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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 viewers, brought together during the staging of public exhibitions to understand their own roles as Spaniards. This book draws on extensive archival research, brings to light unpublished documents, and examines visual propaganda, exhibitions, and texts unavailable in English. It engages with questions of national self-definition and historical memory at their intersections with the fine arts, visual culture, exhibition history, tourism, and propaganda during the Spanish Civil War and immediate post-war period, as well as contemporary responses to the contested legacy of the Spanish Civil War. It will be of interest to scholars in art history, visual and cultural history, history, and museum studies.
A bibliographical dictionary which constitutes details of the Spanish school, covering artists born in Spain as well as those who worked chiefly in Spain. Approximately 1600 years of Spanish art are documented with consideration paid to each artist's birth and death dates, medium and bibliographical references. The three-volume work lists about 10,000 painters, sculptors, draftsmen, printmakers, architects and applied artists. Some entries also include explanatory, interpretive or clarifying notes.
The 1930s was a turbulent decade across the world with the rise of totalitarian governments, the outbreak of the Spanish Civil War, the start of World War II, and the constant migration of artists as part of evolving social, economic and political geographies that were marked by utopian dreams and devastating upheavals. This book approaches the 1930s and seeks to explore the microhistories that detail the movement of artists across borders, the potential transformation of artistic styles and the concurrent struggle to preserve old networks amidst the creation of new communities in often radically new contexts of artistic production. Touching on the works of Cartier-Bresson, Max Ernst, Miro, Picasso, and many more, as well as examining aspects of Surrealism, Abstraction, propaganda and photography, this is an insightful account of one of the most turbulent decades in the history of art.