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By Fernando Herrero-Matoses ANTONIO SAURA'S MONSTRIFICATIONS: THE MONSTROUS BODY, MELANCHOLIA, AND THE MODERN SPANISH TRADITION BY FERNANDO HERRERO-MATOSES DISSERTATION Submitted as partial fulfillment of the requirements for the Degree of Doctor of Philosophy in Art History in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Professor Jonathan D. Fineberg, Chair Associate Professor Jordana Mendelson, New York University Assistant Professor Terri Weissman Associate Professor Brett A. Kaplan Associate Professor Elena L. Delgado Abstract This dissertation examines the monstrous body in the works of Antonio Saura Atares (1930-1998) as a means of exploring moments of cultural and political refashioning of the modern Spanish tradition during the second half of the twentieth century. In his work, Saura rendered figures in well-known Spanish paintings by El Greco, Velázquez, Goya and Picasso as monstrous bodies. Saura’s career-long gesture of deforming bodies in discontinuous thematic series across decades (what I called monstrifications) functioned as instances for artistic self-evaluation and cultural commentary. Rather than metaphorical self-portraits, Saura’s monstrous bodies allegorized the artistic and symbolic body of his artistic ancestry as a dismembered and melancholic corpus. In examining Saura’s monstrifications, this dissertation closely examines the reshaping of modern Spanish narrative under three different political periods: Franco’s dictatorship, political transition, and social democracy. By situating Saura’s works and texts within the context of Spanish recent political past, this dissertation aims to open conversations and cultural analyses about the individual interpretations made by artists through their politically informed appropriations of cultural traditions. As I argue, Saura’s monstrous bodies incarnated an allegorical and melancholic gaze upon the fragmentary and discontinuous corpus of Spanish artistic legacy as an always-retrieved yet never restored body. i i Acknowledgements It is a privilege to write a dissertation and this is dedicated to those who made this one possible. I am grateful to Professor Jonathan Fineberg, for believing in me in the first place and for giving me the opportunity to study with him and get to this dissertation done. I am proud that after all these years I can call him my friend. I want to give public gratitude to all the members of my dissertation committee for their active support, and most of all, for their time, dedication, and attention. My conversation with them is by far the most interesting part of this project. I owe special thanks to Professor Jordana Mendelson for her affection and dedication all throughout these years. Her generosity is beyond human understanding. She is the academic and human example that I would like to emulate. I am grateful for being also her friend. I wish to thank Professor Brett Kaplan for being a fantastic reader providing me useful and encouraging feedback. I want to thank her for our walks on the snow and for her commitment to graduate students. To Professor Terri Weissman for all her support. Her political and theoretical standards challenged my analysis that improved the project. Professor Elena Delgado helped me to deal with Spanish cultural studies which addedd a new theoretical perspective to this study. I am thankful for her honesty and for her intellectual rigor, which I aimed in my best of my abilities to have included in my project. I also want to offer my special gratitude to Professor Bruce Rosenstock for his dedication and attention. I learnt immensely by listening to him. I owe him several beers and I am in an un- returnable intellectual and affective debt. I also want to thank Professor Suzanne P. Hudson and Professor Jennifer Greenhill for their support and attention. ii i I would not have got to this point without the friendship of my fellow graduate students in Urbana-Champaign who accompanied me all the way along this journey and who read my manuscript in different stages of the project. To T.J. Tallie for introducing me into the graduate students community and for our many conversations. To my gang in Champaign: Iker García, Antonio Pérez-Núñez, Nikos Vergis, Alex Hovan, Olatz Mendiola and my favourite catalans Romà Rofes and Mariana Nadeu, with whom I shared the anxiety of the academic life during those cold winters. To my fellow collegues and friends at the Art History department Miriam, Kienle, , Maria del Mar González and Lauren Applebaum who shared the difficult moments and uncertainties of graduate life. Writing distant from home is challenging both linguistically and emotionally. I am grateful to my family who supported me in any imaginable way with their love and care beyond an ocean. To my brother and sister for all their support and confidence. To my partner Marta Alepuz, for her unconditional love all throughout this very, very long and demanding process. She has been encouraging me relentlessly all these years. I am grateful for her infinite generosity and for her longstanding faith in me. This project is dedicated to her. I could not have done this without you. And finally and foremost to my parents, who made possible not only my existence, but also supported me during this long and extenuating journey, and for still believing in me. To you my infinite gratitude. i v Table of Contents LIST OF IMAGES……………………………………………………………………………... vi INTRODUCTION: SAURA’S MONSTRIFICATIONS …………..…………..……………...1 CHAPTER 1: THE TERATOLOGY OF THE TORTURED BODY (1956-1968)………..26 CHAPTER 2: THE MONSTROUS BODY AS HUMOROUS AND GROTESQUE (1962- 1978)………………………………………………………………………….………......83 CHAPTER 3: PICASSO, GOYA AND THE MELANCHOLIC BODY OF SPANISH MODERNITY (1978-1992)..................…………………………………………………...…...136 CHAPTER 4: SAURA AND THE SPANISH LITERARY BODY……………….………..190 EPILOGUE: MELANCHOLIC ALLEGORIES OF MODERN SPAIN…..………..…….240 BIBLIOGRAPHY………………………………………………..……………………………245 IMAGES……………………………………….………………………………………………257 v List of Images Fig. 0.1. Saura, Imaginary Portrait of Phillip II, (1967) oil on canvas, (130 x 97 cm)...............257 Fig. 0.2. Franciso de Goya, Half-Summered Dog, (1820-1823) oil transferred to canvas……..258 Fig. 0.3. Saura, Imaginary Portrait of Goya, (1981) oil on canvas, (130 x 97 cm)…………....259 Fig. 0.4. Picasso, Portrait of a Painter after El Greco (1950) oil on plywood (100.5 x 81 cm).260 Fig. 0.5. Francis Bacon, Study After Velazquez’s Portrait of Pope Innocent X (1953), oil on canvas, (153 x 118 cm)…………………………………………………………………….260 Fig. 0.6. Picasso, Las Meninas according to Velázquez, (1957) oil on canvas, (194 x 260 cm).261 Fig. 1.1. Saura, Phenomenon (1954), paint on paper, (45 x 33cm)…………………………….262 Fig. 1.2. Jackon Pollock, Brown and Silver I (1952) paint on paper, (47 x 30 cm)……………262 Fig. 1.3. Saura, Flamenco Dancer (Bailadora), (1954), paint on paper (40 x 27, 5 cm)……….263 Fig. 1.4. Saura, Clea, (1957) oil on canvas (162 x 130 cm)……………………………………264 Fig. 1.5. Saura, Clara, (1957), oil on canvas, (162 x 130 cm)……………………………….....265 Fig. 1.6. Saura, Gris no. 7, (1959) oil on Canvas (162 x 130 cm)………….…………………..266 Fig. 1.7. Francisco de Goya, The Shootings of the Third of May at Principe Pio in 1808 (1814) oil on canvas, (200 x 250 cm)………………………………………………………………267 Fig. 1.8. Robert Capa, Death of loyalist militiaman, (1936), photograph……………………...267 Fig. 1.9. Pablo Picasso, Guernica, (1936) oil on canvas, (349, 3 x 776, 6 cm)………………...267 Fig. 1.10. Saura, Portrait of Mari (1958) oil on canvas (162 x 130 cm)…………………….…268 Fig. 1.11. Saura, Goodbye (Adiós) (1959), oil on canvas (162 x 130 cm)……………………..269 Fig. 1.12. Saura, Imaginary Portrait of Brigitte Bardot (1958) oil on canvas (162 x 130 cm)...270 Fig. 1.13. Saura, Imaginary Portrait of Brigitte Bardot, (1959) oil on canvas (162 x 90 cm)....271 Fig. 1.14. Saura, Imaginary Portrait of Brigitte Bardot, (1959) oil on canvas, (162 x 130 cm).272 Fig. 1.15. Saura, Imaginary Portrait of Brigitte Bardot, (1959), oil on canvas (162 x 130cm)..273 Fig. 1.16. Wilhem de Kooning, Marylin Monroe, (1954) oil on canvas (127 x 76 cm)………..274 Fig. 1.17. Saura, Crucifixion (1959) oil on canvas (162 x 130cm)……………………………..275 Fig. 1.18. Saura, Crucifixion (1959), oil on canvas, (160 x130 cm)……………………………276 v i Fig. 1.19. Picasso Crucifixions, Boislegoup, (1932), ink on paper…………………………….277 Fig. 1.20. Saura, Crucifixion X (1960) oil on canvas (162 x 130 cm)………………………….278 Fig. 1.21. Saura, Crucifixion, Triptych (1959), oil on board, (162 x 197 cm)………………….279 Fig. 1.22. Saura, Crucifixion (1959) oil on board………………………………………………279 Fig. 1.23. Saura, Crucifixion, (1963) oil on canvas (220 x 250 cm)……………………………280 Fig. 1.24. Saura, Crucifixion, 1960, (162 x 130 cm)…………………………………………...280 Fig. 1.25. Saura, Grand Crucifixion Red and Black, (1963) (195 x 243 cm)…………………..281 Fig. 1.26. Velazquez, Christ on the Cross, oil on canvas (1632) (248 x 169 cm)………...……281 Fig. 1.27. Mathias Grunewald, Insenheim Altarpiece (detail) (1515 ca).....................................282 Fig. 1.28. Goya, Saturn devouring his own Son, (1820-1823) fresco………………….……….282 Fig. 1.29. Saura, Crucifixion Red and Black (1963) oil on canvas (130 x 162cm)…………….283 Fig. 1.30. Saura, Brunhilde, (1963) oil on canvas, (162 x 130 cm)…………………………….284 Fig. 1.31. Saura, Hiroshima Mon Amour, (1963) oil on canvas, (162 x 130 cm)……………...284 Fig. 1.32. Saura, Crucifixion, (1971) ink on paper, (70 x 60 cm)………………………………285 Fig. 1.33. Saura, Foule, (1960) oil on canvas…………………………………………………..286 Fig. 1.34. Saura, Foule Paysage, (1959-1960) oil on board (160 x 250 cm)………………...286 Fig. 1.35. Saura, Grande Foule, 1963 (130 x 250 cm)………………………………………….287 Fig. 1.36. Saura, Multitude (1963), oil on canvas, (200 x 250 cm)………………………….....287 Fig. 1.37. Goya, El Aquelarre o El Gran Cabrón, (1820)……………………………………...288 Fig.
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