Galería de arte y vida expands your advanced students' knowledge of the Spanish language with a perfect blend of literature, structure, and conversation. Students travel the Spanish-speaking world to read selections from classic and contemporary Hispanic literature, to view masterpieces of painting and sculpture, and to meet the many changing faces that make up Hispanic culture. Galería de arte y vida is composed of twelve cuadros or units. Each cuadro is structured around a universal theme such as El arte, La fantasía, El humorísmo, El indio... For example, in La mujer, students reflect on the influence of women in today's society. Each cuadro includes four major sections: Para preparar la escena provides background material to introduce the unit theme. Para presentar la lectura focuses on the literary content and authors and directs the students' approach to the selection by means of pre-reading activities. Para entablar conversación contains questions that promote conversation and relate personal experience to the readings and cuadro theme. Selección contains a rich variety of authors and literary genres, including short stories, plays, songs, excerpts from novels, plays, and poetry. Para continuar conversando improves students' communicative skills by generating discussion topics related to the central themes of the readings.
Expands the advanced level 4 Spanish students' knowledge of the Spanish language through a blend of literature, structure, and conversation. Students read selections from classic and contemporary Hispanic literature, view artistic masterpieces, and discover the many aspects of the dynamic Hispanic culture. The text is composed of 12 cuadros (units), each structured around such universal themes as art, humor, heroism, and women. Each unit contains background material, prereading activities, questions that promote conversations relating to the unit theme, a selection of authors and literary genres, and discussion topics all to help the students become comfortable with the language. May be used in preparation for the AP language test.
Futurism Studies in its canonical form has followed in the steps of Marinetti's concept of Futurisme mondial, according to which Futurism had its centre in Italy and a large number of satellites around Europe and the rest of the globe. Consequently, authors of textbook histories of Futurism focus their attention on Italy, add a chapter or two on Russia and dedicate next to no attention to developments in other parts of the world. Futurism Studies tends to sees in Marinetti's movement the font and mother of all subsequent avant-gardes and deprecates the non-European variants as mere 'derivatives'. Vol. 7 of the International Yearbook of Futurism Studies will focus on one of these regions outside Europe and demonstrate that the heuristic model of centre – periphery is faulty and misleading, as it ignores the originality and inventiveness of art and literature in Latin America. Futurist tendencies in both Spanish and Portuguese-speaking countries may have been, in part, 'influenced' by Italian Futurism, but they certainly did no 'derive' from it. The shift towards modernity took place in Latin America more or less in parallel to the economic progress made in the underdeveloped countries of Europe. Italy and Russia have often been described as having originated Futurism because of their backwardness compared to the industrial powerhouses England, Germany and France. According to this narrative, Spain and Portugal occupied a position of semi-periphery. They had channelled dominant cultural discourses from the centre nations into the colonies. However, with the rise of modernity and the emergence of independence movements, cultural discourses in the colonies undertook a major shift. The revolt of the European avant-garde against academic art found much sympathy amongst Latin American artists, as they were engaged in a similar battle against the canonical discourses of colonial rule. One can therefore detect many parallels between the European and Latin American avant-garde movements. This includes the varieties of Futurism, to which Yearbook 2017 will be dedicated. In Europe, the avant-garde had a complex relationship to tradition, especially its 'primitivist' varieties. In Latin America, the avant-garde also sought to uncover and incorporate alternative, i.e. indigenous traditions. The result was a hybrid form of art and literature that showed many parallels to the European avant-garde, but also had other sources of inspiration. Given the large variety of indigenous cultures on the American continent, it was only natural that many heterogeneous mixtures of Futurism emerged there. Yearbook 2017 explores this plurality of Futurisms and the cultural traditions that influenced them. Contributions focus on the intertextual character of Latin American Futurisms, interpret works of literature and fine arts within their local setting, consider modes of production and consumption within each culture as well as the forms of interaction with other Latin American and European centres. 14 essays locate Futurism within the complex network of cultural exchange, unravel the Futurist contribution to the complex interrelations between local and the global cultures in Latin America and reveal the dynamic dialogue as well as the multiple forms of cross-fertilization that existed amongst them.
From the Golden Age to Goya. This is the first study wholly devoted to reception of Spanish art in Britain and Ireland. Examining the extent and sources of knowledge of Spanish art in the British Isles during an age of increasing contact, particularly in theaftermath of the Peninsular War, it contains contributions by leading scholars, including reprints of three essays by Enriqueta Harris Frankfort, to whose memory this book is dedicated. Focusing on Spanish art from the Golden Age to Goya, these studies chart the growth in understanding and appreciation of the Spanish School, and its punctuation by controversies and continuing distrust of religious images in Protestant Britain, as well as by the successive `discoveries' of individual artists - Murillo, Velázquez, Ribera, Zurbarán, El Greco and Goya. The book publishes important new research on art importation, collecting and dealing, and discusses the increase in access to andscholarship on works of art, including their reproduction through both traditional prints and copies and the newly invented photographic methods. It also considers for the first time the role of women in reflecting taste for thearts of Spain. It is richly illustrated with 17 colour and 54 black and white illustrations. NIGEL GLENDINNING is Emeritus Professor of Spanish and Fellow of Queen Mary University of London. HILARY MACARTNEY isHonorary Research Fellow of the Institute for Art History, University of Glasgow. Contributors: NIGEL GLENDINNING, HILARY MACARTNEY, JEREMY ROE, SARAH SYMMONS, MARJORIE TRUSTED, ENRIQUETA HARRIS FRANKFORT
This book presents the first focused investigation of Francisco Goya's (1746–1828) graphic output. Spanning six decades, Goya’s works on paper reflect the transformation and turmoil of the Enlightenment, the Inquisition, and Spain's years of constitutional government. Two essays, a detailed chronology, and more than 100 featured artworks illuminate the remarkable breadth and power of Goya's drawings and prints, situating the artist within his historical moment. The selected pieces document the various phases and qualities of Goya's graphic work—from his early etchings after Velázquez through print series such as the Caprichos and The Disasters of War to his late lithographs, The Bulls of Bordeaux, and including albums of drawings that reveal the artist’s nightmares, dreams, and visions.
Expanded to twice as many entries as the 1985 edition, and updated with new publications, new editions of previous entries, titles missed the first time around, more of the artists' own writings, and monographs that deal with significant aspects or portions of an artist's work though not all of it. The listing is alphabetical by artist, and the index by author. The works cited include analytical and critical, biographical, and enumerative; their formats range from books and catalogues raisonnes to exhibition and auction sale catalogues. A selection of biographical dictionaries containing information on artists is arranged by country. Annotation copyrighted by Book News, Inc., Portland, OR
This exciting and wide-ranging volume examines the construction and dissemination of the image of female power during the Renaissance. Chapters examine the creation, promotion, and display of the image of women in power, and how the artistic and cultural patronage they developed helped them craft a self-image that greatly contributed to strengthening their power, consolidating their political legitimacy, and promoting their authority. Contributors cover diverse models of sixteenth-century female power: from ruling queens, regents, and governors, to consorts of sovereigns and noblewomen outside the court. The women selected were key political figures and patrons of art in England, France, Castile, the Low Countries, the Holy Roman Empire, and Italian city states. The volume engages with crucial and controversial debates regarding the nature and use of portraiture as well as the changing patterns of how portraits were displayed, building a picture of the principal iconographic solutions and representational strategies that artists used. The book will be of interest to scholars working in art history, gender studies, women’s studies, and Renaissance studies.
'Black but Human' is the first study to focus on the visual representations of African slaves and ex-slaves in Spain during the Hapsburg dynasty. The Afro-Hispanic proverb 'Black but Human' is the main thread of the six chapters and serves as a lens through which to explore the ways in which a certain visual representation of slavery both embodies and reproduces hegemonic visions of enslaved and liberated Africans, and at the same time provides material for critical and emancipatory practices by Afro-Hispanics themselves. The African presence in the Iberian Peninsula between the late fifteenth century and the end of the seventeenth century was as a result of the institutionalization of the local and transatlantic slave trades. In addition to the Moors, Berbers, and Turks born as slaves, there were approximately two million enslaved people in the kingdoms of Castile, Aragón, and Portugal. The 'Black but Human' topos that emerges from the African work songs and poems written by Afro-Hispanics encodes the multi-layered processes through which a black emancipatory subject emerges and a 'black nation' forges a collective resistance. It is visually articulated by Afro-Hispanic and Spanish artists in religious paintings and in the genres of self-portraiture and portraiture. This extraordinary imagery coexists with the stereotypical representations of African slaves and ex-slaves by Spanish sculptors, engravers, jewellers, and painters mainly in the religious visual form and by European draftsmen and miniaturists, in their landscape drawings, and sketches for costume books.
"Featuring the work of twenty artists, this bilingual volume includes several artists' writings ... about artist-run exhibition spaces"--P. [4] of cover.
