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Museo Ignacio Zuloaga - Items filtered by date: June 2020

As you tour the museum, please help us to protect our common heritage.

The works of art on display here are unique and valuable objects that it is our duty to conserve for future generations.

For this reason, to ensure that everyone can enjoy their visit to the museum to the full, and to help the gallery attendants in their work, we need your collaboration.

Please abide by the following rules:

  • The works of art are fragile and can be easily damaged, so please do not touch them.
  • Intellectual property and reproduction rights limit the free circulation of photographs of works of art: you are not allowed to take photographs or film inside the museum.
  • To avoid disturbing other visitors, you are not allowed to use your mobile phones in the exhibition rooms.
  • There are toilets in the museum.
  • You are asked not to bring food or drinks into the rooms. Likewise, the law does not allow you to smoke inside the museum. For security reasons, you are also not allowed to bring umbrellas, packages or bags measuring more than 40 x 40 cm into the museum.
  • Children are welcome in the museum: please keep them with you at all times and make sure they behave correctly.
  • For the comfort and convenience of other visitors, group visits of up to 15 people are allowed, provided they are accompanied by a tour leader.

Thank you very much for your cooperation.

01 Jun


Ignacio Zuloaga Museum. Pedraza Castle.

In 1908 the great Eibar-born painter declared “I no longer wish to paint anywhere else but in Castile, the most beautiful place in Spain. I can assure you there were I not married, I would already be on the train heading for my beloved Segovia”.

And in 1909: "... I have but one regret, and that is not being able to live forever in that most magnificent Segovia…”

In 1917:" ... I have been travelling to Segovia for eighteen years now; it is there that I have painted all my major works, and it is my wish to continue painting for as long as I am able, as it is a region that has won a place in my affections…”

In 1934, in Paris, Gilbert Gillaume-Reicher published a magazine interview with the artist that included the following phrases: “Quels sont vos endroits préférés en Espagne, Maître? -J’aime Grenade, et le Mulhayacen, mais surtout j’aime Ségovie”.

And in 1945, just a few months prior to his untimely death, he confessed, “That is the reason why I love Castile so deeply; that is the reason Castile has shown me the totality of its light and shadows, its bold contrasts of blues, reds and yellows, and the incomparable shades of grey of its distant hazes; the cornerstones of those defining settings and the only integral landscapes that have formed a constant presence on my palette”.

In 1925, Zuloaga chose the Castle of Pedraza de la Sierra, standing atop a rocky outcrop in the province of Segovia, to satisfy his burning desire for a home in Castile.


Now, and as of the autumn of 2011, his granddaughter, María Rosa Suárez Zuloaga, offers Pedraza, Segovia and all those that visit the castle a magnificent collection of works by this Basque master, as well as objects of immense value from an art collection that, under the influence of his father, he gradually built up from an early age.

Ignacio Zuloaga made his first visit to Segovia towards the end of 1898.

His discovery of Segovia and the first works he painted here would position him at the forefront of the European art world.

Indeed, it was in 1889 whilst staying in the family home of Daniel Zuloaga, his wife and children, that he painted a portrait of Daniel and his eldest daughters Cándida and Esperanza. Just a few months after its completion, it was sold in Paris to the French government and hung in the Luxembourg Museum. The portrait was entitled “My uncle and my cousins”.

Almost immediately following this sale, the Belgian government acquired the painting entitled “The Mayor of Riomoros and his wife” for the Antwerp Museum and “Tipos segovianos” (Men from Segovia) for the Ghent Museum.

On 18th May 1899 he married Valentine Dethomas, a young lady from one of Bordeaux’s leading bourgeoisie families. They enjoyed an extended honeymoon, which included a long stay in Segovia. That year the artist was awarded First Prize in the Barcelona Art Exhibition.

In early 1902 he was made a member of the Paris Salon, which would lead to later exhibitions of his works in Brussels, Berlin, Cologne and Düsseldorf.

In Segovia he found peace and quiet and motifs to portray on canvas. In 1900 he was accompanied by his lifelong friend, the artist Pablo Uranga y Díaz de Arcaya.

Together they rented the abandoned "Casa del Crimen” or House of Crime. The painting entitled “Ignacio and Uranga painting" by Daniel Zuloaga, provides a fascinating glimpse of life in the mansion, where a large, somewhat bleak room with just a huge wooden trunk and easels for furniture would become the artists’ studio. It is highly likely the over the following years this studio would witness the creation of works such as "Enano y dos tipos segovianos" (Dwarf and Two Men from Segovia), "Aldeano segoviano con capa y sombrero" (Segovia Villager with Hat and Cape), "El poeta Don Miguel" (The Poet Don Miguel) , "Antes del paseo" (Getting Ready for a Walk) , "El sereno" (The Night Watchman), "La calle del amor" (The Street of Love), "Coquetería gitana" (Gypsy Coquetry), "Dos bebedores" (Two Drinkers), "Penitente con una calavera" (Penitent with a Skull), "Viejas casas de Segovia" (Old Houses in Segovia), "Rincón segoviano" (A Corner of Segovia), "Preparativos para la corrida" (Preparations for the Bullfight), "El piropo" (The Compliment), "El vendedor de miel" (The Honey Seller), "El alcalde de Torquemada" (The Mayor of Torquemada) and perhaps others besides.

In 1903 he was awarded a Gold Medal in Venice. That same year saw the start of his regular correspondence with Rodin, which would develop into a close friendship that would last until the sculptor’s death. Indeed it was Rodin who, in 1910, introduced Ignacio Zuloaga to the great Segovia guitarist and master of classical Flamenco music, Amalio Cuenco, who would also become a lifelong friend.

The Spanish committee excluded Zuloaga from the group that was to represent Spain. The Italian government reacted by extending a special invitation to the artist. He presented a total of twenty-five works, including fourteen of his “Segovian paintings” and was awarded the King of Italy’s Grand Prize.

His works would travel to Berlin, Dresden, Düsseldorf, Stuttgart, Munich, and the success of these exhibitions would lead to others in London, Glasgow, Rotterdam, Vienna, Prague and Budapest. Zuloaga wrote, “In Munich I have set up my three rooms myself and the exhibition is to open on Thursday. The Infanta Paz brought her entire family to see my paintings and left in a state of shock”.

This 1912 exhibition was indeed attended by the Spanish princess, the wife of Ludwig Ferdinand of Baviera, who often spent the summer in La Granja and would visit Segovia in the company of aristocratic families.

In 1914 he would attend the Paris Salon of the National Society of Fine Arts for the last time. His previous visits were in 1894, 1898, 1899, 1903, 1905, 1980 and 1912. 1914 was the year that the Zuloaga family moved to their home in Zumaya, situated on the Santiago Echea Estate that Ignacio had purchased and restored. Here, in addition to a studio, was the museum housing his art collections, the chapel and a guards’ house.

His sense of personal satisfaction was enhanced when, during this same year, he purchased the house in Fuendetodos where his much-admired Goya had been born. He would open a school in the town and build a monument in honour of Zaragoza-born genius, the work of Julio Antonio (1920).

He played an active role in the 1922 edition of the Cante Jondo Competition in Granada, encouraged by his love of music and his friendship with the organisers, who included Manuel de Falla, Antonio Chacón, Andrés Segovia, Ortega Munilla, Rusiñol, Gallego Burín, and his protégé, Amalio Cuenca.

His dearly-loved Uncle Daniel has passed away in 1921. In 1924 he attended the tribute Segovia paid to this illustrious ceramicist. Emiliano Barral was commissioned to create the bust, but Ignacio played a hand in adding the defining features to his face.


He then purchased the castle in the town of Pedraza. His unconditional friend Rodao, his closest ally since his arrival in Segovia and who had earned his total confidence, left a written account of one of his many journeys to Pedraza in the company of Zuloaga (04.09.12) as well as news of the purchase of the castle in April and November of 1925, as attested by the Notary Public of Segovia Luis Rincón Lezcano on 11th April 1928.

Even in those days Pedraza was far off the beaten track, yet the views from the castle, standing proudly atop a rocky outcrop like a Greek acropolis, stretched for miles and miles. It was a place of rest and meditation. The great Basque artist painted just three works. The “Zuloaga issue” a topic of heated debate in newspapers and cafés for many years, was soon a thing of the past.

Today there is no need to defend Zuloaga; his artistic genius is acknowledged and admired around the world. He retreated to his castle to rest, mediate and avoid having to defend himself. Between the walls he rebuilt for his studio and to enjoy family life, he felt that he was at last in Castile – in his castle – the Castile that he loved so deeply and proved such as rich source of inspiration.

These were years of intense activity for Zuloaga. In 1926, Rodao, in an act of unparalleled courtesy, asked Zuloaga to give away his daughter Adela at her wedding to a leading member of Segovia’s society, Ignacio Carral. And it is in 1926 that Spain paid its first tribute to the works of this distinguished artist by granting him an exhibition in the Palace of Fine Arts that was inaugurated by King Alphonse XIII.

That same year he reproduced the courtyard of the “Los Vizacaínos Tavern” in two drawings that illustrated Falla’s “Master Peter’s Puppet Show”.

Following the proclamation of the Republic, in 1931 he was appointed President of the Madrid Modern Art Museum Trust.

From then on he painted numerous portraits, particularly of his friends, some of whom formed part of the Generation of 98. In 1938 he was awarded the Mussolini Grand Prize at the Venice Biennale.

It was now that he would finally reap the rewards of the glory he had in fact achieved many years previously. In Madrid, the heart of Spain, he was admired, celebrated and presented with numerous accolades. Ignacio Zuloaga died suddenly in his Las Vistilla studio in Madrid on 31st October 1945.

Mariano Gómez de Caso 

01 Jun


contenido de rodaje de películas

01 Jun


Delving deep into the history of Pedraza, a Roman stronghold, is a formidable task. The parish church tower rises up above the houses that huddle inside the surrounding wall. Two fortifications keep it safe from intruders: the town gates and its famous castle.

The General History of Spain, commissioned by King Alphonse X the Wise, reads as follows: “Trajan was a Spaniard, born in a town of Extremadura, named Pedraza”.

During the Muslim occupation it is quoted as being the temporary residence of the Caliph of Cordoba Abdul Rahman (731-788).   

Following the re-conquest of the occupied territories by Alphonse VI, Pedraza passed into the hands of the lords of the nearby Sepúlveda, and later Bishopric of Segovia (following a papal bull by Calixtus in 1123). Up until the middle of the 14th century the town belonged to the Crown.  

This was the time when King Alphonse XI gave the town to his son, Don Fadrique, although it would soon return to the jurisdiction of the Crown.

Later, when Enrique de Trastamara was seeking lands to reward those that had fought with him against his brother, King Peter (1369), Pedraza was given to Fernando Gómez de Albornoz.

John I, son of Henry , nicknamed the Mercenary, gave the town and its castle to García González de Herrera. The coat-of-arms of the Herrera family can still be seen on the castle walls.

The 15th century saw this family’s hold over the town and castle come to an end. The town was part of the dowry Blanca de Herrera, the only daughter of Don García, took with her on her marriage to Bernardino Fernández de Velasco, II Constable of Castile, III Count of Haro and I Duke of Frías (1472). The house in Frías was sold to residents of Navafría, and it was María González Vicente and her sons Victoriano and Eloy García González who eventually passed it on to Ignacio Zuloaga.



The walls surrounding the town probably date back to the early 11th century. A hundred years later, Pedraza had been totally enclosed within the confines of a sturdy wall. A gateway with a large fortified tower was built in the most suitable spot, and can still be seen today, forming, together with the tower, a truly formidable fortification. 

This gateway to the town, was permanently guarded to keep a close eye on the people and supplies that entered the town.

In time, the watchmen were allowed to open and close the gates at daybreak and sunset, a tradition that would continue until the first quarter of the 20th century. Life had to take its course, yet this lack of openings through which to stealthily slip through made it the perfect location for a prison. Above the space taken up by the archway, the rooms were distributed on several levels. The prison of Pedraza was claimed to be one of the most dismal in all Castile.    




Pedraza is one of those towns that ennobles not just Castile, but indeed the whole of Spain. The main square is one of the most authentic and attractive in the region; nothing is out of place; it has remained unchanged for centuries.

The inn, pharmacy, eateries, church, town hall, the odd noble house. Colonnades resting on slender columns – an anarchical arranged of columns facing south and west provide much welcome shade for those forced to bear the relentless summer sun and the harsh snow storms of winter.

Like the town hall, the church boasts a gallery from which to watch the bullfights, processions or other events that take place in the town.

A stroll along any of the streets leading off the main square and lined with stone houses with walled ashlar façades will stir up the dust that has accumulated over the centuries. And one such street will take us directly to the castle.

Mariano Gómez de Caso

01 Jun


 Ignacio Zuloaga Museum. Pedraza de la Sierra Castle, Segovia.


“Intramural” courtyard:

Open all year from Wednesdays to Sundays. Please ask about visits on Mondays and Tuesdays.

Summer opening hours: 11 a.m. - 2 p.m. and 5 p.m. to 8 p.m.
Winter opening hours: afternoons, from 4 p.m. to 6 p.m.
The visit includes the “Intramural Courtyard”, “Main Courtyard” and the “Museum in the North Tower”, which houses works by  Ignacio Zuloaga and a Decorative Arts exhibition.


The museum in the tower:

The artist’s private rooms and studio in the keep, with works by Ignacio Zuloaga and other artists, as well as exhibits of immense value.

Tours on the first Friday of the month. Prior booking required.


Check availability for events.

Information and bookings:
Tel: +34 921 509825; Mobiles: + 34 680156274 / 616244426 ,

María Rosa Suárez Zuloaga, nieta del pintor eibarrés, impulsa la apertura del Museo taurino Ignacio Zuloaga.

El Norte de Castilla 15 de marzo de 2012

01 Jun


01 Jun


01 Jun


El Salon de la biblioteca