GARDEN

The “First Garden” is the one that welcomes visitors and was probably designed by the same architect who designed the house, Enrique María Repullés y Vargas (1845-1922). But it was undoubtedly Sorolla himself who chose the key features of the garden, inspired by the Alcázar of Seville, which had left a deep impression on him. The raised arched colonnade, with its classic fountain in the foreground and tile-decorated staircase, are a close imitation of the Troy Garden (Jardín de Troya) of the Alcázar of Seville.

The “Second Garden” was the work of Sorolla himself and was not finished until 1917. This was the last to be built. It is characterised by its parterres and channel of water, such as those that Sorolla had seen and painted in the Gener-alife in Granada, from where he brought, along with the inspiration, some myrtle plants that are still preserved to this day.

The finishing touch was the gift of a Roman statue—a toga-wearing figure—that Sorolla was given in 1916 and which took pride of place in the background of this garden.

Sorolla always wanted a garden to paint in and for his family to enjoy. When he built his new house, he devoted an enormous amount of attention to his garden. This is shown in the various drawings in which he laid out his ideas. The project was developed in three phases, giving rise to three spaces with very different styles.

Photograph of the facade of Sorolla’s House. In front, the “First Garden”. Lluis Casals. 2015.

The garden of Sorolla’s House, 1916. Oil on canvas.

“Jardín del grutesco”. Alcázar of Seville, 1908. Oil on canvas.

Photograph of the “Second Garden” from the “First Garden”. Lluis Casals. 2018.

GARDEN

The “Third Garden”, enclosed between the house itself and the wall of the neighbouring property, was once probably somewhat dark before Sorolla brought it to life by installing a large pond that brightened the sur-roundings with its reflection. The sculpture presiding the pond—entitled Las Confidencias—is the work of artist Francisco Marco Díaz-Pintado (1887–1980). The pergola, with its arbour, would have been one of the favourite places for family gatherings. His wish to add colour to this area led Sorolla to tile the stairs leading to the studios. A fundamental element of this garden is the series of columns and sculptures that separate the third and second gardens: a scene that Sorolla painted many times, and that even served as a background in some portraits.

Columns and sculptures line the pathways between the three gardens, making each point of view richer and more interesting. Sorolla gave his garden a solid archi-tectural structure that was accompanied by the strong green accents of the evergreen hedges, assuring the presence of colour at all times with an abundance of multihued tiles. Visitors are accompanied by the discreet yet continuous trickle of water from the four fountains,

which is something that Sorolla learnt at the Alhambra. These are the elements that have maintained the shape and purpose of Sorolla’s garden since its creation.

The rigorous restoration project that was undertaken in 1991 improved its entire infrastructure but left the essential aspects of its design untouched.

Some original plants remain, but obviously many have been replanted over time. Sorolla planted traditional flowers such as roses, lilies, geraniums and wallflowers; bushes such as oleander and lily, boxwood and myrtle; and trees such as black locust, cy-presses, almond and orange trees, but he also introduced species that were more recent additions to Spanish gardens, such as rho-dodendrons, azaleas and hydrangeas, which were more typical of cooler climates but which thrived in the shadiest part of the pond. Today the garden has a huge variety of species, carefully selected to maintain the original exuberance of the garden and the colours that Sorolla enjoyed so much. Clotilde in the garden, 1919-1920. Oil on canvas. Behind, the wallflower

parterre.

Photograph of wallflower parterre.

Rhododendrons in the first garden.

Photograph of the yellow rosebush on the colonnade.

Photograph of the entrance to the First Studio, decorated with tiles.

Photograph of the “Third Garden”, with the pond presided over by the Las Confidencias sculpture.