Salir De Desierto-Trial A

UNIVERSITY OF CALIFORNIA, SAN DIEGO Salir de desierto: Dissident Artistic Expression under Franco, 1936–1975 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Robert Lincoln Long Committee in charge: Professor Pamela Radcliff, Chair Professor Frank Biess Professor Luis Martín Cabrera Professor Everard Meade Professor Patrick Patterson 2014 Copyright Robert Lincoln Long, 2014 All rights reserved. This dissertation of Robert Lincoln Long is approved, and it is acceptable in quality and form for publication on microfilm and electronically: ___________________________________________________ ___________________________________________________ ___________________________________________________ ___________________________________________________ ___________________________________________________ Chair University of California, San Diego 2014 iii TABLE OF CONTENTS Signature Page…………………………………………………….……………………… iii Table of Contents…………………………………….………………….………………. iv List of Figures……………………………………………………………………………. v Acknowledgments………………………………………………………………..……… vi Vita …………………….………………………………………………………….…….. x Abstract of the Dissertation………………………….…….…………………………… xi Chapter 1 - Introduction …………………………………………………………….. 1 Chapter 2 - Music from the Shadows: The Life and Death of Antonio José …………………………………….. 30 Chapter 3 - Remembrance and Commemoration: The Reemergence of the Music of Antonio José ……………………….. 87 Chapter 4 - Jesús López Pacheco: The Fisherman of Reality ………………………. 128 Chapter 5 - The Unread Verse: Francoist Censorship and Jesús López Pacheco ……………………... 185 Chapter 6 - Antoni Tàpies: The Art of Reality ………………………………………. 250 Chapter 7 – The Rise of the Wall of Tàpies ………………………………………… 312 Chapter 8 - Conclusion …………………………………………………….............. 358 Appendix A Chapter 2 - La Política – Antonio José …………………................... 365 Chapter 4 - Interview with Jesús López Pacheco …………………… 367 Chapter 6 - Interview with Antoni Tàpies …………………………. 369 Appendix B Figures………………………………………………………………… 373 Bibliography ………………………………………………………………………. 377 iv LIST OF FIGURES Figure 1 - Autorretrato (1944)……………………………………………………….. 373 Figure 2 - Zoom (1946).................................................................................................. 374 Figure 3 - Fascismo from Serie Historia Natural (1950)............................................. 375 Figure 4 - Grey and Black Cross (1955) ……………………………………………. 376 v ACKNOWLEDGMENTS There is no way to fully thank from the heart all of those who have participated with me in this Project. I say participated, because it took others almost as much energy and time helping me as I took researching and writing. The list is, in fact, too long to include completely here. However, there are those whose work must be mentioned, because I owe them such a debt of gratitude. First, I need to acknowledge my adviser Associate Professor Pamela Radcliff, the Chair of the Department of History at the University of California, San Diego, who, by now, knows my writing and all of its warts better than I. But, beyond merely reading and rereading my texts, her advice over the years, and her patience, have been absolutely indispensable. I also want to thank with a sense of deep gratitude the members of my committee, who have been consistently on board since the beginning of this venture in 2009. They are: Dr. Everard Meade, Director of the Trans-Border Institute of the University of San Diego; Associate Professor Luis Martín Cabrera of the Department of Literature, UCSD; Associate Professor Frank Biess, of the Department of History at UCSD; and finally, Associate Professor Patrick Patterson, also of the Department of History, UCSD. I would also like to the note the help, early on in the project, of Professor John Welch of the UCSD Visual Arts Department, who gave me great insight into the work of the artist Antoni Tàpies. There were many, many individuals and organizations who helped me throughout my stay in Spain for research, and I must make mention of them. These include those who helped me enormously in my investigation of the life of Antonio José: Professor Emeritus Miguel Ángel Palacios Garoz of the Universidad de Burgos, whose vi biographical work on composer Antonio José and his friendship, as well, have been indispensable to me; the incredible staff of the Archivo Municipal de Burgos under the thoughtful leadership of Milagros Moratinos Palamero; and the present head of the Orfeón Burgalés, Juan Gabriel Martínez Martín were crucial examining the life of the composer. And finally, the constant long-term help and insight of Yolanda Aker, a researcher and editor for the Instituto Complutense de Ciencias Musicales in Madrid, and the advice from the head of the institute, Emilio Casares Rodicio, helped to guide me in the right direction. In terms of my research on author Jesús López Pacheco, no two individuals could be more important than the author’s two sons, Associate Professor of History at the University of Hawaii at Manoa, Fabio López Lázaro and film director Bruno´Lázaro Pacheco from Madrid. Both have become inspirations for me, not only as gifted artists in their own right, but for their continued dedication to their father’s memory. Vitally importnat too, in order to understand the author’s period of literature better, were discussions I held with editor Constantino Bértolo of Random House Mondadori, now Penguin Random House, of Madrid. I would also be remiss if I did not mention the patient guidance of the dedicated staff of the Archivo General de la Administración in Alcalá de Henares, just outside of Madrid. The hours I spent there at the archive were some of the most important in this research. In Barcelona, working on the life of Antoni Tàpies, no one person was more valuable to me, or could have made possible my fruitful time there, than the head librarian of the Biblioteca de la Fundació Antoni Tàpies, Glòria Domènech. She made the vii resources of the library, one of the great libraries of modern art in the world, available to me for months, and her own help in my research has been always supportive and unfailing. There were many, many individuals and organizations who helped me throughout my stay in Spain for research, and I must make mention of them. These include those who helped me enormously in my investigation of the life of Antonio José: Professor Emeritus Miguel Ángel Palacios Garoz of the Universidad de Burgos, whose biographical work on composer Antonio José and his friendship, as well, have been indispensable to me; the incredible staff of the Archivo Municipal de Burgos under the thoughtful leadership of Milagros Moratinos Palamero; and the present head of the Orfeón Burgalés, Juan Gabriel Martínez Martín were crucial examining the life of the composer. And finally, the constant long-term help and insight of Yolanda Aker, a researcher and editor for the Instituto Complutense de Ciencias Musicales in Madrid, and the advice from the head of the institute, Emilio Casares Rodicio, helped to guide me in In the end, I could not have manage this work without the deep friendship, advice, and untold support from several long term friends. I want to thank, in particular: Deb and Rens Sherer and their amazing family, and Randy Rice and Karen Solzak, and their two children, Kayla and Adam, as well. Both families welcomed me continually in their homes throughout this process. And finally, I need to thank from the bottom of my heart my friends in San Diego, Dr. Elizabeth Petrick, Holly Zynda, Kris Lee, Emily Sablosky, and Gregorio Ortiz Muñoz;; my friends in Madrid, Professor Juan Trouillhet Manso, Maestra Ana María Martín Jiménez; and Angeles Trouillhet; and in Burgos, jefe de viii concina and amigo, Ricardo Gutierrez-Solana Alonso. All of these amazing people gave me shelter from the storm over the three years of this undertaking. I will never forget any of you. ix VITA 2006 Bachelor of Arts, University of Illinois at Chicago 2006-2008 Teaching Assistant, Revelle College University of California, San Diego 2009 Master of Arts, University of California, San Diego 2009-2011 Teaching Assistant, History Department University of California, San Diego 2011-2012 Fulbright Fellowship Recipient 2012 Adjunct Professor, Department of Economics, History, and Political Science Palomar Community College 2014 Doctor of Philosophy, University of California, San Diego x ABSTRACT OF THE DISSERTATION Salir de desierto, Dissident Artistic Expression under Franco, 1936–1975 by Robert Lincoln Long Doctor of Philosophy in History University of California, San Diego, 2014 Professor Pamela Radcliff, Chair From the beginning of the Spanish Civil War (1936-1939) and through the years of the authoritarian Francoist regime (1936-1975), the survival of artistic expression in Spain of artists sympathetic to the ideals of the defeated Republic was constantly challenged. Whether threatened with execution if caught in Nationalist-held territory during the war or with harassment, and imprisonment after the war, these Spanish artists were simultaneously faced with choices of a profoundly personal and aesthetic nature. xi The Francoist regime’s traditionalist cultural project, National Catholicism, through its control of the public sphere, especially through its censorship, threatened not only the rights of free expression, but, at times, the lives of artists themselves. In order to secure a means for their artistic expression, artists were forced into life-altering

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