|Rosita, 1913, Ignacio Zuloaga
|Unless otherwise noted, the images above are self-portraits.
|Christ of the Blood, 1911, Ignacio Zuloaga
|Portrait of Maurice Barres on Toledo Background, 1913, Ignacio Zuloaga
|My Grandson, Ramon,
|Portrait of Countess Mathieu de Noailles, ca. 1910, Ignacio Zuloaga
|Daniel Zuloaga and His Daughters, 1899, Ignacio Zuloaga
Having spent much of his career working in Paris, Zuloaga settled permanently in Spain in 1924. Following his 1913 show in New York, Zuloaga's paintings became immensely popular in the United States. They were exhibited again in a highly successful one-man show in New York City in 1925. Several years later, in 1938, Zuloaga was awarded the grand prize for painting at the Venice Biennale. However, around 1940, as the Spanish Civil War overtook Zuloaga's homeland, the artist chose to align himself with the Falangist movement of Generalissimo Franco, whose portrait he painted about the same time. While it may seem surprising for a Basque to have been sympathetic to the forces that had leveled his hometown of Eibar, the Basque area was also home to supporters of Carlism and their militia, and the devoutly religious militia of the Requetés, who formed an uneasy alliance with Franco's Falangists. Zuloaga later claimed he was aghast, as a Francophile, when Hitler so abruptly defeated France in 1940. After Zuloaga's death in 1945, he appeared on Spain's 500 peseta banknote produced by the Franco Regime in its 1954 series. On the back is a depiction of Toledo.
|Ondarroa, before 1933, Ignacio Zuloaga
|A Victim of the Party, 1910, Ignacio Zuloaga