Generation of ‘27

2018 ◽  
Author(s):  
Pablo Restrepo-Gautier
Keyword(s):  
Cultural Center ◽  
Luis Bunuel ◽  
Luis Cernuda ◽  
Avant Garde ◽  
Salvador Dali ◽  
Rafael Alberti ◽  
Vicente Aleixandre ◽  
Luis De Gongora ◽  
Gerardo Diego ◽  
Pedro Salinas

Generation of ‘27 was a group of poets in Spain also known as Generation of 1925, Generation of the Dictatorship (referring to Primo de Rivera’s regime), Generation of the avant-garde, and Generation Lorca-Guillén, among other appellations. The term "Generation of ‘27" arises from a gathering of Spanish avant-garde poets on 16 and 17 December 1927, to commemorate the 300th anniversary of the death of Andalusian baroque poet Luis de Góngora y Argote (1561–1627). The term most often designates a group of ten poets born between 1891 and 1905: Pedro Salinas (1891–1951), Jorge Guillén (1893–1984), Gerardo Diego (1896–1987), Federico García Lorca (1898–1936), Vicente Aleixandre (1898–1984), Dámaso Alonso (1898–1990), Emilio Prados (1899–1962), Luis Cernuda (1902–1963), Rafael Alberti (1902–1999), and Manuel Altolaguirre (1905–1959). In a broader sense, the term may also include other artists such as painters Salvador Dalí (1904–1989) and Maruja Mallo (1902–1995), filmmaker Luis Buñuel (1900–1983), and musician Rosa García Ascot (1902–2002). Most members of the group met in Madrid at the influential cultural center known as the Residencia de Estudiantes.

Alberti, Rafael (1902–1999)

2018 ◽  
Author(s):  
Silvia Colás Cardona
Keyword(s):  
Federico Garcia Lorca ◽  
Luis Bunuel ◽  
Avant Garde ◽  
Salvador Dali ◽  
Rafael Alberti ◽  
Vicente Aleixandre ◽  
Student Residence ◽  
Jorge Guillen ◽  
Gerardo Diego ◽  
Pedro Salinas

Born in Cadiz, Andalusia, and a member of what is known as the Generation of ’27, Rafael Alberti started his career as an avant-garde painter. He began to paint when his family moved to Madrid in 1917, and later in his life, he admitted to thinking of himself as a painter before a poet. He started writing poetry in 1920, publishing some of his early works in the ultraista literary review Horizontes. His first book of poems, Marinero en tierra [Sailor in Land], won the prestigious Premio Nacional de Literatura [National Prize for Literature] in 1925. Soon would follow La amante [The mistress] in 1926 and El alba del alhelí [Dawn of the Wallflower], published in 1927. All three of these works were inspired by neo-popularismo, one of the various literary trends that influenced the Generation of ’27. The arrival of Alberti at the Residencia de Estudiantes [Student Residence] in 1924 marks a crucial moment in his life; it was at the Residencia that he met most of the members that would later form the Generation of ’27: Federico García Lorca, Salvador Dalí, Luis Buñuel, Jorge Guillén, Gerardo Diego, Pedro Salinas, Vicente Aleixandre and Dámaso Alonso, among others.

scholarly journals Salvador Dalí, i ritratti ibridi degli anni Venti

Venezia Arti ◽  
2019 ◽  
Author(s):  
Elide Pittarello
Keyword(s):  
The Body ◽  
The Self ◽  
The Other ◽  
Luis Bunuel ◽  
Avant Garde ◽  
Salvador Dali ◽  
European Culture ◽  
The Subject ◽  
The One ◽  
Porous Boundaries

The life and artworks of Salvador Dalí (1904-1989) are closely interconnected and thoroughly documented. Returning to the hybrid portraits painted by the young artist in the 1920s gives us, on the one hand, the chance to recall a phase in his maturing process which, with few exceptions, is often undervalued by art historians and curators, especially those who are not Spanish. On the other, it can allow us to reaffirm Federico García Lorca’s crucial role in their conception and iconic execution between 1925 and 1927. After the influence of the painter Rafael Barradas from Uruguay, Dalí chose the authoritative model of Picasso, the undisputed master. Encouraged by Luis Buñuel, who had moved to Paris, Dalí visited Picasso in 1926. After that meeting he started to paint multiple heads and self-portraits which include García Lorca’s silhouette. As to avant-garde arts and their porous boundaries, the friendship uniting García Lorca, Buñuel and Dalí was fructuous from the time when they lived at the Residencia de Estudiantes in Madrid. In this institution, open to the most original innovations of European culture, certain aesthetic motives emerged which each developed in his own inimitable way: the subject as a mask, the self being the other, the body reduced into pieces of anatomy, putrefied remains, aberrant mix of organic and inorganic stuff.

Buñuel, Luis (1900–1983)

2018 ◽  
Author(s):  
Aaron Gerow
Keyword(s):  
Luis Bunuel ◽  
Salvador Dali

Luis Buñuel is the film director most often associated with Surrealism, although his own career spanned many genres, film industries, and nations. Born to a wealthy family in Aragon, he went to university in Madrid alongside such future artists as Salvador Dalí and Frederico García Lorca. His first film, the short Un Chien Andalou (1929), both inaugurated Buñuel’s long-standing concern with moments or events that cannot be explained or rationalized, and also inducted him into the Surrealist movement.

scholarly journals Tres elegías taurinas. Tres miradas poéticas

Acta Poética ◽  
2015 ◽  
Vol 25 (2) ◽  
Author(s):  
Elizabeth Luna Traill
Keyword(s):  
Federico Garcia Lorca ◽  
Rafael Alberti ◽  
Gerardo Diego ◽  
Siglo Xx

Con el fin de analñizar cómo sus autores "miran" a los tres grandes protagonistas de la fiesta brava: el toro, el torero y la muerte, comparo ciertos rasgos de las tres grandes elegías taurinas del siglo XX: "Llanto por Ignacio Sánchez Mejías", de Federico García Lorca, "Verte y no verte", de Rafael Alberti y "Elegía a Joselito", de Gerardo Diego.

scholarly journals La La determinación social de la imagen cinemática en el arte de la Primera Vanguardia. Gerardo Diego y Joris Ivens, un caso de analogía fílmico-poética

2021 ◽  
pp. 63-100
Author(s):  
Eva María Martínez Moreno
Keyword(s):  
Italo Calvino ◽  
Luis Bunuel ◽  
Dziga Vertov ◽  
Gerardo Diego ◽  
Guillermo De Torre

El presente artículo señala la determinación social de la imagen cinemática como causa directa de la analogía entre las diferentes artes durante el periodo de la Primera Vanguardia. En particular, se profundiza en la reciprocidad expresiva del Cine y la Poesía Nueva que confirman numerosas aportaciones teóricas y prácticas, como las del poeta ultraísta Guillermo de Torre o las del cineasta surrealista Luis Buñuel. Asimismo, se demuestra la conveniencia de aplicar los conceptos de cine-ojo (1919) y cine-verdad (1922), del director ruso Dziga Vértov, y el de cine mental (1989), del escritor italiano Italo Calvino para explicar los fundamentos estéticos y poiéticos de esta ósmosis, que la lectura comparada final del poema creacionista “Lluvia” del español Gerardo Diego y la película homónima del holandés Joris Ivens demuestra.

scholarly journals Federico García Lorca en la memoria

2018 ◽  
Vol 1 (43) ◽  
pp. 67-71
Author(s):  
Quentin Charles
Keyword(s):  
Federico Garcia Lorca ◽  
Luis Bunuel ◽  
Salvador Dali

A través de las memorias de Salvador Dalí –La vida misma–  y de Luis Buñuel –Mi último suspiro–, el autor reconstruye la relación de amistad que ambos mantuvieron en distintos momentos de su vida con el poeta Federico García Lorca. No obstante las diferencias entre las dos obras memorialísticas, Buñuel y Dalí coinciden en el homenaje al poeta y, lejos de las disputas de antaño, confiesan su admiración por él.

scholarly journals La importancia del guiñol dentro del mundo lorquiano

2012 ◽  
Vol 17 ◽  
pp. 71-78
Author(s):  
Eszter Katona
Keyword(s):  
Significant Role ◽  
Federico Garcia Lorca ◽  
Foster Child ◽  
Literary Genres ◽  
Avant Garde ◽  
La Nina ◽  
Rafael Alberti ◽  
Puppet Theatre ◽  
Artistic Career ◽  
Life Work

Federico García Lorca was a versatile artist, known as a musiáan, poet, dramatist, essaywriter, and the director and actor of the Barraca Troupe, to mention only some important moments of his short but outstanding artistic career. Since his poems and dramas are well known amongst the Hungarian audience, instead of repeating clichés, this study selected a segment of Lorca's life work that is still considered a foster child among literary genres. This genre is the puppet-theatre, which always played a significant role in Lorca's life. The roots of this enthusiasm must be sought in his childhood, while as an adult ljorca consciously tried to search and pass on his knowledge of the tradition ofpuppet-shows and also lullabies. With the revival of such folk-rooted, andent cultural treasures, the Andalusian artist wanted to guide his audience back to childhood innocence untouched by riviligation. Avant-garde movements from the beginning of the century were also familiar with the genre of puppet-theatre. Several Spanish litterateurs (Jarinto Benavente, Valle In clan, Rafael Alberti, Jacinto Grau) wrote plays especially for puppets, mostly —and surprisingly differing from our contemporary perception of puppet shows— for adult audiences. Lorca's life work includes four surviving works written for puppet-theatre (Cristobícal, Ta tragicomedia de Don Cristóbal y la seña Rosita, La niña que riega la albahacay el príncipe preguntón, Retablillo de Don Cristóbal), this study willfocus on presenting these plays.

Salinas, Pedro (1891–1951)

2018 ◽  
Author(s):  
Silvia Colás Cardona
Keyword(s):  
Marcel Proust ◽  
Academic Career ◽  
Great Influence ◽  
Secretary General ◽  
Luis Cernuda ◽  
Senior Member ◽  
University Of Cambridge ◽  
Republican Government ◽  
The University ◽  
Pedro Salinas

Pedro Salinas was a poet, essayist, and playwright. Known as the poet of love of the Generation of ’27, and as the senior member of the group, he spent most of his life teaching in universities. He obtained his PhD from the Sorbonne, where he also lectured for several years, specializing in Marcel Proust, whose work he would translate into Spanish. His extensive academic career started at the University of Seville in 1918. It was during his years in Seville that he met Luis Cernuda, on whom he would exert a great influence and who would also become a member of the Generation of ‘27. After teaching at the University of Cambridge and the University of Murcia, he started working at the University of Madrid in 1926, where he founded a literary magazine called Índiceliterario [Literary Index]. In 1933, the Spanish Republican Government appointed him secretary-general of the Universidad Menéndez Pelayo.

Surrealist Sounds

2018 ◽  
Author(s):  
Hannah Lewis
Keyword(s):  
Jean Cocteau ◽  
Luis Bunuel ◽  
Avant Garde ◽  
Institutional Structures ◽  
Musical Practices

This chapter focuses on the controversial early sound films directed by avant-garde filmmakers Jean Cocteau and Luis Buñuel: Le Sang d’un poète (1930) by Cocteau and L’Age d’or (1930) by Buñuel. They were the first surrealist sound films, and both filmmakers used music to create strange audiovisual juxtapositions and to shock their audiences. Although music’s role in the surrealist movement was contested, Lewis demonstrates through her analysis of these two films that music was crucial for a surrealist audiovisual cinematic conception. While experiments this audacious were short-lived, these two films offer a glimpse into a style of audiovisual filmmaking that was most closely aligned with modernist musical practices of the 1920s, in terms of the participants involved, their aesthetic priorities, and the institutional structures in which they were funded and supported.

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