Darío De Regoyos

DARÍO DE REGOYOS Y VALDÉS (Ribadesella, Asturias, 1857 - Barcelona, 1913).
"Les trois couronnes", 1901.
Oil on canvas.
Signed in the lower right corner. On the back on the stretcher frame with a brush, the author titled it "Les
trois couronnes".
Provenance:
This work was owned by D. Pedro Menchaca, then passed to a private collector.
Bibliography:
- It appears in the Catalogue Raisonné with the card number 375.
-Catalog of the exhibition "Darío de Regoyos", organized by the Fundación Caja de Pensiones in Barcelona and Madrid, 1986-1987. Figure reproduced in color on page 186 and described on page 292.
Exhibitions:
-Exhibition Dario de Regoyos "Impressions de Castille et du Pays Basque" at Galerie Druet, Paris, from November 20 to December 3, 1906. Figure exhibited with the number 33 and with the title "Les trois couronnes".
- Exhibition "Homage to Darío de Regoyos", Museo de Bellas Artes, Bilbao, June 1951. Figure exhibited with the number 38 and with the title "Las tres Coronas". Property of Mr. Pedro Menchaca.
- Exhibition "Darío de Regoyos", organized by the Fundación Caja de Pensiones in Barcelona and Madrid, 1986-1987. Figure exhibited with the number 93 and with the title "Las tres Coronas" (The three Crowns).
We thank Juan San Nicolás, the leading expert in Darío de Regoyos's painting, for his invaluable help in cataloguing this lot.
Measurements: 27 x 40.5 cm; 43.5 x 56 cm (frame).

Consolidated as the most advanced landscape painter of his generation, Darío de Regoyos represents a synthesis of the pictorial modernity introduced in the peninsula after his link with the European avant-garde. In this mature composition entitled "The Three Crowns" and dated 1902, the profile of the Peñas de Haya becomes an exercise of atmospheric analysis where the fragmented brushstroke and the impasto build the relief directly through color, dispensing with a rigid drawing structure. The gaze moves fluidly from a foreground resolved in shades of greens, yellows and mauves to the imposing bluish mass of the mountain, achieving a sensory interpretation of the northern landscape based on chromatic vibration. As a key figure in the transition to impressionism in Spain, the artist here displays his ability to modulate the light and density of the clouds, consolidating an aesthetic proposal where the naturalist tradition merges with the technical experimentation of the beginning of the century. This piece condenses the defining features of his period of creative plenitude, reaffirming his historical importance as the master who knew how to translate Atlantic light into the modern languages of the Brussels School and post-impressionism.

Trained in Brussels, where he was linked to the circle of Les XX, Regoyos maintained an intense relationship with the Belgian and French artistic environment, participating in the debates of fin-de-siècle pictorial modernity. His work evolved from a naturalistic realism towards an impressionist and divisionist language, characterized by the fragmentation of the brushstroke and the exaltation of light. He is represented in important public collections such as the Museo Nacional del Prado, the Museo Nacional Centro de Arte Reina Sofía, the Museo Thyssen-Bornemisza, the Museo de Bellas Artes de Bilbao and the Museu Nacional d'Art de Catalunya, among others.