Eusebio Planas y Franquesa (1833-1897) remains a somewhat enigmatic figure in Spanish lithography, with scant details available about his life today. As a prolific artist and a leading illustrator of novels from 1850 to 1897, Planas contributed visually to iconic literary works such as “The Three Musketeers” and “The Count of Monte Cristo,” which were immensely popular during his time and have since solidified their status as classics.
Having honed his lithography skills in Paris, Planas not only mastered the intricate techniques of the art form but also brought back to Spain a refined local approach. Additionally, he infused his work with the fervor of French lithographers, particularly evident in their dedication to producing anti-clerical and erotic literature. Planas played a crucial role in transferring this distinctive blend of techniques and thematic exploration to the Spanish artistic landscape, leaving an indelible mark on the realm of illustration in the late 19th century.
Fig. 1. Eusebi Planas by Escaler, 1891 (Wikipedia.org)
Fig. 2. Painting by Planas (deblog-notes.com)
Fig. 3. Historia de una mujer, 1880 (librorum.piscolabis).
In the majority of cases the sexual act depicted in shunga take place in the bedroom, either in a private house, an inn or a brothel. But there is also a great diversity of locations. ѕex While Cooking For example)
Fig. 4. deblog-notes.com
To Paris And Back
Eusebio Planas was born in Barcelona in the family of a ɩаwуeг who wanted the son to follow in his footsteps. Planas was гeɩᴜсtапt to make a career in jurisprudence, so eventually, his parents had to send him to the Escuela de la Lonja (The School of Arts and Crafts of Barcelona). After studying there for some ᴛι̇ɱe, Planas apprenticed in the lithographer’s workshop. In 1849, when Planas was barely sixteen years old, his father sent him to Parisian lithographer Emile Lassalle to learn the latest trends in lithography. Lassalle was an honored artist who would become a Knight of the Legion of Honor in 1861. With his protection, Planas began working for the publisher Goupil. His first remarkable lithograph was a portrait of Eugenia de Montijo, the wife of Napoleon III, on horseback dressed as an Andalusian. During his ᴛι̇ɱe in Paris, Planas also ɱaпifested himself as a caricaturist. In 1854, the artist returned to Barcelona because of the cholera epidemic oᴜtЬгeаk in Paris.
Fig. 5. Academias de Mujer (palauantiguitats.com)
Fig. 6. Academias de Mujer (palauantiguitats.com)
Fig. 7. Academias de Mujer (palauantiguitats.com)
Fig. 8. Academias de Mujer (palauantiguitats.com)
Fig. 9. Academias de Mujer (palauantiguitats.com)
Fig. 10. Academias de Mujer (palauantiguitats.com)
Fig. 11. Academias de Mujer (palauantiguitats.com)
Fig. 12. Academias de Mujer (palauantiguitats.com)
Fig. 13. Academias de Mujer (palauantiguitats.com)
Fig. 14. Academias de Mujer (palauantiguitats.com)
Fig. 15. Academias de Mujer (palauantiguitats.com)
Mixing Business With Pleasure
Upon returning to Barcelona, Planas encountered a disheartening reality regarding the local printing standards, as noted by the art historian and collector Raimon Casellas. Casellas observed, “[He discovered that] the lithograph printers of Barcelona had not made significant strides in the quality, graining, and preparation of the stones. The excessive use of acid for reproduction and the forced large print runs resulted in harsh and coarse impressions, lacking the smooth gradations, fine modeling, and lightness of line that characterized Planas’ work.”
Despite Barcelona’s limitations, Planas, shaped by his studies in Paris, emerged as an outstanding lithographer in Spain, setting a standard that proved difficult to surpass. His mastery was evident in the nuanced gradations and delicate modeling that defined his work. Simultaneously, Planas, known for his dandy aesthetic, led a vibrant social life, indulging in the pleasures of parties and gambling, crafting a lifestyle that reflected both his artistic excellence and his penchant for the decadent.
Fig. 16. Historia de la prostitucion (deblog-notes.com)
Fig. 17. deblog-notes.com