Female Artists and the Spanish Pavilion in the International Exhibition in 1937

Dissidences Hispanic Journal of Theory and Criticism Volume 6 Issue 11 Article 11 October 2015 Female Artists and the Spanish Pavilion in the International Exhibition in 1937 Carmen Gaitán Salinas Consejo Superior de Investigaciones Cientificas, [email protected] Follow this and additional works at: https://digitalcommons.bowdoin.edu/dissidences Part of the Contemporary Art Commons, Other Feminist, Gender, and Sexuality Studies Commons, Spanish Literature Commons, and the Women's Studies Commons Recommended Citation Gaitán Salinas, Carmen (2015) "Female Artists and the Spanish Pavilion in the International Exhibition in 1937," Dissidences: Vol. 6 : Iss. 11 , Article 11. Available at: https://digitalcommons.bowdoin.edu/dissidences/vol6/iss11/11 This Article / Artículo is brought to you for free and open access by the Journals at Bowdoin Digital Commons. It has been accepted for inclusion in Dissidences by an authorized editor of Bowdoin Digital Commons. For more information, please contact [email protected]. Female Artists and the Spanish Pavilion in the International Exhibition in 1937 Abstract / Resumen This article aims to elucidate why the majority of Spanish female artists did not participate in the Spanish Pavilion of the International Exhibition in 1937. Only two of them took part in this event. However, there were a lot of female artists in that period. In fact, some artists had a promising career, but it seems that they did not dare to be involved in this exhibition in the Spanish Pavilion. In some cases, the no participation of some female artists could have been a simple coincidence, although it should be pointed out that there could be other reasons related to Spanish society and artists’ lives that determined the limited female intervention in this Pavilion. Keywords / Palabras clave Spanish Republic, Spanish female artists, Pavilion 1937, art and feminism Cover Page Footnote / Si quiere que su cubierta contenga una nota al pie de página... This article is linked to a scholarship holder called “University Teaching Training Programme 2012” (“FPU 2012”) of the Spanish Ministry of Education, Culture and Sports and the research project "50 Years of Art in the Spanish Silver Century (1931-1981) (P.E. de I+D+i, Ref: HAR2014-53871-P). This article / artículo is available in Dissidences: https://digitalcommons.bowdoin.edu/dissidences/vol6/iss11/11 Nowadays, the Spanish Pavilion of the “International Exhibition of Arts and Techniques in Modern Life”, organized in Paris in 1937, is sufficiently well-known, perhaps because it hosted one of the most internationally exhibited paintings or because its miniature model is located inside the Museo Nacional Centro de Arte Reina Sofía. The fact is that both, the Pavilion conceived by Luis Lacasa and José Luis Sert and Picasso’s Guernica , already enjoy the prestige that belongs to them. Works from the Spanish popular exhibition, such as Julio González’s La Montserrat , Calder’s Fuente de Mercurio ( Mercury Fountain ), Miró’s El payés catalán en revolución (Catalonian Farmer in Revolution ), Emiliano Barral’s or Pérez Mateo’s sculptures and, obviously, Josep Renau’s photomontages, can be found in this constructivist space 1. However, women’s contribution to this international event has been highly ignored. Therefore, the object of this article is to get to know how Spanish female artists participated in the above mentioned Pavilion. In order to be part of this, though, previous political commitment was required, something the majority of female artists had already shown by means of their activity during the Republic and the Spanish Civil War. In broad terms, the work that, for example, Maruja Mallo and Pitti Bartolozzi accomplished in the Misiones Pedagógicas (Educational Missions) is rather well-known; the latter with the creation of stages and puppets for children’s plays that were performed in the villages. With the outbreak of the Civil War, this commitment was emphasized and a lot of women affiliated to political associations and unions that emerged. Juana Francisca Rubio, José Bardasano’s 2 wife, joined the Juventudes Socialistas Unificadas (Unified Socialist Youth Movement) where she collaborated by drawing posters; Pitti Bartolozzi, married to Pedro Lozano, got emotionally involved with the Altavoz del Frente (Front Speaker), and the Valencian female artists –Manuela Ballester, partner of Josep Renau, Amparo Muñoz, the artist Manuel Edo Mosquera’s wife, and Elisa Piqueras, who became a relative of Manuela Ballester when she married Joan Renau– got involved in the Valencian organization called Alianza de Intelectuales Antifascistas por la Defensa de la Cultura (Antifascist Intellectual Alliance for the Defence of Culture) (García 1995). A wide number of journals where all of the above mentioned female artists participated appeared, in turn, as written expression mechanisms of those and other organizations. For instance, Juana Francisca in the Boletín del Subcomisariado de Propaganda ( Bulletin of Deputy Superintendent of Propaganda ); Pitti Bartolozzi in the Crónica journal ( Chronicle ), Manuela in Estudios (Studies ) and Nueva Cultura (New Culture ); Elisa Piqueras in Verdad (Truth ) and all the Valencian female artists in the Pasionaria journal, related to the Asociación de Mujeres Antifascistas de Valencia (Antifascist Female Association of Valencia), whose editor was Manuela. The Crónica journal, in its issue number 382, reports the beginning of this new publication and defines it as a “bella obra cultural”. Furthermore, it quotes Manuela: Nuestra Revista responde a las necesidades vitales más hondas de la mujer española en los momentos en que nuestra patria se reconstruye afanosamente en medio de los horrores de una cruentísima guerra civil. Nada hemos querido eliminar de sus páginas, en tanto tenga relación con el trabajo, la lucha, las angustias y las esperanzas de la mujer en esta hora. Aspiramos a que todos los problemas que nos incumben queden planteados en la revista con toda claridad, para orientación de las mujeres y para la justa solución de los mismos 3. In view of the fact that there was obvious concern on the side of these artists, their lack of involvement in the Pavilion’s exhibition is indeed strange. Especially taking into account the fact that the Pavilion wanted to be considered a “state Pavilion” (Alix 50, Cabañas Renau 171), that is, a building that would serve as a propaganda vehicle for the actions and values of the Republic, the grisly Spanish War, the artists’ commitment and the safeguard of their heritage, as well as the suitability of the avant-garde for this political cause. What we know up to this moment is that only two works were selected for this exhibition: Mujer abrazando a un soldado muerto (Woman hugging a dead soldier ) (1937), a drawing by Juana Francisca, and Pesadillas infantiles (Children’s Nightmares ) (1937), a series of engravings from Pitti Bartolozzi. It seems that Pitti Bartolizzi did not take part in the competition, but her engravings were requested. In this way, her daughter says: En Valencia estaba entonces la Dirección General de Bellas Artes, y el pintor Francisco Mateos que es uno de los coordinadores de la organización de los contenidos del Pabellón Español de la República de la Exposición de Artes y Técnicas de París del año 1937 y otras exposiciones que se hacen en Barcelona, le pide que prepare unas obras. Él mismo le enseña la técnica del grabado. Pitti mandará la serie de seis grabados al aguafuerte titulada Pesadillas infantiles y algunos dibujos. Fueron muchos los pintores, dibujantes, grabadores, escultores convocados para estas exposiciones (Lozano, M. 304-305). Firstly, the drawing from Juana Francisca depicts a woman with a deceased soldier in her arms. Its painstaking realism draws our attention to a kind of passive woman who suffers from deaths and whose image serves to raise consciousness in foreign countries. According to Beatriz de las Heras, this representation of passive women was especially frequent since 1937, when the image that our country wanted to send abroad was one of devastation and, therefore, of dire need of evacuation and aid to the Spanish Republic (178-179). On the other hand, Pesadillas infantiles (1937) bears a surrealistic style in line with Ramón Puyol and Francisco Mateos’ own style, consisting of six engravings with child-like characteristics that connect with part of their previous works like Pepín, la Vaca Pepa y Azulina or Canito y su gata Peladilla (Lozano, P. 216-219). These engravings represent the “Guerra” (“War”), the “Aviación Negra” (“Black Air Force”), “El Nuevo dragon” (“The new dragon”), “Pesadilla” (“Nightmare”), “Gas” and “El ogro” (“The ogre”) through monstrous beings related to the Spanish situation and that not only served to criticize the war agents, but also to warn about their more defenceless victims: children. The themes of Juana Francisca and Pitti call for evacuation and intend to raise awareness of the suffering of the civil population. Both of them address aspects that women in war times should focus on, such as children and love towards one another, be it their husband, brother, father or son. These traditionally female roles are stressed by the Civil War, usually by attributing the rearguard tasks to women. There is no evidence of more female presence inside the Pavilion through other means. It could be argued that the publishing house and the Pavilion’s library would help to put the spotlight on other women. Some illustration albums were published for sale, as was the case of Recuerdo de España ( Memory of Spain ) (1937), where Juana Francisca participated (Cabañas Renau 205-206). This was one of the albums done as result of the agreements of the Comisión Interministerial (Interministerial Commission), which devoted money to the publishing of books and pamphlets. These ones would be sold in the Spanish Pavilion and the procedure was executed by Cámara Oficial del Libro (Official Book Chamber) in Madrid. The drawings were published by Seix Barral and were accompanied by writings of the Sindicato de Profesionales de las Bellas Artes (Professional Union of Fine Arts) in Valencia.

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