The Cartonera collection: hand-made books with cardboard covers

In 2017, Cambridge University Library became a partner in the two-year AHRC project “Cartonera Publishing : Relations, Meaning and Community in Movement.” The Library then agreed to build a collection of 200 items from cardboard publishers (editoriales cartoneras), with a focus on Mexico, Brazil and Argentina. Continue reading

New electronic resources with a European connection

The ejournals@cambridge blog publicises trial access to and purchase of various databases and ejournals, and it is certainly a blog worth following.  Several purchases over the last few months complement our European collections, so this post gives an overview.  The subjects of these new resources span philology, politics, art history, theology, migration studies, history, and bibliography, and their contents are in English and various European languages.

Composite of samples of ephemera from the Euromaidan Protests database

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Wifredo Lam and Aimé Césaire

An exhibition in Trinity College’s Wren Library which runs until 12 June 2018 celebrates the work of the Cuban artist Wifredo Lam, using items from the Wren’s extraordinary Kessler Collection of Artists’ Books.  In this blog post, we look at the University Library’s own holdings of Lam books and related material.

Fata morgana / André Breton ; illustrated by Wifredo Lam

The exhibition focuses on Wifredo Lam’s many collaborations with a wide variety of international artists and writers such as Aimé Césaire, Gherasim Luca, and René Char. The UL’s earliest holding of his work reflects this aspect of his career: a 1969 English translation of André Breton’s poem Fata morgana illustrated by Lam (1990.9.1800). This collaboration dates from the Cuban artist’s time in France from 1938 to 1941, when he met and worked with many of the Surrealists and other leading European writers and artists of the period. However, the artistic exchange between Wifredo Lam and contemporary European art and literature had already begun years before, when he first went to study in Madrid in 1923. We hold a number of titles in French, Spanish and English dealing completely or in part with this side of Lam’s life and work:

  • André Masson : de Marseille à l’exil américain (2016.9.657)
  • Lam et les poètes (S950.b.200.559)
  • Más allá de lo real maravilloso : el surrealismo y el Caribe (400:8.c.200.186)
  • Diálogo de las artes en las vanguardias hispánicas (C213.c.6463)
  • Wifredo Lam and the international avant-garde, 1923-1982 (405:6.b.200.8)
  • The colour of my dreams : the Surrealist revolution in art (S950.b.201.911)

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“The book as world and the world as book” at the Warburg Institute

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Alberto Manguel, picture by Fronteiras do Pensamento [CC BY-SA 2.0 (https://creativecommons.org/licenses/by-sa/2.0)%5D via Wikimedia Commons

Last Friday 20th April the Warburg Institute in London organised an event that focused on books and readers in the Spanish speaking world, entitled The book as world and the world as book. The keynote of the event was a delightful -to say the least- conversation between the Warburg’s director, Bill Sherman, and Alberto Manguel, writer and Director of the National Library of Argentina. Coincidentally, Manguel’s book Packing my Library featured as “Book of the week” on BBC Radio 4 at the beginning of the month (the UL copy stands at C205.d.5241). Their discussion, of course, was all about books, writing, reading and libraries and also about Manguel’s experiences as a young man when he read aloud to an old and blind Borges. The book With Borges (a copy is held at Jesus College’s Quincentenary Library) offers memories of the encounter and of Borges’ life beyond his writings. The  Spanish edition of the work, translated by Eduardo Berti can be found at C202.c.5582. Alberto Manguel’s holdings at the University Library are reasonably complete, both in Spanish and English, and demonstrate his flair as a writer, editor and translator (click here to see all 62 titles). Continue reading

Mariano Fortuny y Marsal: a cosmopolitan 19th-century artist

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Mariano Fortuny in 1867 by Federico de Madrazo (Wikipedia)

This year marks the 180th anniversary of the birth of Spanish painter Mariano Fortuny 1838-1874 (not to be confused with his son Mariano Fortuny y Madrazo, the fashion designer). For the first time, Madrid’s Museo del Prado held a comprehensive exhibition devoted to Fortuny, showing 169 art pieces loaned by private collectors and major museums including the Museu Nacional d’Art de Catalunya – MNAC (Barcelona) and Museo Fortuny (Venice).

Fortuny was internationally renowned and, after Francisco de Goya (see Glendinning’s donation post), considered one of the best Spanish painters and printmakers of the 19th century.  His take on genre painting was fashionable, and collecting his art was a sign of class for the bourgeoisie, as Carlos Reyero explains in his recent book (C205.d.4208).  Fortuny had great success painting genre scenes and Moresque-inspired paintings. But at the same time he was an innovator and enjoyed the rare privilege of creating the art he wished. He was very versatile artist; he mastered all the techniques he undertook: oil painting, with precise touch often compared with Ernest Meissonier’s, and especially watercolour and etching, advancing both techniques and achieving new results. He used watercolour in a more modern way, as an autonomous art technique, and not only for preparatory works. His etchings were influenced mainly by the work of Goya, Rembrandt and José de Ribera. As he was more skilful than his contemporaries, he aroused both their envy and admiration. Continue reading