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Ramon Casas En Nueva York. Sorolla, Zuloaga, Y Huntington
Publicado en Cuaderno de Sofonisba, 28/04/2017 http://cuadernodesofonisba.blogspot.com.es/2017/04 /ramon-casas-y-archer-mhuntington.html Ramon Casas en Nueva York. Sorolla, Zuloaga, y Huntington Emiliano Cano Díaz Investigador independiente [email protected] Al hilo de la exposición “Tesoros de la Hispanic Society of America” que se celebra actualmente en el Museo del Prado, es oportuno recordar el primer viaje a EEUU del pintor Ramon Casas, y sobre todo su estancia en Nueva York desde mediados de febrero hasta el 20 de Abril de 1909, coincidiendo con las exposiciones individuales de Joaquín Sorolla (8 de febrero al 8 de marzo) e Ignacio Zuloaga (21 de marzo al 11 de abril) en la Hispanic Society de Archer M. Huntington. El viaje de Ramon Casas, que había comenzado el 28 de octubre del año anterior partiendo en barco desde Cherburgo (Francia) se debió, en palabras de su amigo Miquel Utrillo, “a la muerte de su novia, cosa que duraba desde hacía 16 años, del modo que el disgusto ha sido mayúsculo” (Carta a Francisco Valladar. 18/1/1909). La novia de Casas, Emilia Huet i Bas, había fallecido el 10 de septiembre de 1908, y la invitación al viaje provenía de Charles S. Deering, hombre de negocios, coleccionista de arte, admirador de Casas, y amigo también de los afamados pintores John Singer Sargent y Anders Zorn. Así, aunque el viaje supusiera por una parte una válvula de escape para el pintor después de una importante pérdida personal, también presentaba a priori una buena oportunidad profesional en la que darse a conocer al público americano, con la ayuda y complicidad de Deering. -
La Voz September 2005
WWW.LAVOZ.US.COM PERIÓDICO BILINGÜE ABRIL • APRILH 2011 PO BOX 3688, SANTA ROSA, CA 95402 VOLUME / VOLUMEN X, NUMBER / NÚMERO 5 ¡Nueva galería de fotos de La Voz ! www.lavoz.us.com 50% INGLÉS – 50% ESPAÑOL, un periódico comunitario producido y operado en la región. 50% IN ENGLISH! BILINGUAL New La Voz photo gallery! www.lavoz.us.com The Voice 50% ENGLISH – 50% SPANISH NEWSPAPER locally owned and operated © 2011 • La Voz • 50¢ community newspaper. BILINGUAL NEWSPAPER ¡50% EN ESPAÑOL! El Mejor Periódico Bilingüe del Norte de California NORTHERN CALIFORNIA’S FOREMOST BILINGUAL NEWSPAPER DOS IDIOMAS, DOS CULTURAS, UN ENTENDIMIENTO BalenciagaBalenciagaandSpain, and Spain, de YoungoungMuseum, Museum, SananFr Francisco TWO LANGUAGES, TWO CULTURES, BalenciagaBalenciagayEspaña, y España, MuseoMuseoDe De Young, enenS SananFr Francisco ONE UNDERSTANDING ¡VENGA A CELEBRAR EL 10mo. ANIVERSARIO DEL CENTRO PARA LA JORNADA DIARIA DE GRATON! viernes, 8 de abril, 2011 de 7pm - 11pm Sebastopol Community Cultural Center, 390 Morris St, Sebastopol, CA Compre sus boletos por Internet: brownpapertickets.com Precio de $25 - $50. Gratis-niños menores de 14. No se rechaza a persona alguna por falta de fondos. Para boletos e informacion llame al 707.829.1864 www.gratondaylabor.org COME CELEBRATE THE 10TH ANNIVERSARY OF THE GRATON DAY LABOR CENTER! Friday, April 8th, 2011 from 7pm - 11pm Spain, ca. 1922. Mantón de Manila (shawl) Silk, polychrome silk floral embroidery. The Hispanic Society of America, New York, gift of Mary Ellen Padin 2002. Foto de / Photo by Ani Weaver Sebastopol Community Cultural Center La colonización española en Filipinas inició en el siglo XVI, asimismo durante la infancia de Cristóbal Balenciaga mucha de la riqueza de la costa vasca aún se derivaba del intercambio 390 Morris Street, Sebastopol, CA 95472 con ese país. -
Female Flamenco Artists: Brave, Transgressive, Creative Women, Masters
Ángeles CRUZADO RODRÍGUEZ Universidad de Sevilla Female flamenco artists: brave, transgressive, creative women, masters... essential to understand flamenco history Summary From its birth, in the last third of nineteenth century, and during the first decades of the twentieth, flamenco has counted on great female leading figures -singers, dancers and guitar players-, who have made important contributions to that art and who, in many cases, have ended their lives completely forgotten and ruined. On the other hand, in Francoist times, when it was sought to impose the model of the woman as mother and housewife, it is worth emphasizing another range of female figures who have not developed a professional career but have assumed the important role of transmitting their rich artistic family legacy to their descendants. Besides rescuing many of these leading figures, this article highlights the main barriers and difficulties that those artists have had to face because they were women. Keywords: flamenco history, women, flamenco singers, flamenco dancers, guitar players 1. Introduction Flamenco is an art in which, from the beginning, there has been an important gender segregation. Traditionally women have been identified with dancing, which favours body exhibition, while men have been related to guitar playing and to those flamenco styles which are considered more solemn, such as seguiriya. Nevertheless, this type of attitudes are based in prejudices without a scientific base. Re-reading flamenco history from gender perspective will allow us to discover the presence of a significant number of women, many of whom have been forgotten, whose contribution has been essential to mold flamenco art as we know it now. -
Coup De Fouet
Coup4 de fouet 2004 Unveiling Art Nouveau in Tblisi Desvelant el Modernisme a Tblisi Riga: walking in the Art Nouveau metropolis Riga: passejant per la metròpoli del modernisme Josep Palau Oller, textile and toy designer Josep Palau Oller, dissenyador de teixits i joguines Coup de fouet Capitals and decorative graffitos on the chevet of the function room in the Caixa Sabadell building. 3 Capitells i esgrafiats decoratius a la capçalera del saló d’actes de l’edifici de la Caixa Sabadell. © Arxiu audiovisual Caixa Sabadell singular Sabadell, a rendez-vous with catalan Modernisme Caixa Sabadell Sabadell t the beginning of the 20th century, the Art century, building work began on two beautiful examples of Nouveau movements did more than put Catalan Modernisme, located right in the middle of the city, forward a new architectural and decorative between the Central Market and the main thoroughfare of La style. Their audacity signalled a leap beyond Rambla: the headquarters and social foundation buildings traditional forms in favour of free respectively of the savings bank Caixa Sabadell. Both schemes imagination, and towards a search for other were drawn up by the architect Jeroni Martorell i Terrats artistic languages. Its driving forces were (Barcelona 1873-1951), theorist of the magazine Catalunya who Avitality and a desire for art to break through established introduced the ideas of the Viennese Secession. In 1915, Martorell boundaries. The great European cities, at least, immediately i Terrats would become responsible for the cataloguing and espoused the new artistic concepts, and artists from all disciplines preservation of monuments for the Catalan regional government, had their say. -
RUSIÑOL (Barcelona 1861 - Aranjuez 1931)
- RUSINOL English Cover - Stately Garden. Raixa II (Majorca, 1902, private collection) SANTIAGO RUSIÑOL (Barcelona 1861 - Aranjuez 1931) The leader of the Modernist movement Santiago Rusiñol was the eldest son of a family of textile manufacturers with a factory in Manlleu and an office on Carrer de la Princesa in Barcelona. At the age of twenty- eight, when he was married with one daughter, he decided to turn his back on middle class life and become a professional painter. The atmosphere created by the Barcelona Universal Exposition of 1888 prompted him, the following year, to set off for Paris. There he took up a Bohemian lifestyle, first in Montmartre and then on the Île Saint-Louis, where he moved in 1895. Rusiñol immersed himself in the intellectual and artistic circles of the city that was then the epitome of modernity and played a key role in importing the new trends into Catalonia and Spain. Towards the close of the century, he frequented the Académie de la Palette, where Pierre Puvis de Chavannes worked, met the musician Erik Satie, became an habitué of Le Chat Noir and Le Mirliton alongside Toulouse- Lautrec, saw Maeterlinck's plays, attended performances at the Théâtre de l'Œuvre and Antoine's Théâtre-Libre, and Reciprocal Portraits (Santiago Rusiñol and Ramon Casas) (c. 1890, Cau Ferrat) observed the new advertising techniques – posters, cafés and newspapers. Rusiñol assimilated all the new aesthetic trends that were emerging in Europe in the wake of the crisis of Positivism and Realism – notably the Decadent facet of Symbolism – and made his own personal interpretation of Zola's Naturalism. -
Spain and the Philippines at Empire's End | University of Warwick
09/25/21 HP310: Spain and the Philippines at Empire's End | University of Warwick HP310: Spain and the Philippines at View Online Empire's End (2016/17) Adam Lifshey. 2008. ‘The Literary Alterities of Philippine Nationalism in José Rizal’s “El Filibusterismo”.’ PMLA 123 (5): 1434–47. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/25501945?seq=1#page_scan_tab _contents. Alda Blanco. n.d. ‘Memory-Work and Empire: Madrid’s Philippines Exhibition (1887).’ Journal of Romance Studies 5 (1): 53–63. https://contentstore.cla.co.uk/secure/link?id=f9466952-5520-e711-80c9-005056af4099. Anderson, Benedict. 16AD. ‘First Filipino.’ 16AD. http://www.lrb.co.uk/v19/n20/benedict-anderson/first-filipino. ———. 1991. Imagined Communities: Reflections on the Origin and Spread of Nationalism. Rev. and ext. ed. London: Verso. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2727725. Arbues-Fandos, Natalia. 2008. ‘The Manila Shawl Route.’ 2008. https://riunet.upv.es/bitstream/handle/10251/31505/2008_03_137_142.pdf?sequence=1. Camara, Eduardo Martin de la. 1922. ‘Parnaso Filipino. Antologia de Poetas Del Archipielago Magallanico.’ 1922. https://ia802609.us.archive.org/13/items/parnasofilipino16201gut/16201-h/16201-h.htm#p 103. Castro, Juan E. de. 2011. ‘En Qué Idioma Escribe Ud.?: Spanish, Tagalog, and Identity in José Rizal’s Noli Me Tangere.’ MLN 126 (2): 303–21. https://doi.org/10.1353/mln.2011.0014. ‘Christian Doctrine, in Spanish and Tagalog (Manila, 1593; World Digital Library).’ n.d. https://www.wdl.org/en/item/82/view/1/5/. ‘Competing Colonialisms: The Portuguese, Spanish and French Presence in Asia. -
Primeros Dibujos En Prensa Del Pintor Joaquín Mir
PRIMEROS DIBUJOS EN PRENSA DEL PINTOR JOAQUÍN MIR PAINTER JOAQUÍN MIR’S FIRST DRAWINGS IN PRESS INOCENTE SOTO CALZADO Universidad de Málaga. España [email protected] Los cuadros del pintor Joaquín Mir, admirados por su cromatismo, tienen su base en un dibujo ejemplar, practicado desde el comienzo de su formación, un período poco estudiado. Al inicio de su carrera profesional recibió una gran influencia de su primer maestro y de su pasión gráfica. La ilustra- ción le sirvió para darse a conocer a través de las páginas de las revistas gráficas de final del siglo XIX, haciendo propios los temas y formas heredados en un corto espacio de tiempo. Se presentan sus cer- canías al pintor Luis Graner y sus primeras publicaciones en Barcelona Cómica y Madrid Cómico, as- pectos no desvelados hasta el momento, junto a un ensayo de hemerografía. Palabras clave: Joaquín Mir; ilustración; Barcelona Cómica; Hispania; Picasso. The paintings by the artist Joaquin Mir, admired by their chromaticism, are based in a exemplary drawing practiced since his formative years, a period little studied. He was greatly influenced by his first teacher and his graphic passion at the beginning of his professional career. The illustration hel- ped to make him known through the pages of the graphic magazines in the end of 19th century, ma- king own the themes and forms inherited in a short time. His proximity to the painter Luis Graner, his first publications inBarcelona Cómica and Madrid Cómico and a hemerographical essay are presented in this paper. These aspects have no been revealed until this moment. -
García Márquez, Gabriel ''Cien Años De Soledad''-Sp-En.P65
García’s Cien Gregory Rabassa Cien años de soledad ONE HUNDRED YEARS OF SOLITUDE de by Gabriel García Márquez Gabriel García Márquez tr. by Gregory Rabassa bajado de Libros Tauro Avon Books, http://www.LibrosTauro.com.ar New York, USA [incontables errores de escaner sobre todo de concordancias] I. Chapter 1 Muchos años después, frente al pelotón de fusilamiento, el coronel MANY YEARS LATER as he faced the firing squad, Colonel Aureliano Buendía había de recordar aquella tarde remota en que su padre Aureliano Buendía was to remember that distant afternoon when his lo llevó a conocer el hielo. Macondo era entonces una aldea de veinte casas father took him to discover ice. At that time Macondo was a village of de barro y cañabrava construidas a la orilla de un río de aguas diáfanas que twenty adobe houses, built on the bank of a river of clear water that ran se precipitaban por un lecho de piedras pulidas, blancas y enormes como along a bed of polished stones, which were white and enormous, like huevos prehistóricos. El mundo era tan reciente, que muchas cosas care- prehistoric eggs. The world was so recent that many things lacked names, cían de nombre, y para mencionarlas había que señalarías con el dedo. and in order to indicate them it was necessary to point. Todos los años, por el mes de marzo, una familia de gitanos Every year during the month of March a family of ragged gypsies desarrapados plantaba su carpa cerca de la aldea, y con un grande would set up their tents near the village, and with a great uproar of alboroto de pitos y timbales daban a conocer los nuevos inventos. -
Avila Gillian M 2020 Masters.Pdf (12.22Mb)
REPOSITIONING THE OBJECT: EXPLORING PROP USE THROUGH THE FLAMENCO TRILOGY MARIA AVILA A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS GRADUATE PROGRAM IN DANCE YORK UNIVERSITY TORONTO, ONTARIO APRIL, 2020 © MARIA AVILA, 2020 ii Abstract Reflecting on the creation process of my flamenco trilogy, this thesis explores how one can reposition iconic flamenco objects when devising, creating, and producing three short films: The Fan, The Rose and The Bull. Each film examines personal, historical, and local relationships to iconic flamenco objects, enabled through the collaboration with filmmakers: Audrey Bow, Dayna Szyndrowski, and Clint Mazo. iii Dedication I wish to dedicate this thesis to my mother Pat Smith. An inspirational teacher, artist, arts enthusiast, and the most wonderful mother a daughter could ask for. Miss you. iv Acknowledgements The journey to complete my MFA would not have been possible without the support of many individuals. Thank you to my collaborators Audrey Bow, Dayna Szyndrowski, Clint Mazo, Michael Rush, Sydney Cochrane, Bonnie Takahashi, Josephine Casadei, Verna Lee, Adya Della Vella, and Gerardo Avila for contributing your time and your talents. Thank you to my friends and family, you indeed made this all possible. Thank you to Connie Doucette, Adya Della Vella and Gerardo Avila, for your unconditional support. To my love Clint for risking it all and taking this journey with me. Thank you to my welcoming and encouraging classmates Emilio Colalillo, Raine Madison, Natasha Powell, Lisa Brkich, Christine Brkich, Patricia Allison, and Kari Pederson. Thank you to my editor Nadine Ryan for your dedication, enthusiasm and critical eye. -
LAS MUJERES Y UN PINTOR. La Imagen De La Femme Fatale Y La Mujer Española De Principios De Siglo XX
MÁSTER UNIVERSITARIO EN ESTUDIOS FEMINISTAS TRABAJO FIN DE MÁSTER LAS MUJERES Y UN PINTOR. La imagen de la femme fatale y la mujer española de principios de siglo XX NOMBRE Y APELLIDOS: Nuria Rodríguez Díaz TUTORA: Asunción Bernárdez Rodal FECHA DEFENSA: 25/09/2012 CURSO ACADÉMICO: 2011-12 Facultad de Ciencias Económicas y Empresariales 1 Índice 1. Introducción………………………………………………………………...pg. 3 2. Aspectos teóricos y metodológicos de la investigación…………………...pg. 4 3. Cuerpo central de la investigación………………………………………...pg. 9 3.1 Análisis de la obra……………………………………………………..9 3.2 El autor y otras obras………………………………………………...11 3.3 Ramón Casas y el dibujo……………………………………………..17 3.4 Localización de la obra en su contexto original……………….........21 3.5 Documentación sobre la obra………………………………………..22 3.5.1 El periódico………………………………………........22 3.5.2 La revista………………………………………………23 3.5.3 La colección………………………………………........25 3.5.4 La exposición…………………………………………..25 3.6 Iconografía y contexto histórico-feminista…………………….........26 3.7 Indumentaria y accesorios…………………………………………...28 3.8 Fuentes de inspiración………………………………………………..31 3.9 Topografía……………………………………………………….........33 3.10 Importancia de la obra…………………………………………….....34 4. Conclusiones……………………………………………………………..pg. 36 5. Bibliografía y biblioweb………………………………………………....pg. 39 6. ANEXOS…………………………………………………………………pg. 40 2 1. Introducción Este estudio pretende establecer una serie de relaciones y desencuentros entre la imagen de la llamada femme fatale en oposición a la tradicional imagen perpetuada de la mujer española de comienzos del siglo XX. Quizás la investigación nos conduzca a establecer más distancia o más cercanía entre estos dos prototipos de mujeres tan populares y tan distantes uno del otro. Sirviéndonos de una obra maestra del pintor Ramón Casas, tomando en particular su vida y su obra como hilo conductor del estudio, seremos capaces de analizar en profundidad la mirada que este artista le dedicaba a las mujeres que retrataba y que compartían su vida de cualquier manera. -
Ricard Opisso: Arte, Historia, Humor Y Deporte
Documento descargado de http://www.apunts.org el 25/01/2011. Copia para uso personal, se prohíbe la transmisión de este documento por cualquier medio o formato. 138 CUANDO EL DEPORTE SE HA C E A R T E Ricard Opisso: arte, historia, humor y deporte RAMON BALIUS I JULI En los trabajos publicados en esta en 1980, en la introducción de la Expo- habitual sección d’APUNTS (Cuando el sición Conmemorativa del Centenario Deporte se hace Arte), sin perder el ca- del nacimiento del artista, estas pala- rácter artístico genérico del título hemos bras: “El año mil novecientos veintio- querido siempre relacionar el deporte cho, con motivo de una exposición de con el arte, con la historia e incluso con Ricard Opisso en les galerías Maragall el humor. Este artículo está dedicado a de Barcelona, el glosador de L’Esquella Ricard Opisso i Sala, artista que cumple de la Torratxa, Viray –posiblemente ampliamente estas tres vertientes cultu- el periodista Màrius Aguilar–, dedicó rales. las siguientes frases al dibujante y a su Josep Maria Cadena, que sin duda es obra: ‘El arte personalísimo, la manera el historiador y crítico de arte que más justa y particularísima de ver las cosas y páginas ha dedicado a Opisso, escribía los hombres que tiene Opisso, dan un Figura 1 Opisso por Picasso Figura 2 Picasso por Opisso (1900). (1897). Colección Smaranch APUNTS MED ESPORT. 2009;163:138-47 07 DEPORTE ARTE 1084 CAST (138-1138 138 16/10/09 08:28:32 Documento descargado de http://www.apunts.org el 25/01/2011. -
Encounters with Nelida Tirado, José Moreno and Calvin Hazen
Studio BFPL: Encounters with Nelida Tirado, José Moreno and Calvin Hazen Nelida Tirado, dance José Moreno, voice Calvin Hazen, guitar LAND "Solea" abbreviated from the word "Soledad' often referred to as the Mother of the flamenco forms, means loneliness. The feeling and content of the music/dance is generally serious in nature, often with a sententious tone conveying a feeling of intimate pain and despair. SEA "Alegria" meaning joy, is of the family of vibrant flamenco forms of the rich port and naval station of Cadiz, Spain. Situated on a slice of land surrounded by sea, it boasts some of Spain's most beautiful architecture, beaches and sunny climate. The feel of the piece reflects the lively life there often referencing sailors and many seas. Accompanied by a mantón de manila, the manila shawl is very popular in Andalucia for festive occasions and also used as an accessory in the dance. The women use shawls to enhance and add drama to the performance twirling it around her body and air. AIR "Cantiñas" originating in the area of Cadiz in Andalucia, is festive reflecting the feeling of Cadiz where cantiñear is synonym of playing and improvising. Elements inherent of the spirit of cantiñas. About Nelida Tirado Nelida Tirado began her formal training at Ballet Hispanico of New York at the age of six. Barely out of her teens, she was invited to tour the U.S. with Jose Molina Bailes Españoles, a soloist in Carlota Santana’s Flamenco Vivo, soloist and dance captain in Compañía Maria Pages and in Compania Antonio El Pipa.