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Notes
[1] For the most part in this essay, I will refer to the edition used in Alarcón's Obras completas, as it is the most easily available to contemporary readers. However, since the latter is based on the edition of 1880, where certain peculiarities of the first edition arise, I will refer to the text of 1860.
[2] A wide selection of Fortuny's works may be viewed at http://www.artehistoria.com.
[3] A useful summary of and discussion of the latter issue's consideration in recent historiography may be found in Burdiel (Citation1999).
[4] There are evident parallels between some criticisms of and alternatives to Said and what is said here. A useful compilation of recent debate on Said is to be found in Macfie's anthology (Macfie, Citation2000).
[5] For the influence of Italian trends (including the macchiaioli) on Fortuny, see for example González López and Martí Ayxelà (1989, pp. 34, 40, 106). See also Santos Torroella (Citation1988, p. 24). For Fortuny's apparent awareness in 1874 of the differences between his own art, that of the macchiaioli, and the Impressionists, see González López (Citation1996, p. 21).
[6] ‘placing equal values on equal values, illuminating the shadows and colouring them with transparencies. He thus obtained a general clear tone.’