Researchers of the life and work of Max Aub (Paris, 1903- Mexico City, 1972) will be pleased to hear about a recent donation from the family of Aub’s daughter María Luísa, affectionately called Mimin by family and friends. Continue reading
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
The dictionary lacked a general method and workflows were divided among the authors by combinations of letters. They took for granted that every academic was equally qualified, worked at the same speed, and was following the same criteria as the rest of the team – criteria which, incidentally, were not precisely established from the start. For instance, not all authors were using the same edition of a given work to find the quotes from authorities, so knowing the folio or page number is not particularly useful. The original intentions were too ambitious and some cuts in the plan were required. There was no room for adding the vocabulary of the arts and sciences. This task was postponed, with plans for an eventual separate dictionary dedicated to that vocabulary; a project never undertaken. Continue reading
The Diccionario de la lengua castellana (1726-1739), later known as Diccionario de autoridades, was the first modern Spanish lexicographical work. The Real Academia Española (RAE) was founded in 1713 under the royal auspices and the first generation of academics decided to record the Spanish vocabulary following the example of the language academies in Paris and Florence. They considered that the Spanish language had achieved its zenith in the 17th century, so it was time to preserve it for future generations. This was a huge challenge, considering that the only Spanish precedent, the Tesoro de la lengua castellana, o española (1611) by Sebastián de Covarrubias, one of the first monolingual dictionaries in a vernacular language, was around one hundred years old. They did their job altruistically, “for the honour of serving the Nation”. The founder and first director, Juan Manuel Fernández Pacheco, Marquis of Villena and Duke of Escalona was an inspiring figure and played a major role in the institution. The purpose of the academy was reflected in its motto “Limpia, fija y da esplendor” ([It] cleans, [it] fixes, and [it] gives splendour). Continue reading