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Timoteo Pérez Rubio
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Arte y política en España, 1898-1939
Varios autores destacan la importancia del compromiso político del arte del siglo XX en España hasta el advenimiento del franquismo, fundamentalmente durante la República.
"Visual Propaganda, Exhibitions, and the Spanish Civil War "
Visual Propaganda, Exhibitions, and the Spanish Civil War is a history of art during wartime that analyzes images in various media that circulated widely and were encountered daily by Spaniards on city walls, in print, and in exhibitions. Tangible elements of the nation?s past?monuments, cultural property, and art-historical icons?were displayed in temporary exhibitions and museums, as well as reproduced on posters and in print media, to rally the population, define national identity, and reinvent distant and recent history. Artists, political-party propagandists, and government administrators believed that images on the street, in print, and in exhibitions would create a community of viewer...
Liberales, cultivadas y activas
Este libro trata de explicar algo tan profundo como humano: historias personales que se cruzan para originar un proceso complejo. De estas relaciones personales surgen las redes culturales. Las protagonistas de este libro fueron contemporáneas, aunque no de la misma generación. Compartieron intereses y promovieron asociaciones humanitarias eficaces. Se movieron por redes ya existentes –sufragismo organizado, grupos de intelectuales, ambientes filo-masónicos, partidos políticos, corrientes de opinión articuladas, la Institución Libre de Enseñanza, grandes Universidades de influencia internacional, asociaciones universitarias– o crearon otras. Afrontaron las necesidades sociales des...
Norah Borges
Norah Borges (1901–98) was the sister of the celebrated Argentine writer Jorge Luis Borges. She first began producing art in Switzerland, where her family was trapped during the First World War, and travelled to Spain before returning to her native Argentina with her new styles of painting. In the 1920s, her work was published on the covers of important cultural magazines, but she is now largely forgotten. In her works, Borges created a world full of almost angelic figures – describing it as a smaller, more perfect world – mostly a serene space dominated by women. This book explores how Borges created that space and developed her own unique style of painting, studying the connections she made with the leading artists and writers of her time.
Barcelona and Madrid
Throughout history, Barcelona and Madrid have competed in practically every aspect of social life, politics, and culture. By delving deep into the myriad of cultural and political complexities that surround these two cities—from the onset of Futurism to the arrival of Surrealism in Spain—a complex social and cultural network is revealed.
Historians Across Borders
In this stimulating and highly original study of the writing of American history, twenty-four scholars from eleven European countries explore the impact of writing history from abroad. Six distinguished scholars from around the world add their commentaries. Arguing that historical writing is conditioned, crucially, by the place from which it is written, this volume identifies the formative impact of a wide variety of institutional and cultural factors that are commonly overlooked. Examining how American history is written from Europe, the contributors shed light on how history is written in the United States and, indeed, on the way history is written anywhere. The innovative perspectives included in Historians across Borders are designed to reinvigorate American historiography as the rise of global and transnational history is creating a critical need to understand the impact of place on the writing and teaching of history. This book is designed for students in historiography, global and transnational history, and related courses in the United States and abroad, for US historians, and for anyone interested in how historians work.
La formación artística: creadores-historiadores-espectadores
En esta publicación se recogen los trabajos presentados en el XXI Congreso Nacional de Historia del Arte (CEHA), celebrado en el Palacio de la Magdalena de Santander entre los días 20 al 23 de septiembre de 2016. El eje vertebrador de dicho congreso giró en torno a una temática a la vez monográfica y transversal: LA FORMACIÓN ARTÍSTICA. Se aborda este objetivo desde la doble perspectiva que plantean los dos protagonistas principales del diálogo artístico (el creador y el espectador), pasando por el historiador del arte como mediador entre ambos. Empleando este hilo conductor, se traza el rico panorama investigador nacional, tratando de reflejar las principales orientaciones metodológicas de la disciplina, así como las líneas de trabajo más consolidadas y las emergentes. Las aportaciones en cada uno de los seis bloques (desde el gremio, la formación académica o la universitaria, la educación de la mirada, la crisis de la Historia del Arte, las fuentes, la historiografía y la literatura artística y, por último, el dedicado a proyectos, tesis y grupos de I+D+i) presentan una visión actualizada de algunas de las tendencias de la investigación en Historia del Arte.
