Abstract
With an interdisciplinary approach, which currently requires the vast territory of the landscape today, are discussed in this article Spanish landscape models rated from the late 19th century as emblems of national identity, constructed by the particular institution and for regeneration in general, to a Spain that overcomes the old scenarios that artistically identified with the history paintings. The landscape of the central area and the Meseta was discovered and exalted as the best could represent a modern nation and regenerated aesthetically and ethically, europeanizing its terms, but with all the references and roots of Spanish painting of the Gold Century and high Meseta landscape backgrounds: El Greco, Velazquez and Goya. The landscape took on a higher level in the hierarchy identifier of Spanish. Since regionalism and nationalism then peripherals were very strong in the half century preceding the Civil War, there was an interaction and tension between the central landscape and peripheral options, which together explain the special process of the theoretical and practice dynamic of Spanish identity landscape. This process came from the realistic to the first and second avant-garde, and lives in fragments in some postmodern proposals.
Highlights
RÉSUMÉ Avec une approche interdisciplinaire, qui exige actuellement que le vaste territoire du paysage d’aujourd’hui, sont discutés dans les modèles de l’article de ce paysage espagnol nominale de la fin du XIXe siècle comme des emblèmes de l’identité nationale, construit par l’institution et notamment pour la régénération en général, à une Espagne qui surmonte les anciens scénarios que artistiquement identifié avec la peinture d’histoire
which currently requires the vast territory of the landscape today
in this article Spanish landscape models rated from the late 19th century as emblems
Summary
Con todas estas bases en su modernización no debe extrañarnos que, dentro del terreno de las artes, nuevos conceptos de paisaje se insertaran por ejemplo en el de la escultura —a partir del surrealismo especialmente—, ni de que haya adquirido un papel cada vez mayor en el campo de la arquitectura y el urbanismo, tampoco nos asombra el que fuese asumido por los términos de la geografía humana, o analizado con nuevos ojos y nuevos conceptos teóricos en el plano de la publicidad y del turismo. Los Cafés de Madrid habrían de ser aglutinadores de la Generación del 14, que se reunía en el Pombo en torno a Ramón Gómez de la Serna o en el Café de Levante alrededor de Valle Inclán
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