Joaquin Sorolla stands out as perhaps the most international Valencian artist ever. Auctions of his luminous paintings, works that rarely leave collectors’ hands for long, consistently reach notable sums and reflect a lasting global appeal. In life, the United States represented one of Sorolla’s strongest markets, with prominent collectors and major museums where his works dominate the conversation. This dynamic is embodied by the Meadows Museum and its exhibition program, including a recent focus titled The Year of Sorolla with exposure The Light of Spain: Sorolla and American collectors, curated by Blanca Pons-Sorolla.
The American institution hosts an exhibition running from September 17 to January 7, 2024. It will borrow at least two dozen works, supplemented by pieces from Meadows Museum’s permanent collection as part of a parallel display. Amanda Dotseth, the museum’s curator and deputy, notes that the final parts list is still being finalized. The event is designed to illuminate Sorolla across his roles as painter of figures, landscapes, and, above all, light.
Specifically, Dotseth explains that the show concentrates on Sorolla’s works that are rarely shown in private American collections. The aim is to highlight the artist’s popularity while also presenting a study of collecting, the history and taste of collecting, and the unique relationship between Sorolla and American patrons and fans.
Rare Artifacts
All works in the exhibition come from private collections in the United States, making public display uncommon. Taken together, the selection underscores Sorolla’s popularity in America, especially among private collectors, a momentum that began during his lifetime and continued long after his death. The Meadows Museum frames the exhibition as a tribute to that enduring interest. Sorolla remains one of the most beloved Spanish artists in the United States. He sparked excitement for an American audience from his first show in 1909 in New York, with many other cities also seeking access to his works. In the following decade, Sorolla portrayed some of the country’s leading figures, including President Taft. His paintings have entered both private and public collections, cementing his status as a favorite of American art lovers. Meadows Museum emphasizes that this lasting prestige endures in the best of Sorolla’s paintings, which still reside in American public and private holdings.
As Dotseth puts it, by the midcentury American familiarity with Sorolla lagged behind that of the French Impressionists or American Abstract Expressionists. Yet through major arts fairs Sorolla and America have found renewed attention, and this centennial moment with Luz de España marks a fresh rise in his debut’s resonance for a new generation of collectors.
On the American side, Sorolla’s circle included important private and public collectors. Notable names associated with his early American exposure include patrons who supported and hosted his exhibitions in New York and beyond. Huntington played a key role in introducing Sorolla to the American public and even commissioned a celebrated series on Spain. Thomas Fortune Ryan was another early champion, and the painter’s work found homes in major museums and among the country’s elite collectors. J. Paul Getty’s early acquisitions included Sorolla paintings, and the Spanish artist also left a mark with figures like William Merritt Chase and John Singer Sargent as influential contacts. Sorolla’s American footprint extended through interactions with these patrons and institutions that helped secure his place in the American art narrative.
Painter’s Footprint in Dallas
The Meadows Museum houses sixteen Sorolla works, including four paintings and twelve drawings. The institution emphasizes that its mission to promote Spanish art and culture in the United States relies on strong collaboration with Spain. Blanca Pons-Sorolla has long been a valuable partner and friend in this effort. Mapfre has collaborated on Sorolla and America, alongside the Centro de Estudios Europa Hispánica. The Meadows Museum acknowledges ongoing support from Prado, Thyssen, the Sorolla Museum, the Royal Palace, and several Madrid-based institutions over the years.
Although the focus is not limited to Sorolla, the museum notes productive collaborations with Valencia institutions such as IVAM, the National Museum of Ceramics, and the Museum of Fine Arts. The Dallas area also shares a special relationship with Valencia as Dallas’s sister city; in May, patrons will visit to celebrate Sorolla’s centennial, highlighting ongoing cultural exchange and appreciation.