research prospectus 2.0 bob long

7/31/2019 Research Prospectus 2.0 Bob Long

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Bob Long 1/12/10Dissertation Proposal-2.0Prof. Pamela Radcliff-adviser

Salir del Desierto: Dissident Artistic Expression

Under Franco, 1936-1975A las parejas de novios, que tienen que esconder tristemente su alegra.

-Jess Lpez Pacheco, Canciones del amor prohibido, 1961.1

That's what art is all about. At least its the hope of hope. For no hope we have reality. -Osvaldo Golijov, 2006.2

I. Introduction

From the beginning of the Spanish Civil War (1936-1939) and through the years of theauthoritarian Franco regime (1939-1975) the survival of artistic expression in Spain of artists sympathetic

to the defeated Republic was constantly challenged. Whether threatened with assassination if caught in

Nationalist-held territory during the war or with harassment, imprisonment, or worse if they did not

restrain their expression after the war, these Spanish artists were simultaneously faced with choices of a

profoundly personal and aesthetic nature. The regimes obsession with a culturally traditionalist narrative

through its control of the academy and all other public space made artistic movements, in particular those

of the avant-garde, problematic and even dangerous. In order to secure a means for their artistic

expression, artists were forced into life-altering decisions.

The initial goal of the military coup in 1936 was clear: overthrow the democratically elected

Republic and rid Spain of secular liberalism. But in short order, Francisco Francos campaign took on the

mantel of a Crusade whose purpose was as hegemonic culturally as it was politically. By the end of the

war, the Nationalists intended to blanket Spain with a conservative veil of National Catholicism that

1 To the pairs of lovers who have to hide their joy. The poems were written as a protest against the repressive

social policies of the Franco regime.

2 As quoted in Jeremy Eichler, Standing the Whole World on Its Ear, New York Times, January 22, 2006. The

Argentine composer was discussing his composition,Aindamar, inspired by the life of Federico Garca Lorca.


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from the top down would control every form of public expression, every avenue of dissent, and as a result,

every vehicle for the expression of art, literature, and music. This research will focus on these areas of

expression using the lives of three Spanish artists, abstract expressionist painter Anton Tpies, poet and

novelist Jess Lpez Pacheco, and composer Antonio Jos Martnez Palacios, as a template with which to

measure artistic expression under Franco authoritarianism.

Some Spanish artists caught in the maelstrom of the Spanish Civil War were already well known

and have since been written about extensively. Poet and playwright Federico Garca Lorca was killed by

Falangist assassins and dumped in an unmarked grave in his native Granada at the outset of the war.

Surrealist painter Salvador Dal remained in Paris during the much of the war and later, sheltered by hisfame, found accommodation with the Franco regime. Film director Luis Buuels decision to remain

abroad made him an exile like the great swath of other artists and academics that backed the Republic and

fled the Nationalist onslaught. All three were not only internationally recognized at the time of the war, but

had also been in the forefront of the European artistic avant-garde for much of their creative lives. They

serve here as indicators of the complexities presented to artists at the beginning of the conflict, but their

degree of fame makes them exceptional.

Though less celebrated, Anton Tpies, Jess Lpez Pacheco, and Antonio Jos (as Martnez

Palacio preferred to be called) led lives that paralleled those of Buuel, Dal, and Lorca. Jos, like Lorca,

returned to his hometown after civil war broke out in 1936 only to be murdered by the Falange, leaving a

trail of unfinished work. Tpies and Dal, both from Catalua, remained part of avant-garde expression in

Europe throughout their careers, though that expression underwent serious changes in the aftermath of the

Spanish Civil War and World War II. Both Buuel and Lpez Pacheco faced exile and its concomitant

effect on creativity, but still managed to maintain a high level of productivity.

The differences between these two groups of artists, however, are fundamental to this subject,


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Tpies and Lpez Pacheco represent the younger generation that grew up during the Civil War and lived in

Spain throughout most of the darkest years of the repression under Franco. Neither had the international

reputation of Dal or Buuel that would have afforded them the opportunity to create on the international

stage during the early years of the regime. On the other hand, Antonio Jos, though a prolific

contemporary of Lorca, was only just beginning to gain the notice of more famous artists before his death.

At the time, his compositions had only received a few performances in Spain and his artistic influence

could not compare to that of Lorcas.

The primary purpose of this research is to examine the repercussions of the types of decisions

made by these lesser-known Spanish artists of this period and place those repercussions in the broadercontext of Spanish society under Franco. Tpies, Lpez Pacheco, and Jos were all recognized by their

peers, though none had achieved international acclaim. For that reason, they are more representative of the

broader spectrum of artistic expression that confronted the Franco regimes authoritarian control.

Additionally, Lpez Pacheco and Tpies were actively engaged in organized, clandestine opposition to the

regime as members of the Partido Comunista de Espaa (PCE), while Antonio Jos died because of his

opposition. All three lives, then, represent a counter-weight to the regimes culturally hegemonic project.

The narratives of these three artists should provide a gauge with which to better appreciate the

motivation of all artists, their drive for expression, and the effect that drive has on the societies in which

they live. But the lives of these individuals are also representative of a more complex experience, that of

human artistic expression under a repressive regime. Spanish society throughout the years of Francos

dictatorship was under varying degrees of centralized control. Especially during the first ten years of its

existence, all public art, whether painting, music, sculpture, or literature, was answerable to the regimes

hegemonic National Catholicism. However, whatever circumstances may have forced adaptations over the

years, the regime never once gave up the goal of forging a society that conformed to its conservative


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cultural paradigm. And although in later years censorship of public artistic expression was modified,

throughout the regimes history the institutions of art, the conservatories and universities where young

painters, musicians, and writers learned their craft, were under guidelines set by the corporatist Spanish

state. An inquiry into the ways in which Spanish society experienced art during the regime and the

interactions these and other artists had with society during the dictatorship will throw light on the rapid

opening of Spanish culture in 1975 after Francos death.

Because Jess Lpez Pacheco became an exile in the latter years of his life, his life presents a

further nuance. Understanding the world of a Spanish exiled artist is fundamental to understanding how

artistic expression survived the Civil War and whether or not the exile experience radiated back to thosewho remained in Spain. In this research, the effects on artistic life in exile will serve as a corollary to the

effects of expression directly under the dictatorship. Abroad, the diaspora of Spanish artists, many of

whom had fled to the Americas, formed a unique sub-set whose common bond with the artists they left

behind was not merely artistic, but political as well. Although they were free to write, paint, or perform,

there existed a cultural divide between them, their host countries, and their fellow artists back home in

Spain. For the artists in exile, the confusing mix of freedom and longing to return could not be escaped,

and it affected their creative work in profound ways. A secondary goal of this work, then, will be to

examine these two artistic cultures, domestic and disaporic, in order to understand the extent to which they

interacted. Did Spanish artists residing in Spain during the Franco regime have significant contact with

the diaspora, and to what extent did they influence each others work? How, in fact, did the direction of

expression of the peninsular artist differ from that of the diaspora as the years of the dictatorship dragged

on?

Ultimately, any research on the effects of an authoritarian regime on artistic expression is a study

about freedom of expression and human rights itself. But art has often not followed the same course as


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other forms of expression, even in a controlled public sphere. Part of that phenomenon is due to the

transcendent nature of artistic expression, which speaks truth to power without literality. The cases of

artistic expression defying authoritarian manipulation in modern history are numerous, from the music of

African-Americans under slavery and Jim Crow laws in the American South to the work of

expressionist painters under Nazism or protest literature in Soviet Russia. The hope is that this research on

Spanish artists living under the repression of the Franco regime will add to the growing reservoir of

historiography on those years in modern Spain. But as importantly, this research should serve to broaden

concepts of how artists can represent a form of covert resistance that is extremely effective long term

against an authoritarian regime.II.Dissertation Argument

More specifically, though often tightly controlled and always suppressed by some degree, artistic

expression in Spain had a far greater effect on Francoist cultural hegemony than previously believed. The

examination of the lives of these three Spanish artists, whose creative output was so dramatically

intertwined with the dictatorships censorship, should go a long way toward establishing the validity of

this idea. Secondly, this research proposes that, though isolated by their own government, especially in the

early years of the dictatorship, many of the Spanish artists who remained behind sustained a high degree of

continuity and originality in their expression, although they achieved this in the midst of much personal

suffering. In the meantime, ironically, the work of the diasporic artists, who were comparatively free to

express themselves, appeared consumed by their continued separation from Spain and the personal grief

they felt at not being able to return. Their productivity did not suffer, but their work often became

increasingly introspective and retreated into the confines of their exile.

III. Significance of the project

This is a study of a society under stress, a country recovering from a brutal civil war under the


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repression of a dictatorship. For historians of contemporary Spain, the Spanish Civil War will continue to

be a principle focal point in research because of the depth of the centrifugal social forces surrounding its

build-up and its aftermath. The years of the Franco regime require, therefore, continued attention both

because of the regimes longevity in contemporary history and because of the nature of its attempts to

suppress history. The focus on these three individual artists, who represent varying versions of resistance

to that regime, can only add to a better understanding of that history.

For historians of modern Europe, an analysis of the Spanish artistic diaspora at this period could

offer tangible rewards. The European artist of the twentieth century was in a unique position to digest and

reflect the massive social changes brought on by war, economic upheaval, and changes in technology(even the technology of war). Artists often are a mobile and perceptive lot, who constantly reposition

themselves by seeking out any environment where they can best express their art. Whether they turned up

in Mexico City, Madrid, or Paris in the interwar years of the 1920s and 1930s, or New York at the dawn of

World War II and the postwar years, whether because of personal angst or reasons of exile, European

artists had a mobility that allowed them a unique perspective for creative introspection on a global stage

and a platform from which to influence culture. This study, then, should provide ample evidence of that

perspective for a cultural historian.

For historians of art, the exodus of an artistic diaspora left behind a virtual control group in Spain,

who struggled to learn and live under trying circumstances far different from their exiled counterparts. The

significance of what that separation meant in terms of both cultural continuity for the Spanish and cultural

development in art could deepen the understanding of how human artistic expression is maintained and

survives.

IV. Sources in Theory


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In terms of an overall theoretical approach to analyzing the Franco dictatorship, the concepts laid

out by Antonio Gramsci on hegemony (Prison Notebooks, 1930-1932, 2007) and amplified and adapted by

Stuart Hall (Resistance Through Rituals, 1993), provide models that are particularly useful.The Franco

insurrection of 1936, in Gramscian terms, can be seen as an attempt to reassert political hegemony by a

group of conservative elites who had lost control of the State during the years of the Republic. Agolpe de

estado was the result. And once the regime was in complete control of national mechanisms of state in

1939, all avenues of public opinion, or as Gramsci defined it the content of the publics political will

were usurped by the regime, insuring that only one force will mold public opinion and hence the political

will of the nation, while reducing dissenters to individual and insignificant specks of dust.

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But thishegemony was not to be strictly political. From the earliest period of the Civil War, when it became

apparent to the Nationalists that labeling their enterprise a Crusade provided a reservoir of emotional

and symbolic ammunition for their cause, the idea of a New Spanish State, draped in the mantel of

traditional Catholicism, was key to projecting their hegemonic strategy.

Stuart Halls framework of cultural contestation in opposition to hegemony could be vital to the

discussion of the Francoist cultural project of National Catholicism. To paraphrase Hall, who was writing

on the cultural resistance of British youth during the 1960s, the overdetermination of artists, what Hall

referred to as the intensity and variety of State battering determines the possibility of resistance. What

the Franco regime intended through censorship, coercion, and cooptation resulted in unintended avenues

of dissent along lines of artistic expression. An understanding, then, of how dissident artistic expression

could assert a space for itself within the walls of that hegemonic control becomes part of this examination.

4

The works of these artists can be analyzed using some similar tools, although alone they might

3 Antonio Gramsci, Prison Notebooks, Volume III(New York: Columbia University Press, 2007), 213.

4 Stuart Hall,Resistance Through Rituals: Youth Subcultures in Post-war Britain (New York: Routledge, 1993),

237.


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not seem to represent a completely coherent counter-hegemonic set. Jess Lpez Pacheco is placed by

most critics into a group of European writers from the 1950s and 1960s termed "Social Realists," defined

by their concerns with daily life in the modern world. This movement presented a distinct literary

departure from the previous avant-garde project in Spain such as the work of Federico Garca Lorca or that

of novelist Ramn Gmez de la Serna. Here Marxist philosopher Gyrgy LukcssRealism in the Balance

(1938) might be theoretically useful, because of his belief that the avant-garde continually displayed

growing distance from, and progressive dissolution of, realism. 5Lpez Pachecos writing seems to

reflect an emphasis in precisely the direction indicated by Lukcs concerns. Unfortunately, this analysis

creates a problem with interpreting the abstract expressionist work of Anton Tpies or, for that matter, thelush French impressionism of Antonio Jos, neither of which falls close to Lukcss framework. Lukcs

had problems with what he regarded as subjectivism in Expressionist art, while Impressionism, to Lukcs,

was merely an attempt to redefine reality through a bourgeois prism. Possibly, then, it is Stuart Hall again

who presents us with the most room to move analytically. Both Tpies and Lpez-Pacheco created their

works in an environment that threatened their expression and their works can be viewed in Halls counter-

hegemonic context.

Beyond broad models of cultural contestation, however, there is in artists an underlying drive to

create that is not adequately explained unless one looks for theoretical guidance elsewhere. The

transcendent quality of artistic expression outlined by Arthur Schopenhauer and Friedrich Nietzsche, for

instance, as well as the discussion of the artist in Sigmund Freuds work might ultimately provide an

important key to the nature and impetus behind artistic expression in general and that of Jos, Tpies, and

Lpez Pacheco specifically. In the intellectual history of modern Europe, Schopenhauer, Nietzsche, and

5 Ernest Bloch.Aesthetics and Politics: The Key Texts of the Classic Debate Within German Marxism(London:

Verso, 1980), 29. It should be noted that Lukcss concept of Realism, though based in its critical contestation

with the avant-garde and related somewhat in content, is not the same as that of the Stalinist doctrine of Socialist

Realism, which was intended as a framework in the Soviet Union in which artists could further the purposes of the

Communist state.


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Freud occupy a place at odds with nineteenth century dialectical discourse. To each of them in differing

degrees, art represents an instinctive conduit of expression and the artist serves a unique purpose. The

artist lets us peer into the world through his eyes, Schopenhauer writes. That he knows the essential in

things which lies outside of all relations, is the gift of genius and is inborn6For Schopenhauer, the

artist serves the world as a vehicle with which humans can gain a respite from an encompassing Will that

drives all of life. In The Birth of Tragedy (1872), Nietzsche speaks of the artist as an imitator (not as a

charlatan, but rather as a reflector) of a union between Dionysian ecstasy and Apollonian intellectual

artistic instincts. The artist then becomes a vehicle through which expression of this union is achieved. In

both, Schopenhauer and Nietzsche we can find ways to see the artist and his or her creations as part of anintuitive process that does not clearly fit a rational explanation.

For Freud, on the other hand, there is an aspect of artistic expression that springs from a somewhat

different source. Kindly nature, he writes in his analysis of Leonardo de Vinci, has given the artist the

ability to express his most secret impulses, which are hidden even from himself, by means of the works

that he creates; and these works have a powerful effect on others who are strangers to the artist, and who

are themselves unaware of the source of their emotion. 7An authoritarian regime trying to systematically

control the public sphere could find artistic expression, given Freuds insight, problematic. Freuds

concept here entails the understanding of artistic expression as a vehicle of sublimation, which enables the

artist to could navigate personal neurosis while at the same time engage the social world. A painting or a

poem could be a map of the soul and a means to communicate it to others.

There is a historical relationship between these European intellectuals that can be traced to an

understanding of worlds of creativity that do not fall neatly into the realm of reasoning. Schopenhauer and

Nietzsche were both deeply suspicious of any explanation of artistic expression that depended on the

6 Arnold Schopenhauer, The World as Will and Representation (Mineola, New York: Dover Publishing, 1966), 195.7 Sigmund Freud, Leonardo de Vinci (new York: Routledge, 1999), 57.


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purely rational. And both mens writing had influence on Freud, especially Nietzsches references to the

primacy of dreams in human understanding of the past. To recognize in Tpies, Jos, and Lpez Pacheco

these other sources of artistic creation is necessary, then, when trying to fathom the full range of impulses

that drove their work.

V.Literature review/historiography

The advantage of centering ones research on three individuals within the broader topic of

artistic expression under the Franco dictatorship is, of course, the ability to limit the range of

inquiry with the hope of creating a template that sheds light on a broader context. But the problem

remains in this area of research that the earliest years of the Franco regime provide the leastamount of evidence on cultural matters, let alone the specific lives of individuals, due to the strict

control the regime had on the public sphere. And Spanish artistic expression had another burden

placed upon it in the wider world of events. Once the Spanish Civil War was over and Francos

government had consolidated its control militarily and politically, interest in Spain quickly waned

as the clouds of war in Europe rose on the horizon.

This attitude is reflected in the available literature on Spanish twentieth century artistic

expression and is another reason why it is important to focus on other, lesser-known Spanish

artists. Since the rise of the avant-garde at the beginning of twentieth century in Europe there had

never been a want of criticism on primary Spanish avant-garde figures such as Dal and Buuel.

The same cannot be said, it seems, for Spanish artists who rose a generation later. Writers, with the

exception of Lorca or Ramn Gmez de la Serna, suffered an additional handicap. In terms of

European critical recognition outside of Spain, their works were often given minimal attention, as

indicated by the few translations available at the time. While critical analysis on painters

sympathetic to the Republic, such as Anton Tpies, does exist among the art libraries of


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universities, it mostly refers to work done after 1950. For the earliest years of the Franco

repression there exists little. Likewise, the works of writers who tried to publish during the first

years of the repression were under strict censorship. Finally, there appears to be a deficiency of

scholarship from the perspective of the expressive voices of Spanish musicians, other than

flamenco, which had the benefit, or curse, of being promoted by the regime as a tourist attraction.

Given these limitations, there still exists a broad spectrum of sources with which to begin

such research. The literature can be roughly divided into five categories: 1) historiography of the

Franco era and its social repression with some emphasis in the area of cultural history; 2) literature

that emphasizes the opposition against the regime; 3) biographical material on the artistsemphasizing their body of work; 4) historiography on the Spanish cultural diaspora that spread

across the Atlantic to the Americas after the war; and finally 5) literature that focuses on artistic

expression in general and expression under authoritarianism specifically.


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There is no shortage of books on the history of the Franco era, and since the late 1980s a

veritable explosion of scholarship has occurred regarding its political evolution, its social

history, and, more recently, the memory of the dictatorship in the minds of Spaniards. Some of

the instrumental works in these areas include: Luis Surez Fernndezs three volumeFranco:

Cronica de un timepo (2001), Jean Grugel and Tim ReessFrancos Spain, Glicerio Snchez

Recios edited compendiumEl primer franquismo, 1936-1959 (1999), Juan Pablo Fusis

Franco (1987), Stanley Paynes Francos Regime, 1936-1975 (1987), Antonio Cazorla

SnchezsLas polticas de la victorias: la consolidacin del Nuevo Estado franquista (2000),

and the Santos Juli edited Victimas de la Guerra Civil, in particular the third section byFrancisco Moreno on the regimes use of violence (1999). Paloma Aguilar Fernndezs two

books on historical memory,Memoria y olvido de la guerra civil espanola(1996) and

Memoria de la guerra y del franquismo (2006), co-edited with historian Santos Juli, and

Ulrich Winters compendium of articlesLugares de memoria de la Guerra Civil y el

franquismo: representaciones literarias y visuals (2006) are examples of the newer

contentious arena of history and memory studies in Spain and represent an indication of the

struggle over representations of its recent past. Together these works provide an overview of

the regimes roots, its political and social histories, its lasting effect on present society, and all

contain pertinent discussion on the use of culture by the regime. Of particular note, as well,

are books written from the perspective of supporters of the regime and the perspective of

Francos National Catholic agenda. Any of a number of books by Ricardo de la Cierva, who

promoted the regimes historical modernization project, including Historia del franquismo:

Origenes y configuracin (1939-1945) (1975) and 1939,agona y victoria (el protocolo 277)

(1989), are helpful in understanding Francoist historians rationalization of the war and the first
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years of the regime. Principal among these works is a virtual guide to the Francoist National

Catholicism entitledFranco y La Cultura: labor del estado espaolpublished in 1947 by La

Oficina de Informacin Espaola in Madrid.

This first category of historiography is rounded off by a group of books that define and

analyze the regimes use of repression and repression of artistic expression directly. During the

1990s and into twenty-first century research projects began to appear that were dedicated to art and

expression under the regime as well as works that incorporated cultural studies within larger

frameworks. Both of these types of works provide important insights into how the regime saw the

role of art and the artist. Examples of the latter are ngel LlorentesArte e ideologa en elfranquismo, 1936-1951 (1995), Eduardo Ruiz BautistasLos seores del libro: propagandistas,

censores y bibliotecarios en el primer franquismo, a critical book in understanding the components

of the early years of literature repression under, Miguel Cabaas Bravos,La politica artstica del

franquismo: el hito de la Bienal Hispano-Americana de Arte (1996). The last amounts to an

exhaustive study of the Franco regimes attempts to present a new face to the world through an

exhibition of Hispano American painting and sculpture. In addition, Gabriel Ureas Las

vanguardias artsticas en la postguerra espaola, 1940-1959 (1982), gives an invaluable summary

of the direction and fate of the avant-garde project in Spain after the civil war, including an

important section on the cultural aperture of the early 1950s. The nature of the repression enforced

by the regime, its censorship, and its control of the public space through media and the academy

are at the heart of this historiography. An example of the type of work that uses important cultural

tools, especially literary and graphic art, to underpin its explanation of the Franco years is Javier

Ugarte Telleras La nueva Covadonga insurgente: origenes sociales y culturales de la

subelvacin de 1936 en Navarra y el Pas Vasco (1998).


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The second category of works that are concerned with opposition to the regime is essential

for understanding the sympathies held by all three of the protagonists of this study. Tpies and

Lpez Pacheco were of the generation that grew up under Franco and were both members of the

Communist Party (PCE), the only well organized and fully national, albeit clandestine, opposition

the regime had for much of its history. In that regard, important works that focus on social and

political confrontation to the regime include: Joe FowerakersMaking Democracy in Spain:

Grass-roots Struggle in the South.1955-1975 (1989), Michael RichardsA Time of Silence - Civil

War and the Culture of Repression in Franco's Spain, 1936-1945, Pere YssDisidencia y

subversin: la lucha del rgimen franquista por su supervivencia, 1960-1975 (2004), FernandaRomeu AlfarosEl silencio roto: mujeres contra el franquismo (2002), Enrique Berzal de la

Rosas chapter Estado y represin: aproximacin al estudio de los mecanismos represivos

durante el primer franquismo in the Santiago Castillos edited Estado, protesta, moviemientos

cosiales (1997), Isaas Lafuente sEsclavos por laq patria: La explotacin de los presos bajo el

franquismo (2002), and a second book by Cabaas Bravo published in 1996 that pertains directly

to artists in opposition to the 1951 Bienal, Artstas contra Franco: la oposicin de los artistas

mexicanos y espaoles. Though not exclusively about the opposition to the regime is a two volume

set of articles focusing on local, national, and foreign affairs entitledEl franquismo: el rgimen y

la oposicin put together by the Historical Archive of the Provence of Guadalajara. It is an

exhaustive collection of articles in two volumes split into six areas of inquiry including cultural,

social, and political histories of Francoism and its opposition. Of prime importance to the

researcher is a whole section dedicated to the availability of sources in archives from all over

central, north and northeastern Spain. Lastly, there is a recent revisionist view of the origins of the

war and the meaning of the regime. These are typified by the work of journalist Po Moa
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Rodrguez whoseDe un tiempo y un pas: la izquierda violenta, 1968-1978 (2002) represents a

politically conservative view of leftist opposition to the Franco regime in its final years.

The third category of literature includes biographical scholarship on the artists along with

collections of their various works. In terms of Anton Tpies, however, the source pool is enriched

because the painter extensively wrote critical works on art himself and was published in Spanish,

Catalan, French, and English. He also penned a memoir,Memoria personal: fragment per a una

autobiografia, published in 1977. Tpies, who was only fifteen when Barcelona fell to the

Nationalists in January of 1939, was not, like Lpez Pacheco, an exile, but he traveled often in the

later years of the regime and was well aware of the emerging trends in modern art. YoussefIsaghpours 2006 monograph, Tpies, is particularly useful as it includes prints, a biography, and

interviews.

One cannot, however, write about the life of a painter anymore than one can discuss the life

of a writer or composer without some examination of the works themselves. Anton Tpies was a

prolific artist and his paintings and sculptures are well represented throughout the world. Among

the museums that have works by Tpies from the period relevant to this research, the most

complete collection on Tpies exists at the Museu DArt Contemporani de Barcelona with forty-

two works, including painting, sculpture, and prints that were created during the Franco regime.

The Funcaci de Tpies in Barcelona holds not only a number of the artists works produced

between 1946 and 1974, it also provides a wealth of sources through its library and archive,

including the copious collection of Tpies monographs on contemporary art. Beyond Barcelona,

Tpies art is readily available for viewing at several museums in Europe and America including:

the Museo Nacional Centro de Arte Reina Sofia in Madrid, the Museo de Bellas Artes de Bilbao,

the Muse d'Art moderne de la Ville de Paris, the Stedelijk Museum in Amsterdam, the Staedel
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Museum in Frankfurt, the Kunstmuseum in Basel, The Guggenheim Museum and the Museum of

Modern Art in New York, and The Museum of the Art Institute in Chicago.

The literary oeuvre of Jess Lpez Pacheco is important to this study for several reasons:

he represents, like Tpies, a younger voice in his art at the time of the dictatorship; he also wrote

and published in Spain as a member of the illegal PCE; and his writing bridges the period of the

middle to late Franco years. Moreover, Lpez Pacheco wrote and published as an exile from Spain

toward the end of the regime. On the other hand, he was not as prolific an artist over the forty-five

years of his career as was Anton Tpies. He wrote only two novels, a book of short stories, and

some collections of poems, though he did manage to write a good amount of literary criticism inhis later years as a professor in Canada. In part, living under the regime seriously hampered his

creative output. This scarcity of early work is mentioned by the author in a brief autobiographical

sketch he did for the release of Pongo la mano sobre Espaa, a book of poetry denied publication

in Spain due to Francoist censors. That short book, as well as his second novel,La hoja de parro

(1973),was published abroad. The former was a part of a collection published in Buenos Aires

entitled Espaa a tres voces (1963) that included the poetry of other dissident Spanish poets

Marcos Ana and Luis Alberto Quesada.La hoja was published in Mexico in 1973 and later in

Spain in 1977 after Franco's death. Between the years 1953 and 1958 the author had nothing

published at all. His books of poetry and fiction include:Dejad creer este silencio (1953), Central

elctica (1958), Canciones del amor prohibido (1961), his fictive biography,Mi corazn se llama

Cudillero (1961), La hoja de parro (1973),Lucha contra el murcilago y otros cuentos (1988),

Asilo potico (1992)andEcologas y Urbanas (1998). Of these works, the most important in terms

of its broader implications of artistic expression under the regime is his 1958 work, Central

elctrica, because of its stark portrayal of everyday life in Spain at the time. The fact that his next
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work fell victim to Franco censors indicates the importance of the novel and exemplifies the

roadblocks that the regime meant to throw in front of certain artists. There are, at this time, no

complete biographies on the life of Jess Lpez Pacheco

In terms of literary analysis, Lpez Pachecos work receives mention in several books on

contemporary Spanish literature including those by David Thatcher Gies (The Cambridge history

of Spanish literature, 2004), Manuel L. Abelln (Medio siglo de cultura, 1939-1989, 1990), Jaime

Bentez (La torre, 1990),and Carlos Blanco Aguinaga, Julio Rodrguez Purtolas, and Iris M.

Zavala's 1978Historia social de la literatura espaola (en lengua castellana). The latter work is

significant in its appraisal ofCentral elctrica as one of the earliest examples of a post-warSpanish author assimilating some of the literary techniques of James Joyce and William Faulkner.


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Generally, one should note that, though highly regarded, the work of Lpez Pacheco is

usually included only within compendiums of contemporary Spanish literature. One book,

however, that does make a major contribution to placing the author in his historical context in

Spain isEnvenenados de cuerpo y alma: la oposicin universitaria al franquismo en Madrid

(1939 - 1970), byJos Alvarez Cobelas, published in 2004. Here Lpez Pacheco is mentioned as

one of the primary organizers of the Congreso de Escritores Jvenes (Congress of Young Writers),

an umbrella group that was intended to provide a medium for the discussion and dissemination of

contemporary literature in the 1950s. Relying solely on the author's works and the books that

contain some mention of him is not sufficient to bring his life into full focus, especially hisformative years as a writer. Fortunately, there are other tools available to researchers. Fabio Lpez

Lzaro, the son of the author and a scholar of medieval Spanish history at Santa Clara University

in California is a major source of memory and context on the authors life, family, and years in

exile. He has consented to be interviewed for this project. As of 2009, personal letters of the author

became available and have been transferred to the archive of the Universitat Autnoma de

Barcelona. These include letters written between 1958 and 1961, written to poetJos Agustn

Goytisoloduring the years surrounding the publishing in Spain ofCentral elctrica. This

information will be vital for several reasons. Letters of this nature are always insightful in giving

the researcher a glimpse into strictly personal thoughts of a far more improvisational nature than a

literary work. And, because they are communications between two Franco-era artists, both with

left leaning sympathies, they can provide a window into the growing contestation that was

beginning to build among artists and writers chafing under the dictatorships censorship. Finally,

artists writing to artists tend to speak a language different from other types of personal
http://www.worldcat.org/search?q=au%3AJose%CC%81+A%CC%81lvarez+Cobelas&qt=hot_authorhttp://www.worldcat.org/search?q=au%3AJose%CC%81+A%CC%81lvarez+Cobelas&qt=hot_authorhttp://www.worldcat.org/search?q=au%3AJose%CC%81+A%CC%81lvarez+Cobelas&qt=hot_authorhttp://www.worldcat.org/search?q=au%3AJose%CC%81+A%CC%81lvarez+Cobelas&qt=hot_authorhttp://ddd.uab.cat/record/11217http://ddd.uab.cat/record/11217http://ddd.uab.cat/record/11217http://www.worldcat.org/search?q=au%3AJose%CC%81+A%CC%81lvarez+Cobelas&qt=hot_authorhttp://ddd.uab.cat/record/11217http://ddd.uab.cat/record/11217


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correspondence. Each is conscious of the experience of artistic expression in the other, and their

observations take on a more intuitive nature.

Researching the life of Antonio Jos probably presents the greatest challenge. He was

murdered in early October of 1936 (the actual date is listed in three different sources as occurring

on either the 8th, 9th, or 12th) only two months after Lorcas death, and, similar to Lorca's death, the

Falangist militiamen who executed him were seemingly aware of the artistic credentials of their

victim. But unlike Lorca, Jos's work had only just begun to achieve national acclaim and was not

known outside of Spain.8 A 1995 masters thesis by music historian Yolanda Acker of the

University of Melbourne written is, at this point, the only work devoted exclusively to his life andcompositions. The situation surrounding his death is still shrouded in mystery, and this research is

intended to help understand those circumstances and bring his career and its meaning into fuller

light within the context of the repression under Franco.

In the early twentieth century, there was a movement toward a "new" national music of

Spain that included classical composers Joaqun Rodrigo and Manuel de Falla. Both composers

utilized the vocabulary of the cante hondo, or deep song, of flamenco music. Jos represented an

extension of that movement, but was instead captivated by the folk songs of the region surrounding

his native Burgos. He was teaching music in Burgos and already held various performances of his

Sinfona castellana (1923), including one in Sevilla during the year of his death. Beyond his

musical associations, Jos was known to a far-ranging group of artists and friends, among them

Federico Garca Lorca and Salvador Dal. He was captured two months before his death, at

approximately the same time Lorca was murdered in Granada, and held for two months before he

was executed. Jos's catalogue of works is varied and includes some one hundred and fifty works,

8There is a story, possibly apocryphal, of Antonio Jos meeting and receiving the blessing of French composerMaurice Ravel in Paris in the 1920s. I have not as of yet in my research been able to confirm that the meeting tookplace, or that the praise for Joss work attribute to Ravel did, in fact, take place.


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although his discography is much smaller. His Sonata castellana (1922) for guitar and the

Sinfona, his most advanced orchestral work,are readily available today, though in only limited

versions. His Suite Ingenua 1928) an orchestral work that utilizes a quasi-piano concerto form

contains some of his most evocative string orchestration and clearly points to the great influence of

French Impression in his style.

Another category of relevant scholarship is that dedicated to Spanish Republican exiles.

One of the salient facts regarding the immigrant population of Spanish Republican exiles to Latin

America is the high concentration of academics, intellectuals, and artists, almost thirty percent of

the total population of refugees. This is one reason why there is an abundance of personal accountsand historiography available on this Spanish Civil War diaspora. Of particular importance is the

book Spanish Culture Behind the Barbed-Wire (2004), by Francie Cate-Arries that discusses the

Republicans in French prison camps at the end of the Civil War, many of whom would eventually

make their way to Latin America. Two other key works of the historiography include Patricia W.

Fagan'sExiles and Citizens: Spanish Republicans in Mexico (1973) and Dolores Pla BrugatsPan,

trabajo y hogar: El exilio republicano espaol en Amrica Latina (2007), both of which examine

cultural and political issues of the exiled Spanish. Sebastiaan Fabers 2002 book,Exile and

Cultural Hegemony, on Spanish Republic intellectuals in Mexico, takes a different tack than either

of the first two monographs. His purpose was to describe an evolution in thinking of the Spanish

Republican diaspora from what he terms a Gramscian idealof the intellectual as politically

involved to one of a more detached observer. Fabers work will be instrumental in configuring

some of the changes that occur in the artistic expression of exiles over the time of their separation

from Spanish culture under Franco.


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Beyond secondary sources, it is the expression of these exile artists, unimpeded by

authoritarian censorship that is vital to understanding their lives outside of Spain and the effects of

separation on their artistic output. The list of articles, books, autobiographies, diaries, memoirs,

and interviews with Spanish refugees from the Civil War is extensive. Personal diaries of the exiles

includes works by author Max Aub and philosopher Adolfo Snchez Vzquez, autobiographies by

film director Luis Buuel and poet Luis Cernuda, as well correspondences from exiles that fill up

archives in Mexico City, Madrid, Salamanca, and Buenos Aires.

Artistic expression is presented in this research as a cultural, sociological, and deeply

individualistic phenomenon. The creative expression of an artist within any society is framed bythat society as well as a need or will to express oneself. That need (discussed below) can often take

precedence over the artists subsistence. But under a regime of authoritarian social and political

control, the dynamic of self-preservation versus expression is thrown into stark relief. The

twentieth century has many examples of the struggle for artistic expression within dictatorships

and all should be examined in order to gain a general understanding of the stresses at play. A

sampling of some of the scholarship from this last category includes the broad compilation Art and

Power: Europe Under the Dictators, 1930-1945 with a foreword by Eric Hobsbaum, and editors

Kenda Bar-Gera and Wolfgang ZemtersPersecuted Art and Artists Under Totalitarian Regimes

in Europe During the Twentieth Century. These worksconcentrate on dissident artists under

German, Spanish, and Soviet dictatorships and, particularly the latter, on the machinations of their

struggle with authority. In fact, because of the parallels in control mechanisms within all

authoritarian states, books on German state control of the arts such as Alan Steinweis Art,

Ideology, and Economics in Nazi Germany are particularly insightful for the Spanish case.

Likewise, the rise in young dissident artistic expression in Spain in the later Franco years parallels


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that of younger Russian artists represented by Natalia Tamruchi in An Experience of Madness:

Alternative Russian Art in the 1960s-1990s. In a more Gramscian vein, Steven Brown and Ulrik

Volgstens book,Music and Manipulation: On the Social Uses and Social Control of

Music,presents a series of essays that come down hard on the side of music as a cultural device of

the controlling elite to maintain power.

VI.Research Methods and Agenda

This is a work of contemporary cultural history and the theory pool outlined above is intended

to illuminate its methodology. Placing these three artists within the social context of their times, as well as

comprehending the influence their artistic production had on Spanish society requires two levels ofresearch. The lives of all three artists, because their artistic expression and political dissidence intersected

and interfered with the regimes cultural project, could leave traces in the archives, both national and

regional. But as well, given the contemporary nature of this research, one-on-one interviews with Spanish

artists, the families of artists, critics, cohorts, or even relatives of cohorts who lived through the Franco

years will prove a fruitful and enriching contribution to the source material and literature on this subject.

Such interviews also open up the field of history and memory studies, an area that has grown

exponentially in the twentieth century as individuals and societies in Europe have come to grips with the

horrors inflicted by them, and upon them, during authoritarian regimes. These studies, in particular, will be

intrinsic to work on the death of Antonio Jos, a case interwoven with many of the issues that have

dominated interest in Spain on recovery of historical evidence from the Franco years.

Research on the diaspora of Spanish artists during this period and the mutual effects between the

diaspora and the artist community in Spain could lead naturally to interviews in Latin America (Mexico,

Cuba, or Argentina) as well as Canada, where Jess Lpez Pacheco eventually resided. Especially where

visual works are concerned, the cultural researcher profits from face-to-face interactions with artists in the


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appraisal of a works significance The abstract expressionist work of Anton Tpies, for instance, was a

major influence among young artists in Mexico in the late 1960s. Speaking with some of those artists

today would be useful.

In specific terms, the initial plan is that this research will focus on the lives of the three artists

and will involve a period of research of roughly one year would begin in the fall of 2010 in

Madrid. Archival work on the Franco years would be important at the Archivo Histrico Nacional

in Madrid and at the Archivo General de la Guerra Espaola in Salamanca. Further, as outlined in

the review of literature, research in Madrid and Barcelonas museums would be essential,

especially at the Museo Nacional Centro de Arte Reina Sofa and Museu d'Art Contemporani deBarcelona where work by Tpies from the late 1940s and early 1950s is available. Work involving

interviews with artists (writers, musicians, and painters), museum curators, collectors, critics, and

other people connected with the art world in Madrid during the years of Francos dictatorship

would be vital to this project. These interviews along with interviews focusing on the life of Jess

Lpez Pacheco in Madrid will be done with assistance from Juan Trouillhet-Manso, an adjunct

professor of linguistics at Complutense. In addition, study will be conducted at the Universidad

Complutense de Madrid on the life and music of Antonio Jos with the help of researcher and

archivist Yolanda Acker of the Instituto Complutense de Ciencias Musicales. Ms. Acker also will

be of assistance in traversing the Archivo del Ayuntamiento de Burgos (birthplace of Jos) where

she conducted her own research on Jos. In addition, research will be done in Oviedo at the

Archivo Histrico de Asturias, where letters and papers of the author have been donated. Finally,

the Spain portion of the dissertation research will move to Barcelona to the Museu d'Art

Contemporani, the Fundacin de Antoni Tpies, and the Biblioteca de la Unversitat Autnoma de

Barcelona where personal letters of Jess Lpez Pacheco are available.
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Both the archives in Salamanca as well as the Associacin para el Estudio de los Exilios y

Migraciones Ibricos Contemporneos (AMEIC) at the Universidad Nacional de Educacin a Distancia in

Madrid carry comprehensive documentation regarding the Republican exile diaspora. The plan at this

time could involve shorter periods of travel to regions of the Spanish artistic diaspora including Mexico,

where the Colegio de Mxico (La Casa de Espaa) resides, Canada, where Lpez Pacheco taught at the

University of Western Ontario, and either Argentina or Cuba, where smaller parts of the Spanish artistic

diaspora fled after the Civil War, beginning in the summer of 2011.

VII. Chapter Organization

Chapter 1 - Introduction - Art in the Time of CholeraThe idea is to use this chapter as an introduction to the topic and thesis of the

dissertation as a loose paraphrasing of Garca Marquezs novel. Artistic creation is an enormousburden to bear under the stress of a repressive political and cultural environment, and yet it is aburden continually acceptable to the artist.

Chapter 2 - Antonio Jos and the Repression

Chapter 3 - The War and the Repression Cultural Perspectives

Chapter 4 - Anton Tpies

Chapter 5 - Aperture, Protest, and Expression

Chapter 6 - Jess Lpez Pacheco

Chapter 7 - The Essence of Censorship and the Primacy of Literature to the Regime

Chapter 8 - Home and Exile-Artistic Influences

Chapter 9 - Conclusion - Artistic Expression Under the Gun

VIII. Writing timetable

The period of research will extend from the fall of 2001 up to the fall of 2010. The period set aside

exclusively for the writing and editing of the dissertation would be from the end of 2011 through 2013,

though writing will be an ongoing process during the whole period of research starting in 2009. The plan


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for now is as follows:

The Introduction and Chapters 2and 3 would be finished by the spring of 2011

Chapters 4 through 6 would be finished by the fall of 2011.

Chapters 7 and 8 would be finished by the spring of 2012.

The conclusion would be finished by summer of 2012, leaving the fall of 2012 for revisions and the

spring and summer of 2013 to review, edit, and prepare for the dissertation defense in the fall of 2013.

IX. Bibliography

Interviews:

Blanco Aguinaga, Carlos. Interviewed by Bob Long via email between March 10

th

and April 2,2006.

Archival sources:

Archival General de la Guerra Civil Espaola.Exilios en mjico: Entrevistas orales a exiliados.Salamanca.

______________.Proyectos de Recuperacin de Archivos del Exilio Espaol de la Republica.Salamanca.

Archivo de la UAB (Universitat Autnoma de Barcelona - Servei de Biblioteques).

Primary sources:

Alted Vigil, Alicia, ed.El archivo de la repblica espaola en el exilio, 1945-1977. Madrid: FundacinUniversitaria Espaola, 1993.

Aub, Max. Diarios: (1939-1972). Barcelona: Alba Editorial, 1998.

Buuel, Luis.An Unspeakable Betrayal: Selected Writings of Luis Buuel, trans. by GarrettWright. Berkeley: University of California Press, 2000.

___________.Mi ltimo suspiro, tra. por Ana M. de la Fuente. Ediciones Robert La Laffont, S.A.:Pars, 1982.


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Sinaia.Diario de la primera expedicin de republicanos espaoles a Mxico (Ed. facsimilar).Presentacin y eplogo de Adolfo Snchez Vzquez. Mexico City: La Oca-Coordinacin deDifusin Cultural, Universidad Automa Metropolitania Redacta, 1989.

Secondary sources:

Abelln, Luis.El exilio espaol de 1939. Mexcio City: Taurus, 1976.

Aguilar Fernandez, Paloma.Memoria y olvido de la guerra civil espaol. Madrid: Alianza, 1996.

Alted Vigil, Alicia.El archivo de la Repblica Espaola en el exilio, 1945-1977: inventario delfondo Pars. Madrid: Fundacion Universitaria Espaola, 1993.

Amo, Julin y Charmion Shelby.La obra impresa de los intelectuales espaoles en America(1936-1945). Stanford: Stanford University Press, 1950.

Bassols, Narcisco. Obras. Mexico City: Fondo de Cultura Econmica, 1964.Biblioteca de Ateneo del Espaol de Mxico.Letras del exilio Mxico: 1939-1949. Valncia:Universitat de Valncia, 1999.

________________________. Obras impresas de los intelectuales espaoles en Amrica 1936-1979. Valncia: Universitat de Valncia, 1999.

Brown, Steven and Ulrik Volgsten.Music and Manipulation :On the Social Uses and SocialControl of Music. New York: Berghahn Books, 2002.

Cabaas Bravo, Miguel.Artstas contra Franco: la oposicin de los artistas mexicanos yespaoles. Mxico, D.F.: Univ. Nacional Autnoma de Mxico, Inst. de Investigaciones Estticas,1996.__________________.La politica artstica del franquismo: el hito de la Bienal Hispano-Americana de Arte. Madrid: Consejo Superior de Investigaciones Cientficas, 1996.

Calvo Serraller, Francisco.El arte visto por los artistas: La vanguardia espaola analizada porsus protagonistas. Madrid: Taurus, 1987.

Castillo, Santiago andJos Ma. Ortiz de Orruo, eds.Estado, protesta y movimientos sociales:Actas del IIIer Congreso de Historia Social de Espaa, Vitoria-Gasteiz (julio de 1997).Bilbao :Universidad del Pas Vasco, Servicio Editorial, 1998.

Castro Borrego, Fernando, scar Domnguez y el surrealismo. Madrid: Ctedra, 1978.

Cazorla Snchez, Antonio.Las polticas de la victoria: la consolidacin del Nuevo Estadofranquista, 1938-1953. Madrid: Marcial Pons. 2000.
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Cierva, Ricardo de la.Historia del franquismo: origenes y configuracin (1939-1945). Barcelona,Editorial Planeta, 1975.

________________. 1939, agona y victoria (el protocol 277). Barcelona: Planeta, 1989.

Departamento Provincial de Teruel,El surrealismo y la guerra civil espaola. DepartamentoProvincial de Teruel: Teruel, 1998.

Etherinton-Smith, Meredith. The Persistence of Memory: A Biography of Dal. New York:Random House, 1992.

Faber, Sebastiaan. Exile and Cultural Hegemony: Spanish Intellectuals in Mexico, 1939-1975.Nashville: Vanderbilt University Press, 2002.

Fagen, Patricia W.Exiles and Citizens: Spanish Republicans in Mexico. Austin: University ofTexas Press, 1973.

Frriz Roure, Teresa.Romance, una revista del exilio en Mexico. A Carua: Edicis do Castro,2003.

Foweraker, Joe.Making Democracy in Spain: Grass-roots Struggle in the South, 1955-1975.Cambridge University Press, 1989.

Graham, Helen. The Spanish Republic at War: 1936-1939. Cambridge: Cambridge UniversityPress, 2002.

Gramsci, Antonio.Prison Notebooks, Vol. 3. New York: Columbia University Press, 1992.

Greeley, Robin Adle. Surrealism and the Spanish Civil War. New Haven, Conn: Yale UniversityPress, 2006

Grugel, Jean and Tim Rees.Francos Spain. New York: Arnold, 1997.

Hospers, John.Artistic Expression. New York, Appleton-Century-Crofts, 1971.

Juli, Santos and Paloma Aguilar Fernndez, coors.Memoria de la guerra y del franquismo.Madrid: Taurus, 2006.

Lafuente, Isaas. Esclavos por la patria: La explotacin de los presos bajo el franquismo Madrid:Temas de Hoy, 2002.

La Oficina de Informacin Espaola. Franco y La Cultura: labor del estado espanol (1939-1947).Madrid: La Oficina de Informacin Espaola, 1947.

Lida, Clara E. La inmaginacin espaola en Mxico: un modelo cualitivo in Cincuenta Aos deHistoria en Mxico. Mexico City: El Colegio de Mxico, 1987.


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_____________ and Jos Antonio Matesantz. Un refugio exilio: La Casa de Espaa en Mxico ylos intelectuales espaoles.Revista de Occidentes, 78 (2000).

Llorente. ngel .Arte e ideologa en el franquismo, 1936-1951. Madrid: Visor, 1995.

Lukcs, Gyrgy. Realism in the BalanceinAesthetics and Politics: The Key Texts of the ClassicDebate Within German Marxism by Ernst Bloch et al.London: Verso, 1980.

MacMaster, Neil. Spanish Fighters: An Oral History of Civil War and Exile. New York: St.Martins Press, 1990.

Mas Peinado, Ricard, Universo Dal. Lunwerg Editores: Barcelona, 2003.Matesanz, Jos Antonio. Las raices del exilo: Mxico ante la guerra civil espaola, 1936-1939.Pedregal de Santa Teresa: El Colegio de Mxico, A.C., 1999.

McCulloch, John A. The Dilemma of Modernity: Ramn Gmez de la Serna and the SpanishModernist Novel. New York: Peter Lang, 2007.

Ministerio de Cultura,Mir en las colecciones del estado. Direccin General de BellasArtes y Archivo: Madrid, 1987.

Moa Rodrguez, Po. La oposicin durante el franquismo: La izquierda violenta (1968-1978).Madrid : Encuentro Ediciones, 2001.

Muoz, Blanca. The Problem of Our Time: Culture or Industrial Culture? Musical Creation orIndustrial Musical Products? The Spanish Case. in Whose Masters Voice? By in Ewbank, AlisonJ. and Fouli T. Papageorgiou.Westport, Conn.: Greenwood Publishing Group, 1997.

Museo Nacional Centro de Arte Reina Sofa. Surrealistas en el exilio y los inicios de la Escuela deNueva York :, 21 de diciembre 1999-27 de febrero 2000. Madrid: Aldeasa, 1999.

Novo, Salvador.La vida en Mxico en el perodo presidencial de Lzaro Crdenas. Mexico City:Epresas Editoriales, 1964.

Palacios, Jess.La Espaa totalitaria: las raisces del franquismo, 1934-1946. Barcelona: :Planeta, Date: 1999.Pike, David Wingeate. Vae vistis!: los republicanos esapoles en Francia. Paris: Ruedo Ibrico,1969.

Plat Brugat, Dolores.Pan, trabajo y hogar: El exilio republican espaol en Amrica Latina.Mxico, D.F.: Instituto Nacional de Migracin, 2007.

Powell, T.G.Mexico and the Spanish Civil War. Albuquerque: University of New Mexico Press,1981.


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