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INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly fi’om the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms international A Bell & Howell Information Company 300 Nortfi Zeeb Road, Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9105248 Andalusian dress and the Andalusian image of Spain: 1759—1936 Worth, Susannah, Ph.D. The Ohio State University, 1990 Copyright ©1990 by Worth, Suaaimah. All rights reserved. UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 ANDALUSIAN DRESS AND THE ANDALUSIAN IMAGE OF SPAIN: 1759-1936 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University by Susannah Worth, B.A., M.S. ***** The Ohio State University 1990 Dissertation Committee; Approved by L. R. Sibley K. A. Jakes Adviser C. Noel Department of Textiles and Clothing H. Crane Copyright by Susannah Worth 1990 ACKNOWLEDGEMENTS I would like to express thanks to my adviser. Dr. Lucy Sibley, for her encouragement and guidance. Thanks are also due to my committee members, Drs. Howard Crane, Kathryn Jakes, and Charles Noel, for their insightful and constructive comments on this study. Thanks also go to the many museums and libraries both in this country and in Spain which were so helpful to me in the course of this research. The Graduate School Alumni Research Award and a Graduate Research Award from the Department of Textiles and Clothing made it possible to conduct research in Spain. I wish to express my gratitude to Miriam Kahn, Nancy Scott, and Suman Shenoi who very kindly gave of their time by proofreading this document and helping to dry-mount the illustrations. Thank you. A very special thanks for some very special help throughout my graduate studies goes to Dr. Elizabeth Kingsbury, Sunny Bates, and A.J. My deepest appreciation is expressed to Richard Ford, George Borrow, and to all my other fellow travelers whose names may be most readily found in R. Foulché-Delbosc's ii Bibliographie des Voyages en Espagne et En Portugal. Without their work this dissertation would not have been possible. Ill VITA 1973.......................... Certificate in Fashion Writing London College of Fashion London, England 1976.......................... B.A. Schiller College, London, England 1984-1986 .................... Graduate Teaching Assistant, University of Rhode Island Kingston, Rhode Island 1984-1986 .................... Guide/Caretaker, Watson House University of Rhode Island Kingston, Rhode Island 1986 .......................... M.S. Textiles and Clothing - Historic Program University of Rhode Island Kingston, Rhode Island 1987-1989.....................Administrative Associate - Historic Costume and Textile Collection Teaching Associate Department of Textiles and Clothing The Ohio State University PUBLICATIONS 1986 Embroidered China Crepe Shawls; 1800-1870. Unpublished master's thesis, University of Rhode Is1and. 1986 Embroidered China Crepe Shawls: 1816-1863. Dress, 12., 43-54 FIELDS OF STUDY Major Field: Textiles and Clothing - Historic Minor Field: History of Art IV TABLE OF CONTENTS ACKNOWLEDGEMENTS........................................ ii VITA............................. iii LIST OP F I G U R E S ........................................ viii CHAPTER PAGE I. INTRODUCTION ........................................ 1 Purpose of the Study.................................... 4 Limitations ............................................. 5 Terminology ............................................ 6 Ii . REVIEW OF LITERATURE..................................10 Spain and Andalusia: History and C u l t u r e ................ 10 Majismo and Costumbrismo............................... 13 The Image of Spain...................................... 14 Spanish Dress .......................................... 18 Elements of Spanish Dress ........................... 20 The Maja Style...........................................21 The Gitans Style........................................ 22 Dress in the 18th, 19th & 20th centuries................. 22 Styles of Dress ...................................... 22 Revival Dress ........................................ 24 Masquerade Dress........................................ 25 Dress as Comuni cat io n .................................... 27 The Clothed I m a g e ........... 29 Summary ............................................... 35 III. METHODOLOGY.......................................... 37 Primary Sources ........................................ 37 Travel Accounts ...................................... 37 Works of Art............................................. 38 Extant Costumes ...................................... 40 Data Collection......... ............................. 40 Data A n a lysis............................................. 43 IV. DEVELOPMENT OF THE IMAGE, 1759-1808 ....... 44 Spanish Dress .......................................... 44 Andalusian D r e s s .............................. 47 The Majas and Maja Dress............................... 48 The Gitanas and Gitana Dress........................... 54 The Prevalence o£ Andalusian Dress in A r t ..............56 In Fête Galantes........................................ 60 In Portraits.......................................... 62 For Masquerade......... 64 Summary and Discussion.................................... 66 V. THE IMAGE EXPRESSED, 1809-1868 ................... 68 Spanish Dress.......................................... 68 Andalusian Dress ..................................... 70 The Majas and Mandas and Their Dress............. 72 The Majas and M a n d a s ............................. 72 Maja and Hanoi a D r e s s ........................... 73 Gitanas and Their Dress ........................... 77 The Cigarreras and Their Dress .................... 83 Occasions for Which Andalusian Dress Was Worn. 86 Festivals............................................ 86 The Bullficht........................................ 88 Dance................................................. 90 Portraits and Masquerade .......................... 93 The Andalusian Image of Spain........................ 95 Souvenirs and Books................................. 97 In A r t .............................................. 98 On the S t a g e .......................................... 100 The Elements of Dress as S y mbols...................... 103 Discussion and S u mmary.............................. 105 VI. SIMPLIFICATION OF THE IMAGE, 1869-1936 ......... 107 Spanish and Andalusian Dress ........................ 107 Majas, Mandas, and Chulas and Their Dress .... 110 Gitana Dress ........................................ 112 Cigarerras and Their Dress............................ 116 Occasions for which Andalusian Dress was Worn. 118 Festivals...............................................119 The Cruz de M a y o ............... 122 The Romeria del Rocio................................. 123 Bullfights............................................ 124 Dance................................................... 125 The Andalusian Image of Spain................. 127 In A r t .......................................... 130 Masquerade................. 135 On the S t a g e .......................................... 135 The Elements of Dress as Symbols...................... 137 Discussion and Summary ............................... 140 vi VII. SUMMARY, IMPLICATIONS, RECOMMENDATIONS........... 142 Summary................................................... 142 Implications .......................................... 147 Recommendations. ..... .......................... 148 LIST OF REFERENCES........................ 150 APPENDICES A. Historical Chronology ............................. 165 B. Glossary. ..... ................... ..... 167 C. Fashion in the 18th, 19th, and 20th Centuries . 173 D. Worksheet.......................................177 E. M u s e u m s .........................................17 9 FIGURES. .......................................... 183 Vll LIST OP FIGURES FIGURES PfGE 1. Map of Spain, (from Morris' The Presence of Spain). 183 2. Map of Spanish provinces in the eighteenth century. (from Hargreaves-Mawdsley's Eighteenth-Centurv Spain 1700-1788)......................................
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  • Orientalisms the Construction of Imaginary of the Middle East and North Africa (1800-1956)

    Orientalisms the Construction of Imaginary of the Middle East and North Africa (1800-1956)

    6 march 20 | 21 june 20 #IVAMOrientalismos #IVAMOrientalismes Orientalisms The construction of imaginary of the Middle East and North Africa (1800-1956) Francisco Iturrino González (Santander, 1864-Cagnes-sur-Mer, Francia, 1924) Odalisca, 1912. Óleo sobre lienzo, 91 x 139 cm Departament de Comunicació i Xarxes Socials [email protected] Departament de Comunicació i Xarxes Socials 2 [email protected] DOSSIER Curators: Rogelio López-Cuenca Sergio Rubira (IVAM Exhibitions and Collection Deputy Director) MªJesús Folch (assistant curator of the exhibition and curator of IVAM) THE EXHIBITION INCLUDES WORKS BY ARTISTS FROM MORE THAN 70 PUBLIC AND PRIVATE COLLECTIONS Francisco de Goya y Lucientes (National Calcography), Francisco Lamayer, César Álvarez Dumont, Antonio Muñoz Degrain (Prado Museum), José Benlliure (Benlliure House Museum), Joaquín Sorolla (Sorolla Museum of Madrid), Rafael Senet and Fernando Tirado (Museum of Fine Arts of Seville), Mariano Bertuchi and Eugenio Lucas Velázquez (National Museum of Romanticism), Marià Fortuny i Marsal (Reus Museum, Tarragona), Rafael de Penagos (Círculo de Bellas Artes de Madrid, Institut del Teatre de Barcelona, MAPFRE Collection), Leopoldo Sánchez (Museum of Arts and Customs of Seville), Ulpiano Checa (Ulpiano Checa Museum of Madrid), Antoni Fabrés (MNAC and Prado Museum), Emilio Sala y Francés and Joaquín Agrasot (Gravina Palace Fine Arts Museum, Alacant), Etienne Dinet and Azouaou Mammeri (Musée d’Orsay), José Ortiz Echagüe (Museum of the University of Navarra), José Cruz Herrera (Cruz Herrera