José María Ucelay Uriarte

(Bermeo, Biscay, 1903 – Bilbao, 1979)

Danzas suletinas (Souletin Dances)

1956

oil on canvas

152.4 x 270.3 cm

Inv. no. P01482

BBVA Collection Spain



José María Ucelay played an instrumental role in Spain’s twentieth-century art scene and particularly in Basque figurative painting. Well conversant with the happening new movements in international art in this time, Ucelay’s practice reveals the influence of
and
in the interwar period in his representations of Basque landscapes and characters.

This painting, presented by Ucelay at the Venice Biennale 1956, is widely regarded as one of the most outstanding works in his career. Indeed, it is a good example of his signature style, defined by intimate naturalism notable for its technical thoroughness, almost reminiscent of an Arabic typology, and for the importance of light, that reinforces the palette.

The work depicts a typically Basque landscape: in the background, the foothills of a mountain range in twilight; in the main scene, a large number of dantzariak (dancers) from the Olaeta Ballet are enjoying a lively afternoon in the open air under the attentive eyes of some spectators. Some of them are dancing in the middle ground, directed by the enseñaria. Others members of the group are sitting leisurely in the foreground. Among them we see, left to right: the
, looking on at the rest of the scene; the gathusain, seated on a long bench holding a wooden scissor-like instrument; the
, lying back with her hands behind her head and dressed in 19th century French fashion. And practically at the centre of the composition, seen in profile and arms crossed, is the
, regarded as one of the most important dancers in the group.

This painting allows us to minutely observe the costumes of the characters taking part in the Souletin masquerade, as well as the various elements and musical instruments used in the popular dances from Iparralde and Zuberoa (French Basque Country). In the foreground there is a splendid still-life of musical instruments: on a cloth, at the feet of the gathusain, we see a drum and an alboka—a wooden instrument with two horns and a handle, with a sound similar to that of a bagpipe. On the right, a txun-txun —a wooden string instrument played with a bow—and a black txirula—a kind of flute. Worth underscoring is the documentary importance of this ethnographic study, reflecting Ucelay’s interest in immortalising and extoling the popular culture of his native land.