Manuel García Rodríguez

MANUEL GARCÍA RODRÍGUEZ, (Seville, 1863 - 1925).
"Andalusian courtyard", 1917.
Oil on canvas.
Signed and dated in the lower right corner.
Measurements: 40 x 60.50 cm; 56 x 75 cm (frame).

This work by Manuel García y Rodríguez is a work that encapsulates the essence of the Andalusian artistic tradition while entering into a delicate dialogue between the past and the present. This painting reflects the artist's mastery in the representation of architecture and daily life in southern Spain, a recurring theme in his production.

The work presents a careful composition, in which the pigeons stand out in the center where some characters in traditional dress feed them. The use of perspective is precise, with a focus on the symmetry of the space and the depth of the scene, creating a three-dimensional effect that gives realism to the whole. Light plays a fundamental role in the atmosphere of the painting: the warm Andalusian sunlight enters the courtyard, bathing the whitewashed walls, ceramic pots and flowers, and is reflected on the surfaces, generating soft hallmarks between the shadows and the illuminated spots.

In the historical context of the work, Spain at the end of the 19th century was living a time of transition, marked by political and social tensions after the fall of the Old Regime. At the artistic level, Realism and Naturalism dominated the scene, seeking a faithful representation of reality in contrast to the previous idealizations of Romanticism. This painting is not only a tribute to the beauty of traditional courtyards, but also a reflection on the simple life, far from the urban and political concerns of the time.

This painting, therefore, becomes not only a testimony to the technical skill of García y Rodríguez, but also a reference of regionalist painting, a portrait of a fading Spain that, nevertheless, continues to be a symbol of cultural identity, especially in the Andalusian sphere.

Manuel García Rodríguez began his training at the Seminary of Seville, although shortly after he decided to devote himself to painting, starting in this art under the guidance of José de la Vega Marrugal. Shortly after, he entered the School of Fine Arts, where he had Eduardo Cano and Manuel Wssel as teachers. Influenced by Sánchez Perrier, from 1885 he dedicated his work to landscape, a discipline in which he specialized, achieving multiple successes. He was awarded a third medal at the National Exhibition of Fine Arts in 1897 and at the Regional Exhibition of Malaga; a bronze medal at the International Exhibition of Barcelona in 1888 and at the International Exhibition of Alicante in 1894; and a second medal at the National Exhibitions of 1890 and 1895 and at the International Exhibition of Barcelona. His works were in demand from Munich, Prague, Hamburg, Stockholm, London, St. Petersburg and especially South America, and in 1899 he was appointed corresponding member of the Royal Academy of Fine Arts of San Fernando. From 1900 until his death he participated regularly in the Spring Exhibitions of Seville (except in 1907 and 1908) and in all the National Exhibitions (except 1917 and 1920). He was an active member of the Fine Arts Center between 1902 and 1903, and of the Monuments Commission in 1919.