Spanish painter, born in Córdoba in 1880 and died in his hometown in 1930. He was the son of the painter and Andalusian maestro Rafael Romero Barros, director of the Museum of fine arts of Cordoba, who initiated him into the path of the painting from an early age. Thus, already in 1907 could attend the young Julio Romero de Torres to the exhibition of independent artists in the Círculo de Bellas Artes (Madrid).
The melodramatic realism of his early compositions (such as conscience or love Vividoras) did not seem to preludiar the personal style, so marked characteristic, which then brought out in his mature work. Indeed, following the canvas titled Gypsy muse - who won the first prize in a national exhibition held in Madrid, the cordovan painter adopted a nationalist and folk, attentive to topics centered, and southern line mainly, in the portrait of the Andalusian woman. It is a style that is dominated by the mixture of realistic portraiture with an idealistic air that places his figures in a vague aura of timeless, as if he intended to make a universal archetype of the feminine beauty of the physical characteristics of the Andalusian woman.
Aupado by the prevailing modernist cannons in his time, he managed hits - not exempt from a virulent critical controversy that always accompanied the artistic prosecution of his painting - in several national and international exhibitions such as those carried out in Barcelona (1911), in Madrid (1912) and Munich (1913). But the truth is that in his time he was hailed by painters, writers and Contemplatives of his work, who celebrated the exaltation of nationalist topics disseminated by the work of Romero de Torres; to prove it, suffice it to recall that his painting monographs and catalogues of his exhibitions came authorized by glowing reviews from authors like Jacinto Benavente, Ramón María del Valle Inclán, Gregorio Martínez Sierra and Santiago Rusiñol.
Between copious Gallery of portraits that reflected in his paintings, notably the Lady de Urquijo, the great Bullfighter Juan Belmonte and Pastora Imperio artist; In addition, he painted works as well known as the girl from oranges, mystical love and profane love, Marta and María, poem of Cordoba, La Saeta, Cante hondo, Chiqueta Piconera, girls of the Bank and the altarpiece of love.
Championed a romanticism certainly outdated nowadays, but the taste of the people of his time, Julio Romero de Torres met in each of his paintings a problem posed in the form of copla andaluza, lance of toreo, or episode of romancero gitano. In addition, made special emphasis on the legendary and tragic feelings of religiosity and culture of his countrymen, which explains the immense popularity that enjoyed both in life as many years after having disappeared. During his burial, the humblest members of disadvantaged classes gathered with a large representation of the Cordoba aristocracy, thus witnessing the fervor and admiration that the painter and his work had attracted. The most popular homes of rural Spain exhibited long reproductions of the works of Romero de Torres, often decorating the extensive pages of a few huge almanacs. His memory was also alive, verses and folk ditties, and was present for some time in the illustrations of stamps and paper money. Today, a good part of his work - quite discredited by modern criticism - can be seen in the Museum House that Córdoba has dedicated one of their most universal artists.