One month earlier, a visitor named Antoni Pascual found himself in Madrid to explore the Sorolla Museum and came face to face with a painting that instantly transported him back to his childhood. The scene, known locally as Los Farolillos, is a vivid depiction of a Valencian country home’s courtyard. In the painting a country gentleman stands with two children who carry watermelons, their figures lit and lightly decorated with strings that catch the eye and invite a closer look.
Yet when the museum offered its official context for the canvas, Pascual saw a disconnect that could not be ignored. The video accompanying the piece suggested that the lanterns were simply paper, not reflecting the long-standing popular tradition of the region. A man from Bocairent, employed in finance and deeply touched by Sorolla’s portrayal, decided to inform the museum’s custodians about what the lanterns truly signified and how they were created. The aim was to share a personal memory and help ensure the artwork’s interpretation resonated with authentic Valencian customs. This was not a grand protest, but a quiet act of information sharing meant to improve understanding within the institution.
Several days later, Pascual opened his email to find a reply from Covadonga Pitarch, curator of the Sorolla Museum and one of the curators of Happy Age. The message acknowledged the concern and explained that the 1891 work, part of the Complutense University of Madrid collection, would receive new attention at a forthcoming exhibition. The museum announced that the show would travel to its new headquarters at Fundación Bancaja Valencia, with visiting dates July 15 through November 13. More strikingly, the museum decided to rename the painting to better capture the tradition it celebrates in Valencia. The new title became Lanterns, or Lanterns, a nod to the light and communal spirit of the scene. The curator closed with gratitude for Pascual’s contribution and a hope that his passion for Valencian heritage would inspire continued engagement.
Make tradition visible
The small change represented a significant shift. The institution embraced the idea that authentic local traditions deserve prominence within Madrid’s museum landscape. For Pascual, this acknowledgment meant that the popular elements he cherishes—like the watermelons on the courtyard table and the simple, homely setting—could be appreciated by a broader audience. The painting had been relatively unknown in Valencian communities until the moment of this renewed attention, sparked by the exhibition’s presence and Pascual’s outreach. The experience underscored a simple truth: museums gain depth when they reflect the living culture around them, not merely distant histories. A Madrid museum recognized Valencia’s heritage and opened a channel for visitors to see it clearly, expanding the artwork’s reach and relevance.
After sharing his discovery on his Twitter profile, the post quickly attracted thousands of views. Pascual recalled that many viewers recognized memories from their own childhoods in the image, while others learned for the first time about the customs once common in Valencia. Sorolla’s depiction of a rural scene—captured with careful attention to light and a sense of movement on a farm near his hometown—remains a powerful reminder of how everyday life can become enduring art. The painting’s origin as a gift to a colleague, Luis Simarro Lacabra, a former Játiva resident and a prominent figure in experimental psychology, adds another layer to its story. The legacy was eventually entrusted to a foundation connected with the Complutense University, ensuring ongoing stewardship and public access to this cherished moment of Valencian life.