This work dates from Anglada's first extended stay in Paris, between 1897-1904, during which he developed and indulged his taste for the demi-mondaine lifestyle to be enjoyed in the city.
Typically, Anglada's figures are represented wearing elegant clothes and large hats, their identity steeped in ambiguity. Though ostensibly society women, their shadowy, seductive presence calls to mind the high-class courtisanes who mingled with fashionable society. In the present work, the attention of three spectre-like women leaving their theatre balcony is drawn by an object or person outside the picture plane, adding to the sense of mystery. Anglada's atmospheric, almost eerie nocturne is punctuated only by the bright lights filtering in from the auditorium.
Stylistically and ideologically, Anglada was inextricably linked to Catalan Modernismo, in itself a branch of the Art Nouveau currents prevailing in the fine and decorative arts at the turn of the century. Following Anglada's move to Paris in 1894, he abandoned the influence of his teacher at the Llotja School in Barcelona, Modest Urgell, to illustrate fin-de-siècle decadence. Immersing himself in the music and dance halls and cafés-concerts of Paris, Anglada-Camarasa created elegant and provocative images of modern life.
Oil on panel
Paris, Salon de la Société Nationale des Beaux Arts, 1903, no. 26 (as Entre loge et promenoir, théâtre)
40 by 31.7cm., 15¾ by 12½in.
Eduardo López Chávarri, 'Las Provincias', De Arte, Valencia, 28 August 1904
Ugo Monneret de Villard, 'Anglada', Vita d'Arte, vol. 1, no. 2, February 1908, pp. 80-97
Henri Marcel, 'Hermen Anglada', Gazette des Beaux-Arts, Paris, 1909, pp. 106-117
Augusto Gozalbo, 'Hermen Anglada y Camarasa', Athinae. Revista Argentina de Bellas Artes, no. 31, March 1911, pp. 65-73
Francesc Fontbona & Francesc Miralles, Anglada-Camarasa, Barcelona, 1981, p. 244, Cat B80, catalogued & illustrated (as Entre loge et promenoir)
Gabriel Séailles (by 1909); thence by descent