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Although not considered an impressionists, Sorolla used many impressionists techniques. His characteristic impasto--thick application of paint--exposed canvas, loose brushwork, and attention to the effects of light and atmosphere closely parallel the impressionistss' style. Considered the pre-eminent painter in Spain at the turn of the twentieth century, Sorolla, like the impressionistss, preferred full-length, plein-air portraits.

María at La Granja combines these elements. Notice how the white paint captures the intensity of the sunlight and provides contrast for the patterns of shade. Look at Sorolla's use of spontaneous and diagonal brushstrokes in the background that suggest the flickering of sun through shadows cast by trees. His free use of yellows, tans, and white highlights accent the young woman's dress. And notice that the whites, lit by sunlight, are not purely white, but are composed of a broad range of color.

Sorolla began painting plein-air portraits in 1904, using his wife as his model. By 1906 he had begun to pose other family members. This painting features the artist's eldest daughter, María, and gives no hint of the tuberculosis that she suffered from for years.

This painting was included in the Museum's inaugural exhibition in 1926. The donor, Archer M. Huntington, founder of the Hispanic Society of America in New York, met Sorolla at an exhibit of his work. Huntington invited Sorolla to exhibit his works at the Hispanic Society; Huntington purchased this painting and later gave it to the Museum. In 1930, the Hispanic Society gave San Diego a gift of El Cid, the bronze sculpture located near SDMA. The sculpture was created by Anna Hyatt Huntington, the wife of Archer M. Huntington.

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