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| As first seen at the Exposition of Fine Arts in Madrid in 1881. Source: La Ilustracion espanola y americana (30 June 1881) |
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| News photo of La Muerte after 136 years. Source: Philippine Daily Inquirer (16 November 2017) |
Famous Filipino artist Juan Luna was first noticed in Spain because of his work La Muerte de Cleopatra (The Death of Cleopatra), competition entry number 379 in the Exposition of Fine Arts in Madrid that opened on 18 May 1881.
This historical painting was awarded a silver medal but it has never been seen again. The Museo Nacional del Prado kept it for 136 years. Luna fans will have to fly to Singapore to see it on exhibit at the National Gallery Singapore from 16 November 2017 until 11 March next year.
We first saw the news photo reproduction of La Muerte painting in the 30 June 1881 issue of La Ilustracion espanola y americana, a Madrid magazine, and read a review of it and other paintings in the Madrid exposition in the 22 June issue.
The reviewer said that Luna's work, which was in the fourth exhibition sala, caught the fixed attention of viewers; and he called the newcomer in the Spanish art circle as "energetic, frank, brilliant."
"The subject of the painting," he wrote, "is the death of that queen of Egypt whom Horace called the fatal monster, and Virgil a cursed woman; that one which Michelet said does not deserve mercy or admiration. .. In golden bed lies the corpse of Cleopatra, adorned with pharaonic magnificence; the slave Iras, also dead, is in front of the bed; the black slave Charmion, who has just placed the royal crown on her lady's head, falling at that moment, as if struck by lightning." The venomous asp had just done its job.
There is something missing, he added. And he took it from Plutarch: the emissaries of Octavio who were able to enter the mausoleum where "Caesar's and Anthony's mistress" and her slaves locked themselves in. One of the emissaries was supposed to have shouted to Charmion that Cleopatra does not deserve the crown, but the slave shouted back that she's most worthy of it, being the daughter of kings.
In the composition, the reviewer said, "one can see the faithful Charmion falling to the ground but you can not see or even guess that there were Roman intruders.
He noted that the many exuberant details on the canvas, and even the beautiful background, greatly distracted from the main theme of the work.
He concluded, however, that the painter is a promising luminary in the Spanish art scene.
Juan Luna would make a bigger splash in the Spanish media in 1884: the highest honor and praises his Spolarium gained, two news magazines having him in their covers, with one of the cover stories written by his friend Jose Rizal. In later years, reproductions of his works were featured including the paintings he did on the prison walls when he was incarcerated for rebellion in Manila.
In the composition, the reviewer said, "one can see the faithful Charmion falling to the ground but you can not see or even guess that there were Roman intruders.
He noted that the many exuberant details on the canvas, and even the beautiful background, greatly distracted from the main theme of the work.
He concluded, however, that the painter is a promising luminary in the Spanish art scene.
Juan Luna would make a bigger splash in the Spanish media in 1884: the highest honor and praises his Spolarium gained, two news magazines having him in their covers, with one of the cover stories written by his friend Jose Rizal. In later years, reproductions of his works were featured including the paintings he did on the prison walls when he was incarcerated for rebellion in Manila.
References:
- Review of La Muerte in La Ilustracion Espanola y Americana. 25:23(406). 22 June1881.
- Painting reproduction in La Ilustracion Espanola y Americana. 25:24(415). 30 June 1881.
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