominent figures of the Argentine art scene such as Ángel Della Valle (1852-1903), a key initiator of "criollo" themes in Argentine painting; the sculptor Francisco Cafferata (often cited as Correa Morales in some contexts, though Francisco Cafferata is more prominent as a sculptor-teacher there); Reinaldo Giudici (1853-1921), an Italian-Argentine painter known for his social realist and historical works; and Ernesto de la Cárcova (1866-1927), another foundational figure in Argentine art, famous for his work "Without Bread and Without Work."
Quirós's subsequent career, which included extensive periods in Europe (Spain, Italy, France) and significant success, demonstrates that his early artistic education, including the part played by Cotanda, laid a groundwork upon which he built. Even if Quirós felt he outgrew Cotanda's teachings, the initial exposure to artistic practice and discipline under a professional painter would have been formative. Cotanda's influence, therefore, extends indirectly through the significant artistic production of his student.
Contemporaries and the Broader Artistic Landscape
Vicente Nicolau Cotanda operated within a lively community of artists. Understanding his contemporaries helps to contextualize his work and the artistic environment he inhabited.
In Valencia and Spain:
José Ferrer: Mentioned as creating works depicting evangelical scenes in church vaults and pendentives, indicating a contemporary active in religious and decorative painting.
Joaquín Sorolla y Bastida (1863-1923): The towering figure of Valencian painting, Sorolla's luminous beach scenes and portraits brought him international fame. He was a younger contemporary of Cotanda.
Ignacio Pinazo Camarlench (1849-1916): Another major Valencian artist, slightly older than Cotanda, known for his intimate portraits, genre scenes, and an increasingly loose, impressionistic brushwork.
José Brel Giral (1841-1894): An important member of the "El Iris" society and a prolific painter in Valencian circles.
Antonio Cortina Farinós (1841-1890): Won a gold medal at "El Iris" for a painting of Saint Francis, indicating his prominence in the same exhibition circles as Cotanda.
Julio Cebreros: Also a gold medal winner at "El Iris" for a painting of a young girl.
José Genovés: Awarded a silver medal for a painting of a fisherman, a contemporary recognized alongside Cotanda.
Francisco Reguera: A landscape painter who also received a silver medal.
Rafael Vertel: Known for marine paintings, another silver medalist at "El Iris."
Arnau: This likely refers to a member of the Arnau family of sculptors and artists active in Valencia, or perhaps Eusebi Arnau (1863-1933), a Catalan sculptor who also worked in related decorative fields.
Mariano Fortuny Marsal (1838-1874): Though he died relatively young and before Cotanda's career fully blossomed, Fortuny's dazzling technique and Orientalist subjects cast a long shadow over Spanish art for decades.
In the Argentine Context (through Quirós's connections):
Ángel Della Valle (1852-1903): A key figure in Argentine art, known for works like "The Return of the Indian Raid."
Reinaldo Giudici (1853-1921): An influential teacher and painter of social and historical themes.
Ernesto de la Cárcova (1866-1927): Painter of the iconic "Without Bread and Without Work," and a director of the Academy.
Eduardo Sívori (1847-1918): A pioneer of realism in Argentina, known for "Le lever de la bonne" (The Waking of the Maid), which caused a scandal.
Martín Malharro (1865-1911): An introducer of Impressionism to Argentina.
Pío Collivadino (1869-1945): Known for his urban landscapes of Buenos Aires.
This list, far exceeding ten names, illustrates the rich tapestry of artistic activity during Cotanda's time. He was part of a generation grappling with established academic norms while also responding to new aesthetic possibilities and the unique cultural contexts of their respective regions.
Social Activities and Artistic Impact
Vicente Nicolau Cotanda's social and artistic impact seems primarily channeled through his participation in exhibitions like "El Iris" and his educational activities. Winning a medal at such an exhibition was not merely a personal honor; it contributed to the artist's reputation, marketability, and standing within the local art community. These exhibitions were social events, fostering dialogue, competition, and a sense of collective artistic endeavor.
His role as an educator, particularly to a figure like Quirós, represents a more lasting, if indirect, impact. The transmission of artistic knowledge, techniques, and professional attitudes from master to student is a fundamental aspect of art history. Even if a student later diverges significantly from their initial teacher's style or philosophy, that early grounding often remains a crucial, formative experience.
The mention of Cotanda's student, Quirós, creating art that reflected "economic limitations and social marginalization" alongside personal emotions and dreams, hints at the social consciousness that was beginning to permeate some artistic circles. While there's no direct evidence that Cotanda's own work explicitly addressed such social themes, the environment in which he taught and the subsequent trajectory of his students suggest an awareness of art's potential to engage with broader societal issues.
Concluding Reflections
Vicente Nicolau Cotanda remains a figure deserving of further scholarly attention to clarify the details of his biography and to more fully assess his oeuvre. The available information paints a picture of a competent and recognized painter active in the late 19th-century Valencian art world, a participant in its exhibition culture, and an educator who played a part in the early formation of a significant international artist.
His work, characterized by an engagement with genre, historical, religious, and possibly Orientalist themes, seems to have been executed with a solid academic grounding, though perhaps, in the eyes of some contemporaries, with room for greater expressive depth in figure depiction. The suggestion of eclectic stylistic influences—from Netherlandish precision to Tuscan grace and Romantic subjectivity—hints at a complex artistic personality.
Ultimately, Vicente Nicolau Cotanda stands as a representative of that vital layer of regional artists who sustain the artistic ecosystem of a nation. While not achieving the stellar fame of a Sorolla or a Pinazo, his contributions as a creator and an educator were part of the rich artistic fabric of his time, a time of transition and dynamism in Spanish and, by extension through his students, Latin American art. His story underscores the importance of local art scenes, the role of art societies, and the enduring impact of the master-student relationship in the continuity and evolution of artistic traditions. Further research into Valencian archives and a more thorough cataloging of his attributed works would undoubtedly illuminate his contributions more brightly.
