Agustin Riancho

AGUSTÍN RIANCHO (Entrambasmestas, Cantabria, 1841 - Ontaneda, Cantabria, 1929).
Untitled, 1982.
Mixed media (gouache and charcoal) on paper.
It has a certificate on the back signed by Fernando Riancho.
It has a label on the back of the exhibition "El dibujo en la obra de Riancho", 1982, Sala María Blanchard (Santander). Sealed by the Ministry of Culture and the Provincial Directorate of Santander.
Measurements: 32 x 22 cm; 58 x 49 cm (frame).
Agustín de Riancho Gómez de la Mora was a Spanish painter who began his training as a draughtsman in Santander and, thanks to a popular subscription, obtained the necessary money to study at the School of Fine Arts of San Fernando in Madrid, where he was a student of Carlos de Haes. His first recognition came in 1860: at the age of nineteen he received a Second Class Honorable Mention at the National Exhibition of Fine Arts that year. He continued his training in Antwerp (Belgium) with Jean Pierre François Lamorinière and later in Brussels, where he came into contact with the Barbizon School, from which he received a great influence. When he returned to Spain, he spent five years painting in Tierra de Campos (Valladolid) to settle definitively in 1901 in Entrambasmestas, where he dedicated himself to the mountain landscape: at first in a realistic manner, from 1923 his style began an evolution that led him towards more personal forms, focusing on the impression it made on him. His work could be seen in several cities both during his lifetime and after his death (Madrid, Antwerp, Namur, Torrelavega, Santander, Cantabria, Santillana del Mar, etc.), and is preserved in private collections and institutions such as the Museum of Fine Arts of Santander, the Museum of Modern and Contemporary Art of Santander and Cantabria, the Prado Museum in Madrid. Today, he is considered one of the great Spanish landscape painters of the nineteenth and twentieth centuries. He emphasized both his realistic treatment of the subject and the aforementioned evolution towards a more personal point of view, always with a "dense" palette, with a doughy and broad brushstroke. As he advanced in his career he began to use impressionist techniques, even reaching in some works a certain closeness to Expressionism.