Explore the vast range of titles available.

“The Spanish Element in Our Nationality” delves beneath the traditional “English-only” narrative of U.S. history, using Spain’s participation in a series of international exhibitions to illuminate more fully the close and contested relationship between these two countries. Written histories invariably record the Spanish financing of Columbus’s historic voyage of 1492, but few consider Spain’s continuing influence on the development of U.S. national identity. In this book, M. Elizabeth Boone investigates the reasons for this problematic memory gap by chronicling a series of Spanish displays at international fairs. Studying the exhibition of paintings, the construction of ephemeral architectural space, and other manifestations of visual culture, Boone examines how Spain sought to position itself as a contributor to U.S. national identity, and how the United States—in comparison to other nations in North and South America—subverted and ignored Spain’s messages, making it possible to marginalize and ultimately obscure Spain’s relevance to the history of the United States. Bringing attention to the rich and understudied history of Spanish artistic production in the United States, “The Spanish Element in Our Nationality” recovers the “Spanishness” of U.S. national identity and explores the means by which Americans from Santiago to San Diego used exhibitions of Spanish art and history to mold their own modern self-image.

\"The Spanish Element in Our Nationality\" delves beneath the traditional \"English-only\" narrative of U.S. history, using Spain's participation in a series of international exhibitions to illuminate more fully the close and contested relationship between these two countries. Written histories invariably record the Spanish financing of Columbus's historic voyage of 1492, but few consider Spain's continuing influence on the development of U.S. national identity. In this book, M. Elizabeth Boone investigates the reasons for this problematic memory gap by chronicling a series of Spanish displays at international fairs. Studying the exhibition of paintings, the construction of ephemeral architectural space, and other manifestations of visual culture, Boone examines how Spain sought to position itself as a contributor to U.S. national identity, and how the United States-in comparison to other nations in North and South America-subverted and ignored Spain's messages, making it possible to marginalize and ultimately obscure Spain's relevance to the history of the United States. Bringing attention to the rich and understudied history of Spanish artistic production in the United States, \"The Spanish Element in Our Nationality\" recovers the \"Spanishness\" of U.S. national identity and explores the means by which Americans from Santiago to San Diego used exhibitions of Spanish art and history to mold their own modern self-image.

The author investigates ethnic movie theatres in LosAngeles in the mid-20th century, situating them in the city’s cinema landscape. By tracing the history of the LAGerman-language theatre, the La Tosca Filmbühne, shehighlights how the cinema attempted to create a com-munity of Germanness through its exhibition practices.She positions the audiences’ draw to these movie thea-tres in the context of Alison Landsberg’s notion of pros-thetic memory, regarding the films screened there asevoking images and reminiscences of the viewers’ homecountries. Through extensive archival research, the au-thor also highlights the other Angeleno ethnic cinemas –Spanish language cinemas in particular – to examine whatrole foreign language theatres played in the cinemagoingcommunities of immigrant populations.

In the complex political scene surrounding the death of Francisco Franco, Spanish female architects were crossing borders to try and understand what was happening abroad. This article provides unpublished data on the various experiences of female graduates in Spain when they shared their enthusiasm, concerns and energy with colleagues from other countries at international conferences that took place before the arrival of democracy. For almost four decades, between 1939 and 1975, Spanish female architects were limited by the patriarchal system’s own barriers and by the political barriers imposed by Franco’s regime. This paper aims to organise and articulate women’s memories, proving the implicit acceptance of patriarchal ideas and models at the start of the 20th century, the timidity of the congress resolutions in the sixties and the later awakening provided by UIFA (Union Internationale des Femmes Architectes) congresses. Finally, it is worth examining the metamorphosis that occurred in free western societies in the 20th century, with respect to the role played by women as a user and as a professional, through the attentive gaze of women architects from a nondemocratic country.

Este artículo investiga los orígenes de la producción española en cine estereoscópico 3D en la década de los cincuenta y sesenta, en pleno franquismo. La rapidez en la producción de cortometrajes tridimensionales muestra un conocimiento de la tecnología de producción foránea y una enorme flexibilidad y agilidad a la hora de crear contenidos 3D en España. El objetivo principal de esta investigación es identificar aquellas producciones cinematográficas españolas realizadas con técnicas estereoscópicas desde la propia filmación o tras su adecuación con técnicas de posproducción para la proyección. La hipótesis es que las muestras puntuales que ha dado la cinematografía española de cintas tridimensionales han respondido a fenómenos de moda pasajeros y no han supuesto hitos de importancia comercial o artística, más allá de la experimentación con las posibilidades del formato. Con todo, recogen una voluntad de aperturismo del cine español hacia las nuevas tecnologías y hacia la búsqueda del público. Aplicaremos una metodología basada en el estudio de caso, a partir de la revisión bibliográfica de fuentes primarias y secundarias dedicadas a la producción y la exhibición cinematográfica en España. Los resultados muestran que la influencia de la cinematografía estadounidense en su vertiente más tecnológica y comercial es evidente, incluso si los organismos del Régimen aplican políticas proteccionistas agresivas frente a la importación de filmes estadounidenses. La conflictiva relación de las productoras de Hollywood con el Régimen franquista no impide su liderazgo en la recaudación en la taquilla ni su influencia en los modos de producción de la cinematografía nacional.

\"Salvador Dali spent much of his life promoting himself and shocking the world. He relished courting the masses, and he was probably better known, especially in the United States, than any other 20th-century painter, including even fellow Spaniard Pablo Picasso. He loved creating a sensation, not to mention controversy...Dali's antics, however, often obscured the genius. And many art critics believe that he peaked artistically in his 20s and 30s, then gave himself over to exhibitionism and greed.\" (Smithsonian) Exhibitions entitled \"Salvador Dali\" and \"Dali And Mass Culture\" provide an opportunity to assess Dali's contributions to 20th-century art. This profile highlights Dali's flamboyant life and artistic career, which suggest both genius and madness.

THE GREAT PAINTER whose handsome, placid, searching face greets us at New York's Museum of Modern Art these days was both a passionate son of his native Catalonia and also an artist whose posters hang in every college dormitory in America. Rooted in the history and soil of his birth as much as any artist who ever lived, he nevertheless explored as no other the space and dreams of our relativistic 20th century.

\"One of the greatest, most probing episodes in the career of one of the greatest, most probing artists of all time looks as though it was inspired by a humble guitar. That's one conclusion to draw from Picasso Guitars: 1912-1914, a wonderful new exhibition at the Museum of Modern Art in New York.\" (Newsweek) In this article, Blake Gopnik attempts to determine why \"of all the objects Picasso could have used to launch this second revolution in his art\" he chose the guitar.

Reviews the exhibition \"Picasso : baigneuses et baigneurs\" (\"Picasso : bathers and swimmers\"), which was originally scheduled to be on display at the Museum of Fine Arts in Lyon from 15 July 2020-3 January 2021. Par la précision de son thème, cette exposition Picasso offre une coupe transversale de l’œuvre du peintre. Elle montre la façon dont la sensibilité cubiste a révolutionné la représentation des corps.