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Paasen, A.A.M. Van 1.Pdf Angela van Paasen This thesis is about the role of visual representation in the creation of an image of Spain as a desirable place for foreigners to visit in the nineteenth century. Although nowadays Spain is one of the most popular tourist destinations of Europe, for a long time the country had a negative reputation which made it unattractive to travellers. From the end of the eighteenth century onwards perceptions of Spain started to change; the country acquired ‘new’ identities and was discovered as a tourist destination. Art played an important part in this re-imaging. Scholars have studied the role of visual art in the formation of Spain's national identity, both in terms of self-images and hetero-images. Existing studies focus on representations of landscapes and architecture, which are connected to the Islamic history of Spain and thus prone to orientalizing or exoticizing. As a result, on the one hand scholars speak of a 'foreign orientalizing gaze' and Spanish artists trying to resist or even correct this gaze; on the other hand it has been demonstrated that foreign artists did not always exoticize their Spanish subjects and that presupposed Spanish attempts to neutralize these subjects (as opposed to exoticizing them) are debatable. The main research question of this thesis is: In what ways did nineteenth-century Spanish and foreign artists respectively contribute to the re-imaging of Spain as an exotic, desirable place for foreigners to visit? In order to critically evaluate and nuance existing views, this thesis takes traditional folkloric dancing scenes – a subject in itself unrelated to Spain's Islamic history – as its topic, and a comparative analysis of representations created by both Spanish and non-Spanish artists is the focus. With imagology as a reading strategy, stereotypes, contra-stereotypes and significant differences in portraying traditions between Spanish and non-Spanish artists have been identified. In conclusion, the analysis shows that both Spanish and non-Spanish artists contributed to the imaging of Spain as an attractive, exotic travel destination, but in the representations of Spanish artists there are more convincing contra-stereotypes which point to a more authentic manner of representation. I Angela van Paasen ....................................................................................................................... V Chapter 1: Introduction .......................................................................................................... 1 1.1. The rise of foreign tourism to Spain ............................................................................................. 1 1.2. Romantic representations ............................................................................................................ 2 1.3. Status quaestionis ........................................................................................................................ 3 1.4. Introduction of the research question ......................................................................................... 5 1.5. Method .......................................................................................................................................... 7 Chapter 2: Outline, context, methodology and theoretical framework ................................... 9 2.1. Structure ....................................................................................................................................... 9 2.2. Art in nineteenth-century Europe .............................................................................................. 10 2.2.1. The Picturesque .................................................................................................................... 11 2.2.2. Exoticism .............................................................................................................................. 12 2.2.3. France and Great-Britain..................................................................................................... 13 2.2.4. Costumbrismo ..................................................................................................................... 14 2.3. Methodology ............................................................................................................................... 15 2.3.1. Justification of the selection................................................................................................. 16 2.3.2. Timeframe ............................................................................................................................ 16 2.3.3. Focus .................................................................................................................................... 17 2.3.4. Imagology............................................................................................................................. 17 2.4. Theoretical framework ............................................................................................................... 19 2.4.1. Othering................................................................................................................................ 19 2.4.2. Orientalism ......................................................................................................................... 20 2.4.3. Tourist gaze ........................................................................................................................ 23 Chapter 3: Visual analysis .................................................................................................... 25 3.1. Identification of topoi................................................................................................................. 25 3.1.1. Dancing women ................................................................................................................... 26 3.1.2. Setting .................................................................................................................................. 26 3.2. Deriving stereotypes .................................................................................................................. 27 3.2.1. La gitana .............................................................................................................................. 29 3.2.2. Spanish professional dancer .............................................................................................. 30 III 3.2.3. Sunny fiestas in Andalusia ................................................................................................. 30 3.3. Background of the stereotypes .................................................................................................. 32 3.3.1. Spanish gypsies ................................................................................................................... 32 3.3.2. Flamenco ............................................................................................................................. 34 3.3.3. Andalusia as stand-in for Spain ......................................................................................... 36 3.3.4. The gaze .............................................................................................................................. 38 3.4. Contra-stereotypes and differences in portraying traditions .................................................. 38 3.4.1. Dancing women .................................................................................................................. 39 3.4.2. Spain ................................................................................................................................... 42 3.4.3. Recognizing traditions: gitanas versus professionals ....................................................... 43 3.4.4. Recognizing traditions: flirting versus voyeurism ............................................................ 45 3.4.5. Recognising traditions: differences in settings ................................................................. 46 3.5. Hetero-images versus self-images ............................................................................................ 49 Chapter 4: Conclusions ......................................................................................................... 51 Works cited .......................................................................................................................... 57 Appendix A ........................................................................................................................... 61 Appendix B ........................................................................................................................... 71 Appendix C ........................................................................................................................... 73 IV Angela van Paasen Figure 1. John Frederick Lewis. A Fiesta in the south of Spain, peasants dancing the Bolero. 1836, Bristol City Museum, Bristol. Spain, Espagne, Spanien: Foreign artists discover Spain 1800-1900, by Stratton Suzanne L., Equitable Gallery and Sp. Institute, 1993, p. 44. Figure 2. John Frederick Lewis. The Fiesta at Granada. 1835-1836, Harris Museum & Art Gallery, Preston. Figure 3. Blequer. Un bayle de gitanos. 1842-1850, from España artistica y monumental: vistas y descripción de los sitios y monumentos más notables de españa (1842-1850), by Patricio de la Escosura & Genaro Pérez Villaamil (ed.), unpaginated. Biblioteca Digital de Castilla
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