Abstract This paper focuses on the modernist or "modernista" movement of the early 20th century and examines how French culture and artists of the time influenced these artists. The paper also discusses how these influences bled through to their own cultural identity and expression in Spain.
From the Paper "It is difficult to imagine the art world without a French influence. It seems that throughout history much of art has been based out of French culture and social ideas. The central location for such artistic creation has primarily been that of Paris, France. It seems that many artists have journeyed there for education or intellectual freedom of expression. It is a special place, a place that thrives on the energy art represents to the world. Even today, it is the place to be an artist. There is a certain allure and safety as if an artist's identity automatically fits with Paris. Maybe the draw can be attributed too much of its pulse is generated by art and the museums there that house art. This pulse breeds a certain rhythm artistic people can relate to and feel comfort. This in not to say that art cannot be produced in other cities. It just seems that many artistic movements have found their beginnings in this city. Still I think the reason that many movements thrive elsewhere is because artists take their experiences home with them. The cultural influence carries over to their new environment."
Abstract The paper discusses the history of Antonio Gaudi, describes what influenced his life, how he developed, and his artistic works. The paper concludes that Gaudi was one of the modern artistic and architectural innovators of the twentieth century, whose ordinal vision still reverberates in the architecture and artist world today.
Outline:
Background and Formative Years
Architectural Works
From the Paper " Barcelona at the beginning of the Twentieth century has been described as a "...perfect place for a young Gaudi to thrive... ". This is largely due to the fact that Catalan independence was emerging in Barcelona as a result of the distancing from the control and authority of Madrid. This creative and independent atmosphere provided the underlying impetus and the opportunity for the original vision that Gaudi brought to architecture. There were also numerous business opportunities and projects available at the time. Furthermore, Gaudi was fortunate in having an influential entrepreneur to support his work in the wealthy industrialist, Eusebi Guell. Guell was to support and commission many of Gaudi's projects."
Tags: artistic, symbol, unconventional, sculptural, forms, Catalan, Modernism, movement
Abstract The paper reviews a major work of Rodoreda's. It gives the background to the author, her times, and the setting of the book -- the Spanish Civil War and Franco's rise to power, (although the work was not published until after the war). The paper reviews the form of the picaresque novel and explains why the struggle of Cecilia, the protagonist, meets the necessary criteria in order to be classified as a picaresque novel. The writer focuses on the author's flower imagery and her use of it to symbolize Cecilia's struggle to relate to men. The writer concludes that Cecilia's journey has left her still struggling to find her place in the world.
From the Paper "Essentially, Camellia Street is a picaresque novel. This form originated in 16th century Spain and became well known in Cervantes' Don Quixote and Mark Twain's The Adventures of Tom Sawyer. The subject of a picaresque novel is usually a "rogue" ("picaro" is Spanish for "rogue") that wanders from adventure to adventure without seemingly any roots or home. Certainly Cecilia fits this description. Abandoned as a baby, she doesn't even know her last name or her parentage. She grows up to become a prostitute and a kept woman, subject to the affections and/or brutality of man after man.
"The protagonist in a picaresque novel must live by his/her wits and usually shows little or no alteration of character throughout the long succession of escapades. Though the book does seem to end with some hope, as Cecilia states "I looked around and it seemed like the ceiling was higher," there is no major transformation in her character. Her emotions and matter-of-fact tone remain steady.
"Finally, this form explores the illusions and realities in life. Many critics of Rodoreda's work have pointed out that her characters and settings are usually somewhere in between the bleakly realistic and the imaginary. As Rosenthal points out, in Camellia Street, Cecilia is often victim to her own illusions, developing jealousies and cruel intentions that "slowly build into scenes of hallucinatory intensity."
