From 1897 onwards, when he first went to Paris, Hermen Anglada Camarasa’s painting began to show marked influences of artists like Toulouse Lautrec, Gustav Klimt and Van Dongen. But the real turning point in his style, so evident in Sonia de Klamery (echada) (Sonia de Klamery [Lying]), came in 1909, with the arrival in Paris of Diaghilev’s Ballets Russes, featuring Nijinski and Pavlova. The event was a social and artistic sensation that revolutionised both tastes and customs. Anglada Camarasa was deeply moved by the sets and costumes of vibrant oranges, purples and greens, to the extent that from then on the pale shades in his female portraits would be replaced by brilliant multicolours. Sonia de Klamery (echada) and other such pictures show the importance in the final appearance of Anglada Camarasa’s oils of a plastic concept based on the priority of colour, with thickly applied material dividing the pictorial space into linear rhythms and coloured fields.
Paloma Esteban Leal