Art and Identity in Spain, 18331956

Informationen zum Autor Claudia Hopkins is Professor of Art History at the University of Edinburgh, UK. She served as the Director of the Zurbarán Centre for Spanish and Latin American Art at Durham University between 2020 and 2023, and is Editor of Art in Translation . Recent publications include Romantic Spain. David Roberts and Genero Pérez Villaamil (2021), which won the Jonathan Brown Award of the Society of Global Iberian Art (SIGA) for exceptional achievement in an exhibition catalogue, and the co-edited two-volume Hot Art, Cold War-European Writing on American Art 1945-1990 (2020). Klappentext Richly illustrated with exotic images, ranging from Moorish palaces fantastically imagined by the Romantic painter Genaro Pérez Villaamil to paintings of everyday life in colonial Morocco by Mariano Bertuchi, this is the first history of Spanish Orientalist art in English. It shows how artists visualized Spain's Islamic past (711-1492) and their nearest "Orient" in Morocco for audiences at home and abroad. With the exception of Fortuny, the book introduces many unfamiliar figures, such as Francisco Iturrino, who travelled with Matisse to Morocco, producing novel visions of the exotic. The state-funded annual Pintores de Africa exhibitions, never examined before, provide a vital perspective on how art served Franco's colonial politics based on a "Hispano-Moroccan brotherhood". Hopkins reveals that Spanish Orientalism was inflected by diverse issues (such as national identity, gender anxieties, colonialism, aesthetics) and put to a wide range of uses. The familiar understanding of Western Orientalism in terms of distinct opposition (East/West) is challenged. Vorwort Analyzes how artists in Spain visualised Al-Andalus (medieval Iberia under Islam) and northern Morocco, bringing new perspectives to current understanding of European Orientalism. Zusammenfassung Richly illustrated, this is the first study in English to explore the longevity of Orientalist art in Spain over a period of 120 years. It highlights how artists in Spain shaped perceptions of Al-Andalus (Iberia under Islam 7111492) and northern Morocco, from Spain's liberal revolution of the 1830s to the end of the Protectorate of Morocco in 1956. Combining art history with a cultural studies approach, and using exemplary case studies, Hopkins foregrounds the diverse issues that underpin Orientalist expression: reflections on history and the nation, cultural nationalism, gender and sexuality, aesthetics and art commerce, colonialism and racial thinking. In the process, the book challenges over-familiar understandings of Western Orientalism.Beyond Fortuny and Sorolla, many unfamiliar artists and exhibitions are introduced, amongst them Villaamil , whose nostalgic landscapes evoked the loss of Andalusi culture; Bécquer , who celebrated Spanish-Moroccan peace-making through the lens of Velázquez; the Symbolist Rusiñol , whose images of the Alhambra are infused with melancholy; Morcillo , whose extraordinary camp images opened a new space for male subjectivity; Tapiró and Bertuchi , who dedicated their lives to Morocco, and the Moroccan Sarghini , who participated in the state-funded Painters of Africa exhibitions in Franco's Madrid an annual exhibition that served the colonial concept of a Hispano-Moroccan brotherhood under the dictatorship.This book traces the shifting impulses and meanings of Orientalist expression in Spain. It makes an original intervention in the field of Spanish art studies and contributes new material to the ongoing debates about Western Orientalism. Inhaltsverzeichnis List of Plates List of FiguresAcknowledgements Introduction. The Orient Within 1: Transcultural Nostalgia 2: Collapsing Time: Old and New Conquests3: The Poetics of Victory. Northern and Southern Perspectives 4: From Ethnographic...

Préface
Analyzes how artists in Spain visualised Al-Andalus (medieval Iberia under Islam) and northern Morocco, bringing new perspectives to current understanding of European Orientalism.

Auteur
Claudia Hopkins is Professor of Art History at the University of Edinburgh, UK. She served as the Director of the Zurbarán Centre for Spanish and Latin American Art at Durham University between 2020 and 2023, and is Editor of Art in Translation. Recent publications include Romantic Spain. David Roberts and Genero Pérez Villaamil (2021), which won the Jonathan Brown Award of the Society of Global Iberian Art (SIGA) for exceptional achievement in an exhibition catalogue, and the co-edited two-volume Hot Art, Cold War-European Writing on American Art 1945-1990 (2020).

Texte du rabat

Richly illustrated with exotic images, ranging from Moorish palaces fantastically imagined by the Romantic painter Genaro Pérez Villaamil to paintings of everyday life in colonial Morocco by Mariano Bertuchi, this is the first history of Spanish Orientalist art in English. It shows how artists visualized Spain's Islamic past (711-1492) and their nearest "Orient" in Morocco for audiences at home and abroad. With the exception of Fortuny, the book introduces many unfamiliar figures, such as Francisco Iturrino, who travelled with Matisse to Morocco, producing novel visions of the exotic. The state-funded annual Pintores de Africa exhibitions, never examined before, provide a vital perspective on how art served Franco's colonial politics based on a "Hispano-Moroccan brotherhood". Hopkins reveals that Spanish Orientalism was inflected by diverse issues (such as national identity, gender anxieties, colonialism, aesthetics) and put to a wide range of uses. The familiar understanding of Western Orientalism in terms of distinct opposition (East/West) is challenged.

Résumé
Richly illustrated, this is the first study in English to explore the longevity of Orientalist art in Spain over a period of 120 years. It highlights how artists in Spain shaped perceptions of Al-Andalus (Iberia under Islam 7111492) and northern Morocco, from Spain's liberal revolution of the 1830s to the end of the Protectorate of Morocco in 1956. Combining art history with a cultural studies approach, and using exemplary case studies, Hopkins foregrounds the diverse issues that underpin Orientalist expression: reflections on history and the nation, cultural nationalism, gender and sexuality, aesthetics and art commerce, colonialism and racial thinking. In the process, the book challenges over-familiar understandings of Western Orientalism. Beyond Fortuny and Sorolla, many unfamiliar artists and exhibitions are introduced, amongst them Villaamil, whose nostalgic landscapes evoked the loss of Andalusi culture; Bécquer, who celebrated Spanish-Moroccan peace-making through the lens of Velázquez; the Symbolist Rusiñol, whose images of the Alhambra are infused with melancholy; Morcillo, whose extraordinary camp images opened a new space for male subjectivity; Tapiró and Bertuchi, who dedicated their lives to Morocco, and the Moroccan Sarghini, who participated in the state-funded Painters of Africa exhibitions in Franco's Madrid an annual exhibition that served the colonial concept of a Hispano-Moroccan brotherhood under the dictatorship. This book traces the shifting impulses and meanings of Orientalist expression in Spain. It makes an original intervention in the field of Spanish art studies and contributes new material to the ongoing debates about Western Orientalism.

Contenu
List of Plates List of Figures Acknowledgements Introduction. The Orient Within 1: Transcultural Nostalgia 2: Collapsing Time: Old and New Conquests 3: The Poetics of Victory. Northern and Southern Perspectives 4: From Ethnographic to Camp Masculinity 5: De-Orientalising the Alhambra 6: The Pseudo-Ethnographic Gaze 7: Art as Colonial Propaganda: A 'Human and Placid Maghreb' 8: 'Morocco is not exotic'. Exhibitions under Franco Epilogue: Switching Perspectives **Select Bibliograph…