Eviterna (ISSN: 2530-6014) is a university-based digital publication, research-focused and published annually, dedicated to the dissemination and exploration of culture and the arts in the broadest sense. It was created as an open space for freely accessible contributions, offering a platform for recent, small-scale research by anyone interested in sharing their work with the project. Conceived as an international journal, it originated within the Faculty of Arts and Humanities at the University of Málaga (Department of Art History) as an outcome of the Educational Innovation Project PIE15-060. Since its launch in November 2016, it has been published exclusively in digital format, with the mission of communicating current developments and debates in the fields of the Humanities, Art History, and Culture, while providing a dynamic platform for dissemination and critical reflection. Its contents —articles, reviews, critiques and other scholarly contributions— encompass any historical period and all artistic manifestations or trends relevant to the disciplines within its scope.
All the contents published in Revista Eviterna are subject to the Creative Commons Reconocimento-NoComercia-Compartirigual 4.0 license, the full text of which can be found at <http://creativecommons.org/licenses/by-nc-sa/4.0> They may be copied, used, disseminated, transmitted and publicly exposed, provided that: The authorship and original source of your publication (Journal, editorial and URL of the work) are cited. They are not used for commercial purposes. The existence and specifications of this use license are mentioned. Copyright is of two kinds: moral rights and patrimonial rights. Moral rights are perpetual, inalienable, inalienable, inalienable, inalienable and imprescriptible prerogatives. In accordance with copyright legislation, Revista Eviterna recognizes and respects the moral rights of the authors, as well as the ownership of the economic right, which will be transferred to the University of Malaga for dissemination in open access. The economic rights refer to the benefits obtained by the use or disclosure of the works. Revista Eviterna is published in open access and is exclusively authorized to carry out or authorize by any means the use, distribution, disclosure, reproduction, adaptation, translation or transformation of the work. It is the responsibility of the authors to obtain the necessary permissions of the images that are subject to copyright.
History painting in Spain in the second half of the 19th Century
History painting is a genre that has evolved through all periods of art, although its origins date back as far as the Hellenistic period. Its splendour in Europe was achieved in the first half of the 19th century, while in Spain it reached its peak in the second half thanks to the creation of the National Exhibitions, where the first fourteen exhibitions held in that century recorded the highest number of history paintings, both submitted and winners of medals in the different categories. This research aims to analyse the causality of the rise of this genre in the second half of the 19th century in relation to the social, economic, political, historical and artistic circumstances of the country. Specifically, the National Exhibition of 1887 will be analysed in detail, as it was the one in which most history paintings were presented and won medals, paying special attention to those that referred to the historical past of the Spanish nation. In addition, the authorship of these works and the composition of the jury should be taken into account, as well as the trajectory and the competitiveness or affinity between the participating artists and the members of the jury. Analysis of these circumstances, among others, explains many of the winning works or painters, both at the National Exhibition of 1887 and at the other exhibitions held in the 19th century.
Copyright (c) 2025 Eviterna Journal http://creativecommons.org/licenses/by-nc-sa/4.0
This study examines the transformation of porcelain production in the Zhangzhou kilns, Fujian, during the Wanli period (1573-1620), focusing on its integration into international trade networks. In a context characterized by the increasing scarcity of suitable raw materials and operational challenges in the imperial kilns of Jingdezhen, Zhangzhou potters adopted innovative strategies to meet foreign demand. Their output blended indigenous decorative motifs with designs tailored to the preferences of European and Southeast Asian buyers, facilitating its expansion in transoceanic commerce. The research also explores the influence of maritime conflicts and government-imposed restrictions on commercial activity in Fujian, assessing their impact on the distribution of goods and the development of ceramic manufacturing. Through the examination of historical records and archaeological findings, it is demonstrated that Zhangzhou porcelain gained significant prestige beyond China, establishing itself as a highly valued commodity in intercontinental markets. This investigation highlights Zhangzhou as a paradigmatic example of the relationship between material culture and global trade, emphasizing its adaptability to diverse environments. Its evolution reflects ongoing processes of technical innovation and commercial flexibility that ensured its prominence and recognition in the sixteenth and seventeenth centuries, promoting its circulation beyond the regional sphere and contributing to the expansion of global economic networks.
Conceptual analysis of typical corner in Malaga
In early medieval town planning, in order to preserve the corners of certain buildings, in the context of intricate and narrow urban fabrics, the need arose to protect the architecture from the friction of carriage traffic. The typologies of architectural protection elements are varied and are known as corner guards, corners or marble guards. These elements proliferated especially in the urban planning of the convent cities of the modern age, becoming urban landmarks, now in disuse. The oblivion to which they are subjected does not prevent them from faithfully continuing to carry out their mission of protecting the corners and walls of our historic buildings. Their past existence gives them a new meaning, and, in the specific case of Malaga, they stand as witnesses and members of an urban planning that is disappearing, becoming de facto elements of high heritage value. This article takes a conceptual analysis of Malaga's esquinal, studying the importance of the aljama model present in the northeast corner of the church of El Sagrario. At the same time, as a necessary complement, we analyse their vulnerabilities and the risks to which they are exposed in an exercise to make them visible and enhance their value.
Pazos-López A. y Cuesta Sánchez A. M. (2022). Las imágenes de los animales fantásticos en la Edad Media. Trea.
Bioart is contributing to the contemporary art with a different gaze, new media, and profound reflections on the artistic work and on life. Although there is a lot of literature written on the topic there is a lack of efforts to adequately connect bioartists with Art History, and to deepen the connections between their artistic work and the concept of life, between their artistic practice and biology. The present article aims to make an approach to the reflections around life as art and art as life through a careful selection of 7 ‘exemplary’ bioartistic cases, contextualizing them as follows: First, the most popular bioart work is placed in continuity connection with two landmark works from two distinct moments in the history of art separated in time by more than 400 years; second, three works in which the bodies of the bioartists themselves were intervened on are placed in dialogue with the body art movement; and finally, three works by and pioneers of bioart are linked with the discourse of a recent installation by an emerging artist.
Following the documentary traces of a singular and musunderstood sculpture
The image of the Cristo de la Humildad y Paciencia, found in the village of Jauja (Lucena, Córdoba), is a light sculpture with a material history marked by oblivion. It is a piece whose main interest lies in the sculptural technique in which it is made and which makes it unique in itself as it is not anchored to the usual procedural canons of Spanish Baroque imagery. This peculiarity in itself makes it a notable example which, moreover, could be related to the Novo-Hispanic workshops erected in Mesoamerica in which processes were implemented for the production of sacred works using maize cane as the main material. It is not in vain that numerous pieces of indigenous origin were sent to the Iberian Peninsula from the dawn of the 16th century onwards, also resulting in a clear example of the triumph of the evangelisation carried out by the mendicant orders; in particular, the conversion of the Franciscan order into the basic promoter of many of them. Since its documentation in the 18th century, the work was worshipped in Cabra (Córdoba), where it enjoyed the veneration of the faithful; but time, material deterioration and aesthetic changes -subject to the prevailing fashions in local religiosity- meant that it ended up occupying a secondary place, leaving the sacred precinct to be cornered in an old farm mill. In the 1960s it was rescued and restored for worship in the church of the aforementioned hamlet of Lucena. A series of investigations have allowed us to gain first-hand knowledge of the particularities of the work, which can be related aesthetically to other similar works in a nearby geographical area, all dating from the 18th century.
The altarpiece is an interesting object of study but it is not very developed, there are big deficiencies in the research relating to it. The altarpiece hasn’t been, as a general rule, one of the key elements in the historic-artistic research. Its importance is always linked to architecture or as a receiver of other arts like sculpture or painting, but not as a principal element per se. The research of the different altarpiece artist and their production has expanded the knowledge in this barely known subject. For this reason, the study of Antonio Palomo from a biographical point of view, and from an analysis and knowledge of the works he executed, is a key to a greater general understanding of the Baroque altarpiece and the evolution to a primitive Neoclassicism in Antequera (Málaga), where we can see the common elements (materials, ornamentation, layout...) in those works of this stage and their development, always having as the main source and reference the works of Antonio Palomo. Also, as a result of this study, the attributions of some of his altarpieces will be verified and, it will even be possible to find others that were not believed to have been created by this artist, which leads us to be able to rectify some of the information that had until now or expand knowledge about altarpiece production in this city.
REAL LÓPEZ, I. (2024). LOS OTROS GUERNICAS. EDICIONES TREA
The nativity of the Museo de Bellas Artes de Valencia
This paper proposes an iconographic and iconological analysis of the Nativity panel from the Museum of Fine Arts of Valencia (84/2023). This work, attributed to Joan de Borgonya (doc. 1496–1525), was acquired by the Generalitat Valenciana at an auction organized by Setdart (Barcelona) on March 7, 2023. The central scene depicts the Holy Family, a theme widely explored in religious painting. However, a close examination of the composition reveals a complex visual structure. The viewer is drawn into an intricate labyrinth where architectural elements, secondary scenes, landscapes, and ornamental motifs go beyond mere decoration. These details contain profound narrative and symbolic meanings that require a more in-depth analysis to be fully understood. Despite the significance of this work within the Renaissance pictorial corpus of the Crown of Aragon, no study has yet been published that comprehensively examines each of the elements represented in the painting. To unravel its underlying message, this study adopts a methodological approach that combines direct observation with the analysis of various textual sources. The objective is to interpret the meaning intended by the artist or his patron, a theological message centered on the salvation of humanity through sacrifice, penance, and faith in God.
A failed project by Talleres de Arte in Malaga
During the research process that we have been carrying out for years on the historical and artistic heritage of the Archconfraternity of the Expiración of Malaga, we came across a drawing of a throne of the Virgin in one of the catalogues of the Talleres de Arte Granda available on their website. Some of the processional belongings included caught our attention as we found great similarities with those owned by the corporation. As we were aware of the attempt by the brotherhood at the time to commission a processional throne for its patron saint, we contacted the former archivist of the now defunct Félix Granda Foundation, Emilia González Martín del Río, who confirmed that the original drawing showed the date and destination of the design. The fieldwork carried out previously, backed up by the preserved documentation, confirms the dating of the project and helps us to contextualise the commission, which in the end was not carried out. In this article we will study this project for the Sorrowful Virgin, dated 1943, which was known about through correspondence kept in the archives of the current archconfraternity and which we will expand on thanks to two other sketches sent by those responsible for the documentary collections kept at the headquarters of the Art Workshops. The discovery and study of the sketches represents a new contribution to the knowledge of the company's working process and expands the catalogue of the few pieces dedicated to the procession of Marian images.
Alcoy i Pedrós, r., (2022). Iconografies de la justícia en l'art català medieval i modern. Grup Emac.
New contributions and considerations to the religious production of the Gutierrez de Leon
This paper presents a series of unpublished works attributed to the Gutiérrez de León family, one of the most important sagas of Malaga sculptors on the Andalusian scene between the 18th and 19th centuries. This dynasty worked not only on religious sculpture - which we will focus on in this study - but also on polychromatic masonry and public monuments. The production of this family was distributed throughout Andalusia, and was not confined to the local sculptural sphere, thus showing the city to be the great centre of production at the time. The iconographic type most cultivated by these artists was the Dolorosa; the new contributions we are dealing with present four sculptures, candelabra for dress and made to be worshipped in the private sphere. In this way, we seek to highlight the value of these pieces as they form part of the undoubted catalogue of the authors, while at the same time trying to clarify the graphics argued by this sculptural saga; all of this will allow us to delve deeper into the artistic style, the plastic and more particular features of some of the members of the family, as well as to complete and expand the catalogue that has been put together in recent years.
Copyright (c) 2024 Eviterna Journal http://creativecommons.org/licenses/by-nc-sa/4.0
The everyday hero is an important narrative element in audiovisual discourse, characterized as the reverse of the useless man, a literary figure, born in the 19th century Russian culture and typical of Modernity. Both are parodic descendants of the heroic and wise characters of Premodern literature and they represent as well the resistance against the prosaism and pragmatism promoted by the Industrial Revolution. Furthermore, their aesthetic dynamism and moral ambivalence relate them to a figure originating from traditional literature such as the trickster. In the case of American cinema, we can distinguish a phase of constitution during the Great Depression, then a pessimistic and reflective outlook in the beginning of the post-war period as well as a proliferation of trends at the turn of the century. The performance of some actors and actresses show the potential of these modern figures, capable of demonstrating a civic exemplarity and also opening the door to the issue of female empowerment in everyday life. On the other hand, the everyday hero as a member of the middle-class, placed between the groups of power and the working classes, enables him to self-absorption and lack of awareness about his social role, along with a certain conformity to the status quo.
From Jesus the Nazarene to Jesus of the Great Power
The carving of Jesus of the Grat Power is one of the best known of Seville’s Baroque imagery and, it might be added, one that can be extended to all Spanish sculpture of the Modern Age. For this reason, it is one of the most studied figures in Seville. However, until now His title has been traditionally attributed as a result of the great devotion that its image arouses among the faithful. Thanks to this research, it will be shown how it came about after a lawsuit in the beginning of the 18th century due to the so-called problem of double dedications, and how its name had to be changed. This job is divided in two parts. The first of them is dedicated to the problems arising from double devotions in the city of Seville and how the ecclesiastical authorities addressed this issue, showing some examples located in the General Archive of the Archbishopric. In a second place, the objective is to analyze the file that specifically provides the information concerning the origin of the invocation of the Great Power and why its first name was modified, thus being able to understand that the true cause was the loss of the lawsuit held against the brotherhood of the Silence, stopping at those most notable aspects to contextualize and delve deeper into the cause.
History education and alternative narratives through museums
In this paper we explain the theoretical foundations and activities design of a Proof of Concept Project financed by the Spanish State Research Agency. In this proyect teachers from six Spanish universities, managers and educators from ten national and provincial museums have participated collaboratively together with Secondary Education teachers from three regions. We start from the educational changes that museums are experiencing, reinterpreting the narratives of their pieces, and changing both the subjects and the stories. These changes are connected with new trends in history education research that propose teaching history based on historical thinking (analysis and interpretation of sources, and simulation of the historian's craft), with historical consciousness competencies (reflecting on the connections between past and present, alternative narratives, and controversial heritages). Furthermore, we connect the design of the project with the historiographic currents that in the mid-20th century changed the focus of study from the political trajectory of institutions or kings or national heroes, to ordinary people. The result has been 11 learning situations that have revolved around diversity – sexual and gender, functional – and inequality – economic, gender, social minorities – as well as violence, migration or the democratic construction and labor rights in Spain.
In the immensity of our screen we find a new world, a society without barriers, diverse and in constant evolution, in which the community shares all kinds of images; the interactive coexistence is so broad that it even encompasses different cultures and traditions. For this reason, this article aims to focus on virtual culture through its digital folklore, using elements of this discipline, as well as semiotics, which are argued to be the main methodological tools. Our object of study will be humorous images, specifically the so-called internet memes, and their role as ‘cultural icons’ in contemporary digital folklore. We will analyse their development in the context of web 2.0, with special attention to the case of the Sam Va Lentin meme in Spain. This motif has marked, year after year, the date of 14 February in the national virtual panorama, transforming it into a day where humour, parody, satire and irony take on a leading role. This digital rite, framed within the concept of screenlore, has given rise to novel and original variants, thus establishing itself in the collective memory. Furthermore, the study of internet memes, and in particular the one mentioned above, allows us to better understand the dynamics of digital culture and its impact on society. Through this analysis, we hope to contribute to a deeper understanding of how these types of iconographic resources are integrated and evolve within the coordinates of cyberspace.
The palace of the Urríes in Ayerbe (Huesca) is a modern manor house which, despite its historical and artistic value, has hardly been studied or even visited and is unknown both to researchers and to the public. The aim of this work is to compile, review and increase the knowledge generated about this building and to disseminate it, with the aim of generating a series of activities that will lead to the protection of a building that is currently in a precarious state of conservation. The consultation of documentary, graphic and bibliographic sources has been combined with the analysis of the building, for which techniques such as photography and the generation of 3D models from photogrammetry have been used. With all this, a new dating is proposed that starts from the only document preserved and takes into account the formal characteristics of the building, but also the local historical context, the position and character of its main promoter, its uses, functions and the audience to which it is addressed. On the other hand, based on the analysis of the graphic sources, the evolution suffered by the building in modern times has been verified, paying special attention to the alterations of the original building that have led to the current configuration of the building, to be able to understand the remains that we currently possess. The remains of the Renaissance house today form part of a building that is really a palimpsest, built at very different times, by different promoters and for different uses. However, it is also clear that it is a key building in the understanding of the development of 16th century art in the northern part of Aragon.
This article analyzes Russian film saga Brat (Brother), by Aleksei Balabanov, as cultural artifacts pertaining to the transitional period between the USSR and the Russian Federation (1991-2000). Its most significant aspect is the construction of a Russian hero that exemplifies the values that the country would follow in the upcoming millennium. The result is Danila Bagrov, both an inheritor and renovator of national literary and film traditions. This character and the environment in which he moves are examined according to two criteria: as a heroic agent of the moral and social change proposed by Balabanov, and as a participant of the social dynamics pertaining to the period that brought him into the light. These two facets are responsible for his current status in contemporary Russian pop culture: both a nostalgic relic of a key period in its recent history and an emblem of a national project still in-process. Likewise, the social analysis Balabanov made of his country’s panorama is also exposed; its inherent problems and particularly the dangers that he predicted with the growing westernization product of liberalization, associated with moral and cultural decadence. In this line, it is argued that Brat is a contemporary artistic contribution to the traditional debate between Slavism and westernization advocates –in force within the country for centuries– in favor of a culturally independent Russia, unified, powerful, and nationalistic.
This article investigates the professionalization process of the artist Lolita Díaz Baliño (1905-1963), exploring both her first works as an illustrator in the 1920s and 1930s, as well as her contribution as a creator during the Franco regime, and her dedication to teaching in the last stages of his life. Our main objective is to analyze the various difficulties she faced, especially those related to gender. Aspects such as her self-taught training, her development in a territory far from the main centers of the country's cultural industry, and her growth as a creator within a family of male artists will be examined. Emphasis will be placed on the weight of certain emotional factors that influenced his way of approaching his career, as well as on the contradictions present in the construction of his artistic identity, which oscillated between a position apparently favorable to modernity and an adaptation and internalization of the conventional limits and expectations imposed on women artists during the first half of the 20th century. This analysis aims to offer a deeper understanding of the challenges that women faced in artistic professionalization during this period and, more specifically, the obstacles that complicated Díaz Baliño's individual career; this one, moreover, was developed in a very specific geographical area: A Coruña (Galicia).
Clytemnestra or crime: an artivist and performative body poetics to be dramatised
The poetics of dance is a definition that under Laurence Louppe's perspective has its roots in a performativity centered on 'doing'; it is possible to reflect on the relationship between thought, body and image by identifying the points of confluence of an interdisciplinary performativity that propels innovative teaching and learning processes in the performing arts. The present research attempts to experimentally integrate fragments of an academic and artistic discourse to configure a harmonious and theatricalized totality that exposes the discussion on practices and theories of depth in the formation of performing and audiovisual arts. From this perspective, we approach artistic creation through a proposal associated to a dramatized reading where we include the notion of the corporal as the part that would integrate the theatricalization of a text and its theoretical dissertation as a scenic event in movement; we call it homonymously to Marguerite Yourcenar's text: Clytemnestra or the crime (1992). This article is a first report devoted to the reflection on aesthetic theories and pedagogies of meaning-producing and pertinent practices in the university space. Through various forms of interaction between dance, theater and image -focused on improvisation and intuition as 'artivist' channels that integrate-, the interactive performative dimension enhances the dramatic text and its reflection beyond the stereotypical female image and the traditional codes of the performing arts. A future and second article written by the performer and the undersigned will culminate in a detailed description of the process and its transformation to audiovisual. This dramatized body reading does not illustrate reality or describe it, but goes through it in order to create new meanings.
Una aproximación a la imagen de la muerte en el Pueblo Gitano
This work is an approachment to the image of the death in the gypsies through them tombs. From the cases of the cemeteries of Zamora, Benavente and Toro, cities more populated of Zamora’s province, it will be addressed, on the one hand, that the power of images and their use has enormous significance in the funerary field of the gypsy world. Influenced by the enormous weight that evangelical religion receives, gypsy tombs are contaminated with images, although they do not always resort to figuration. On the other hand, the importance that the tomb has in the daily life of gypsy life is fundamental, since, in addition to receiving frequent visits to it, a series of rituals of an almost domestic nature develop around it that force its maintenance and conservation. The external view qualifies these burials as objects of bad taste, consequently adhering to the aesthetics of kitsch, although the intention of the gypsies who commissioned them does not seem to be in line with any visual scheme or stylistic paradigm, although there are elements of symbolic that connect with certain manifestations of kitsch.
Although the works of the Swedish painter Hilma af Klint (1862-1944) have gone unnoticed during her lifetime and for part of the present, in recent decades her figure has experienced a resurgence, being the subject of exhibitions and studies that recognise her as a pioneer of abstract art. We will discuss her figure to clarify why, despite having created abstract works prior to 1910, it is not the Swedish artist who bears the title of pioneer of abstraction, this merit falling to the Russian painter Vasili Kandinsky (1866-1944). His pictorial work developed in the late 19th and early 20th centuries. Af Klint was an artist who challenged the conventions of her time by fusing art with spirituality, so the importance of esotericism in her work will be analysed, as well as the importance of esotericism in contemporary and earlier manifestations. His relationship with and membership of the spiritualist group Las Cinco (De Fem) will be of special interest. During his membership of this group, he was commissioned to produce his best-known pictorial series, the Temple Paintings, a collection comprising more than 190 works created from 1906 to the present day.
Religious music in Malaga in the second half of the 19th century
Musicological research has overlooked the figure of Juan Cansino Antolínez (1826 ca. - 1897) who was eclipsed by his contemporary Eduardo Ocón y Rivas (1833-1901), founder of the Malaga Conservatory and its Philharmonic Society. Recent contributions from outside the scientific field, however, have highlighted the importance of the former´s professional profile as a composer of both sacred and secular works, as well as his pedagogical facet and his intermittent but long-lasting links with Malaga Cathedral as an organist. This article aims to bring this author closer to the scientific community by putting forward an initial biographical content about him, analysing some of the milestones of his professional and artistic career, offering an insight into his activity in the penitential corporations of Malaga sphere and describing the ambiance surrounding the premiere of his Stabat Mater of 1854, recently recorded by the Malaga Philharmonic Orchestra. To this end, a series of unpublished documentary references from both the archives of Malaga Cathedral and the local press from the second half of the 19th century are offered, which show who Juan Cansino really was.
This article examines the theatrical theory and legacy of the renowned French playwright and stage director Antonin Artaud (1896-1948), taking as its object of study his manifesto The Theatre and its Double (1938), an essential essay for understanding his thought. In his artistic career, Artaud's aim was to seek a theatrical framework that would transcend the spoken word and break with traditional Western conventions, plunging into the depths of human experience. To this end, the artist would cross borders, drawing inspiration from other theatrical traditions of Eastern origin, which gave rise to a critical current around his theory as an Orientalist project. However, these influences resulted in his most relevant theory, the Theatre of Cruelty, a new way of understanding the theatrical space whose development bases all its energies on seeking a reunion between the body and the spirit of the human being through movement. In this context, Balinese theatre will be the author's main inspiration. However, there are many characteristics that this theatrical form shares with other East Asian traditions such as that of Korea. Therefore, this study aims, based on the analysis of the manifesto The Theatre and its Double by the artist Antonin Artaud, to include a new approach to his theory, placing Korean theatre as a new cultural reference in terms of East Asian Art Studies.
Molina Figueras, J. (Ed.). (2023). The Lost Mirror: The image of Jews and Judaism in the Middle Ages
Fernande Olivier y el avance de Pablo Picasso al cubismo
Marina Picasso escribió con respecto a la relación de su abuelo con sus compañeras que «las embrujaba, las digiría, y las plasmaba en sus lienzos» (Picasso, 2001, p. 180). Lo que no tomó en cuenta es el hecho que aquellas mujeres jugaron un papel vital en el proceso creativo del artista, a menudo estimulando grandes cambios en su carrera. Aunque no aprobamos de ninguna manera su comportamiento hacia el sexo opuesto, este artículo se concentra en el impacto crucial que una de sus primeras compañeras, Fernande Olivier, tuvo en su obra mientras Picasso avanzaba hacia el Cubismo. El estilo del artistas fue cambiando al inicio de su convivencia con ella en el Bateau-Lavoir, consolidando el conocido Período Rosa. La influencia transformadora de Fernande continuará por algún tiempo, alcanzando puntos críticos durante dos viajes que hicieron juntos a España. Como se sabe, el joven Picasso regresaba a su país de origen cuando se disponía a hacer importantes cambios en su estilo. Éste fue el caso definitivamente durante estas dos visitas a Gósol en 1906 y Horta en 1909. La primera condujo al desarrollo del llamado Periodo Ibérico en el que se centró progresivamente en el uso de máscaras, aplicándolas en un principio al rostro de Fernande. Ella será igualmente un componente esencial durante la segunda estancia en España, cuando Picasso desarrolla en Cubismo Geométrico. Aquí de nuevo, el artista projectó los nuevos descubrimientos en se compañera, intentando integrar pintura y escultura en sus lienzos a través de los rasgos de ella.
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Apropiaciones, supervivencias y memoria cultural en la cerámica de Picasso
Este texto explora y analiza cómo Picasso consiguió activar la memoria cultural en su diálogo con el público. Mediante su arte, el artista actualiza los significados que han cargado el imaginario humano desde la Antigüedad. El estudio de las cerámicas figurativas, constituidas por volúmenes en los que la memoria de la función del objeto permanece inscrita, muestra la manera en la que Picasso alcanza a unir las artes prehistóricas, antiguas y extra-europeas con el arte tradicional popular mediterráneo. Apropiaciones de todas las clases, supervivencias de la Antigüedad, alusiones a las culturas vernaculares, así como sensibilidad y empatía para las culturas no-occidentales, juegan un papel determinante. Picasso ancla sus creaciones cerámicas en la memoria colectiva, activando las imágenes que están ahí almacenadas, mediante la renovación y a través de la transposición al arte moderno de un repertorio antiguo con un alcance universal. Así, crea una interacción entre lo que el observador ve, lo que imagina y aquello que recuerda.
El 50º aniversario de la muerte de Picasso brinda la oportunidad de revisar su enfoque del arte. Mi artículo reconsidera su Suite Vollard (1930-37), una serie de 100 grabados que habitualmente se describen, de alguna manera, como no concordante con la modernidad, como representante de un estilo legítimamente 'naturalista' o 'tradicional', y que no tienen casi nada que ver con su(s) 'modo(s)' anterior(es) de trabajar. Está demostrado, sin embargo, que la naturaleza cambiante, fragmentada y equívoca de su carpeta de grabados indica una forma de creatividad mucho más híbrida. Es similar, por ejemplo, a las hibridaciones de Demoiselles d'Avignon (1907) del artista y sus collages y papiers collés c. 1912. De este modo, me resisto a la tendencia a ver la serie de grabados de Picasso a través de la lente más bien monocular de un estilo definitivamente "clásico" o "neoclásico". Al tratar de desestabilizar y reformular los lenguajes y construcciones que han plagado constantemente la Suite de Picasso, sugiero que sus 100 láminas son parte de una estratagema más amplia para deshacer los lugares comunes que siempre han definido las historias del arte.
Towards a review of the concept "classic Picasso" (1915-1923)
The present study will try to determine the consecration of the concept "classic Picasso" to allude to the work made by the artist between the years 1914 and 1923. This idea was defended by Anthony Blunt and Phoebe Pool in the 1960s, authors who found in the work of the artist from Malaga certain allusions to classic or classicist works, this allowed them to frame said work in the movement of the return to order. These ideas were based on the work of Alfred Barr and on the magazine Cahiers d'art edited by Christian Zervos. We will deal with what each of these authors understands by "classic Picasso", both in the formal aspect, as well as in the thematic and iconographic aspect. Finally, we will contrast his ideas with more recent theories defended by authors such as Palau i Fabre or Elizabeth Cowling, who from the 1990s began to notice subjective elements in the artist's work that moved away from the classical ideal, while defending the prolongation of his cubist style in the works of those years. Thus, the present study aims to present a multiple and diverse Picasso during the proposed stage, capable of working with contrasting poetics, always using an innovative language that was far from responding to the classical canons.