The meeting of Rafael Altamira and Joaquín Sorolla traces back to the mid-1880s, a period when both men were emerging figures in Valencia. Altamira, a jurist and later a renowned historian, and Sorolla, a gifted painter, found kinship through their shared roots in the city. Early successes came quickly: Altamira earned a medal at the Valencia Regional Exhibition in 1883 and followed with a Second Class Medal at the National Exhibition in 1884, signaling the arrival of a formidable intellectual voice in Alicante and beyond. Sorolla, in turn, was already building a reputation for his rapidly developing style, drawing attention from patrons who admired his ability to capture light and character on canvas.
In 1886 both young men were 20 and 23, respectively, and a strong friendship formed in which the idea of portraying the historian and lawyer from Alicante began to take shape. The first portrait, measuring 55 by 41 centimeters, would travel from studio to collection. It ultimately found a home in the Prado Museum when the artist’s family entrusted the work to the national collection in 1999. The painting reflects the era’s academic portrait tradition, while hinting at Sorolla’s evolving approach to color and form. The work is linked to the broader project of the University Extension and the intellectual currents surrounding the Institución Libre de Enseñanza of the period, embodying a bridge between scholarship and public culture. In letters and published notes from the time, Sorolla’s intention to illuminate Altamira’s intellect and stature is evident, underscoring the portrait’s role as a marker of Altamira’s influence in Alicante’s scholarly circles.
Last December, the national art gallery removed this piece from its warehouses to be shown in a dedicated examination of the artist. The exhibition, Portraits of Joaquín Sorolla (1863-1923), was organized to commemorate the 100th anniversary of Sorolla’s death. The curator noted that the painting had been in storage and had rarely, if ever, been displayed in public before. Ignacio Ramos, a descendant of Altamira, commented on the painting’s precise depiction of the subject and the signature that confirms its candid, early-portrait character. The image displays Altamira with the collar and tie clearly defined, while the lower portion remains unfinished in the brushwork, a feature the Prado catalog describes as a “work of candid nature” and a simplicity of color typical of Sorolla’s early portraits.
Alicante’s Rafael Altamira, through his scholar’s lens
The portrait not only captures physical likeness but also conveys Altamira’s character with striking immediacy. The raised ends of his mustache hint at a youthful concern for appearance, while his dignified bearing speaks to a long career devoted to law and learning. This portrait, gifted to a friend who loved painting, has remained a touchstone for scholars tracing Altamira’s influence in Valencian and Alicante intellectual life [citation].
A second portrait
In 1912 the Valencian painter hosted a dinner at his home in honor of Altamira. One guest was Archer M. Huntington, the American archaeologist who founded the Hispanic Society of New York in 1904 and who supported scholarly exchanges between the United States and Spain. The dinner likely included discussions about a second commission for Altamira’s portrait. A year later, Sorolla completed a more mature rendering of the lawyer from Alicante. This second portrait, now part of a major collection, presents Altamira in academic dress, with Doctor of Law regalia and the insignia of state honors, notably the Civil Order of Alfonso XII. It marks a transition in the depiction from youthful likeness to a more formalized, stately representation [citation].
The artist wrote to Altamira on January 3 announcing the start of work that year: “Dear Altamira. If you have time, we will start your portrait next Monday. Give me the time of the future. Happy New Year. Hug from Sorolla.” The correspondence underscores the collaborative, almost familial dimension of the commission and the painter’s attentiveness to Altamira’s schedule and status [citation].
A portrait from 1886, now visible in public collections, remains associated with the Prado’s holdings. For the moment, it is housed in the Prado Museum and a plan is underway to display it at the UA Headquarters in Alicante, highlighting Altamira’s office environment. The proposal suggests perhaps creating copies to be shown permanently in the space, a suggestion echoed by Altamira’s grandson, who believes the University of Alicante should pursue such a display [citation].