Abstract
The author analyzes the management of artistic politics carried out by art historian Ricardo de Orueta (Malaga, 1868-Madrid, 1939) at the Direccion General de Bellas Artes during the two significant periods of the Second Republic when he was in charge, from April 1931 to December 1933 and from February to September 1936. At both times the government immediately imposed the safekeeping of the Spanish artistic patrimony, combined with its documentation through cataloguing and the formation of administrative structures for its study and preservation. Orueta’s pioneering management measures were far-reaching given that they not only set in motion the first and most transcendent artistic measures of the Republic (eg: the long-lasting 1933 Ley del Tesoro Artistico ), but also, with the outbreak of the Spanish Civil War, confront for the second time initial excesses against the historical-artistic patrimony.
Highlights
The author analyzes the management of artistic politics carried out by art historian Ricardo de Orueta (Málaga, 1868-Madrid, 1939) at the Dirección General de Bellas Artes during the two significant periods of the Second Republic when he was in charge, from April 1931 to December 1933 and from February to September 1936
El piloto pionero de estas transformaciones republicanas en el seno de la DGBA fue el historiador del arte Ricardo de Orueta y Duarte (Málaga, 1868-Madrid, 1939), viejo republicano, afín a los institucionistas e investigador sobre escultura en la Sección de Arte del Centro de Estudios Históricos (CEH)
Sobre la última etapa de Orueta en Madrid, entre 1937 y 1939, es de especial interés la correspondencia que mantuvo con Navarro Tomás, custodiada en la Residencia de Estudiantes (JAE/168/23)
Summary
Josep Renau..., op. cit., 2007, pp. 167-215 y CABAÑAS BRAVO, M.: “Renau y el pabellón español de 1937 en París, con Picasso y sin Dalí”, en BRIHUEGA, J. (comisario): Josep Renau, 1907-1982. Compromís i Cultura, Valencia, Universitat de València-SECC, 2007, pp. 140-167
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