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Ángeles and Fuensanta Audiodescription.

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• Ángeles and Fuensanta

This work from 1909, “Ángeles y Fuensanta,” appear in the scene seated next to the windowsill where it can be made out through the darkness of the dusk at the river's bank, the Campo de la Verdad and in the distance the hills of the Visos.
Angeles, on the left, is dressed in a white lace blouse, brown-gray skirt that clings to her legs and a black shawl. Her thin and long hands are holding a medallion with a miniature portrait. Her deep dark eyes and peaceful look, contrast with her pale skin. Her delicate features are marked by a thin nose and a small mouth. Fuensanta, figura de la derecha, viste de negro, con encajes blancos en puños y cuellos. Sus manos sostienen una carta abierta, donde aparece la firma del pintor, y en las rodillas un mantón rojo. Her pale oval face frames her dark eyes, thin nose and small mouth. She stares at the viewer. Fuensanta, on the right, is dressed in black with white lace on her cuffs and collar. Her hands are holding an open letter, where the signature of the painter is found. On her knees there is a red shawl.
This piece belongs to the period in which the painter became inspired by an appealing way of expression, a bit enigmatic, and always symbolic. The mystery of this composition comes from the open letter and the medallion; that is the reason why the young man is strolling by the river's bank.
It’s a scene with great mysticism in which the characters are drawn with sobriety and balance. It is announced in this magnificent portraits what years later would be the most prolific feature of the painter: the portrait. The individuality of the characters is a constant subject in the artwork by Romero de Torres; that is why, they are isolated elements without a relationship between them despite of forming part of the composition.
In “Angeles and Fuensanta,” this individuality and lack of communication is perceived. In such way, if we got rid of one of them and constructed a new canvas the piece would still have the same feeling, because they are really two authentic portraits isolated in the same painting.