JUAN LUNA Y NOVICIO (Badoc, Philippines, 1857 - Hong Kong, 1899).
"Souvenir of the Battle of Lepanto ", 1887.
Oil on canvas. Re-lined
Signed, titled, dedicated to Vicente Romero Girón and dated in the lower left corner.
Measurements: 20 x 19 cm; 52 x 48 cm (frame).
Juan Luna's epic paintings were celebrated internationally, and it was "The Battle of Lepanto" (in homage to the Christian victory over the Ottomans in 1571) which brought him the greatest fame. In the same year in which he painted the historical theme of this naval battle (a commission from the Spanish Senate to the distinguished Philippine painter), he executed the portrait in question. As the dedication says, it is part of the same theme. Although it does not coincide exactly with any of the figures in the final painting, it has notable similarities with the main protagonists of the naval battle, as he would eventually conceive it. Firstly, we have John of Austria (of whom he made various preparatory drawings, and who in the final painting is placed at the bow of the ship, captaining the Christian fleet), wearing a helmet topped with a plume of feathers, with an aristocratic profile and a trimmed moustache, similar to the present figure. However, it is more likely that this is a self-portrait, as Juan Luna included himself among the sailors in Philip II's army (which also included Cervantes). Indeed, his features coincide with those of the personage who in the official commission wears a dalmatic and helmet. The fact that he is included as part of such a victorious feat attests (the royal galley sinking the Turkish galleon) to the self-esteem Juan de Luna owed to himself, and also to the pre-eminent place he enjoyed not only in the Spanish sphere, but also internationally. In the present portrait, we see the sitter in profile, looking straight ahead, with a fragment of sail breaking the composition diagonally, and his gaze straight ahead leads us to imagine his complacency at the enemy's shipwreck. "The Battle of Lepanto", a symbol of the Catholic triumph against the invading forces, was intended for the Senate Conference Room. In technique and style, we can appreciate the broad, vibrant, undone brushstroke characteristic of the Filipino painter, a language close to Impressionism but inscribed in a realism of naturalistic tone.
Juan Luna trained at the Ateneo de la Compañía de Manila, where he was taught by Agustín Saéz. He entered the Academy of Fine Arts in the same city, where he was a disciple of Lorenzo Guerrero. In 1877 he was awarded a scholarship by the Manila City Council which enabled him to move to Madrid to further his training at the San Fernando School of Fine Arts. In the Spanish capital he became a pupil of Alejo Vera and travelled with him to Rome when the latter was appointed director of the Spanish Academy in that city. He subsequently settled in Paris, where he opened his own studio. He received important institutional commissions, among them the one he received in 1887 from the Spanish Senate, "The Battle of Lepanto". The Ministry of Overseas France commissioned another work from him, a composition representing Spain and the Philippines. Luna also took part in numerous official exhibitions, being awarded a second medal for "Cleopatra" at the National Fine Arts Exhibition of 1881 and a first medal for "Spoliarium" at the National Exhibition of Fine Arts of 1884. He also exhibited his works abroad, and in fact sent his canvases to the Paris Salon of 1886, where he was awarded the third medal. Two years later, in 1888, he was awarded a second medal at the Universal Exhibition in Barcelona. He took part in the Universal Exhibition in Paris, where he was awarded the third medal. Juan Luna's works are currently represented in important art centres such as the Prado Museum, the National Museum of the Philippines, the Cádiz Town Hall, the Captaincy General of Seville, the Government Delegation of the Basque Country, etc.