On Friday, November 15, the Spanish Association of Painters and Sculptors lived a special day in which, thanks to Professor Mª Dolores Cid Pérez, we were able to learn more about the Founding Partner No. 29 of our centenary institution.
After a brief presentation by the President of the AEPE, José Gabriel Astudillo, in which he thanked the author of the study for the magnificent painter, was the Secretary General, Mª Dolores Barreda Pérez, in charge of introducing the attendees in the relationship Marcelina Poncela with the AEPE, through her teachers and numerous friends, most of them also founding partners of the entity.
The General Secretary commented that as it happens in all the biographies of artists of the nineteenth and twentieth century, in no text, doctoral thesis or book usually appears their relationship with this house, which makes us learn that for something to be known, you must Be first studied and then offered to the public. In addition, he commented how the President has tried to strengthen this fact through our Bernardino de Pantorba Historical Archive, and specifically also with the creation of the MARCELINA PONCELA DE JARDIEL PAINTING MEDAL created in 2017.
He also added that it is the intention of the AEPE to request that the Madrid memory plan keep it in mind, by installing a plaque on the street where he lived.
As a curiosity in the afternoon, the presentation was attended by two grandchildren of the famous son of the painter, Enrique Jardiel Poncela, who attended the interesting talk thanking the memory for his great grandmother.
Mª Dolores Barreda Pérez highlighted several facts of the biography of the artist, as she met her husband when she lived in the Costanilla of San Pedro, next to the Church of San Pedro el Viejo, where Jesus the Poor is venerated, image of the that she too is devoted.
He highlighted the fate of his son Enrique, who was called “Potito” by his mother, who said that at seven he used to visit the Prado Museum in the company of his mother and, at nine he used to accompany his father to the press platform of the Congress of Deputies, where he witnessed numerous political debates. The tendency to draw appeared in Enrique before writing.
He stressed that Marcelina Poncela was a student of Alejandro Ferrant Fishermans, one of our founding partners, along with her son, the sculptor Ángel Ferrant y Vázquez, also a founding partner of the AEPE. And that he was assiduous to the Circle of Fine Arts, founded among others by Marceliano Santamaría, who was President of the Association of Painters and Sculptors elected on January 24, 1936, and resigned after being appointed President of the Circle of Fine Arts that same year . There, he related to other partners and founders of our institution, such as Sorolla, Aureliano de Beruete, Cecilio Plá, Lhardy Garrigues, Luis García Sampedro, Fernanda Francés, Zuloaga, Aniceto Marinas, …
It was definitely related, with almost all the plastic artists of the moment, both personally and artistically, since they coincided in the Circle of Fine Arts as students and subsequently attended almost all the National Exhibitions.
Professor Mª Dolores Cid Pérez delved us into her biography, making a special review of her academic training, which was very complete: good technique for the preparatory drawing of her paintings. Always drawing in pencil and charcoal, which he later transferred to oil. I drew on small and large format; in this case it was finished works, not simple notes, which was destined for competitions. He used the technique of albayalde and also used the counted pencil, very popular in the nineteenth century. He also drew pen, with great quality and deserved first class awards, and also used pastel painting but this technique is fragile and difficult to preserve so there are hardly a couple of known specimens. She was a great watercolorist, she used all these techniques well, but what she really felt comfortable with was oil painting.
In addition to the still lifes, the flowers, the landscapes, the customary scenes, Marcelina took care of the portrait both in pencil and in oil. Sometimes these portraits were based on the existence of a photograph, a very common practice at the end of the nineteenth century as many artists took advantage of this opportunity to make portraits of difficult-to-access portraits of characters but that their photographs could be found with some ease.