Franco Period Research Articles

Restoring the Kingdom of Christ: the appropriation of religious and cultural festivals and the construction of the nation under Franco (1936–45)

ABSTRACT In the analysis of the consolidation of the dictatorships that emerged in interwar Europe, religious and cultural festivals have received less attention than the political holidays created from scratch to reinforce their symbolic legitimacy. However, popular celebrations served as an effective tool for the transmission of ideology and the creation of spaces of interaction between the state and the people. This article analyses the different ways in which the Franco dictatorship instrumentalized religiosity and religious and cultural festivals during the years that the regime was under construction (1936–45). The study evaluates the extent to which the appropriation and resignification of popular culture and festive rites helped to consolidate the dictatorship and shape the Franco nation, while examining their impact on daily life and highlighting the subjects’ capacity for agency in the redefinition of celebrations. Drawing on a perspective that combines social and cultural history and anthropology, the article focuses on the complex relationship between religion and nationalism during the Franco period, observing the materialization of specific policies and discourses in people’s lives.

Satanic Rituals in Spanish Horror Films and the Franco Dictatorship

Spanish horror films set in the late Franco period are a highly successful genre. However, academics have criticised its study, arguing that such films are of low quality. Nevertheless, the genre is a fundamental cultural source for understanding how fiction interacts with a society’s fears as it undergoes a profound transformation. This article aims to analyse the ways rituals were represented as allegorical figures of the anxieties and conflicts in the final years of Francisco Franco’s dictatorship (1968–1975). On the one hand, we will examine the three main discourses that were instrumental to the founding of monstrous cults based on gender, class and nationalism. On the other hand, we will analyse the intermingling of political violence and modernisation through the performance of rituals. Satanic rituals served as visual metaphors for a reality constructed from the Manichaean vision of Catholicism and the exclusionary nationalism of Francoism imposed through political violence.

기억의 정치학과 정동(情動) -에스테르 투스케츠의 『우리는 전쟁에서 승리했었다』

Esther Tusquets’ autobiography, Habíamos ganado la guerra was published in 2007, the year that the Law of Historical Memory was passed by the Spanish Congress. Claiming that the vanquished’ perspective on the Civil War and early Francoist period has attracted great attention in memoirs and fiction, Tusquets calls for more reflective writings from the victors’ perspective. Tusquets was born into the an upper-class bourgeois family that was affiliated with the Francoist band, however she had more in common with the vanquished. This study examines the aspects of trauma representation based on the politics of memory and affect in Tusquets’ Habíamos ganado la guerra. As a way of overcoming the limitations of Post-structuralist trauma criticism, this study analyzes the subjective, eccentric experiences and trauma of everyday life based on affect theory. Through the transition of affect that is transferred in the mother-daughter relationship, it is demonstrated that Franco’s patriarchal system of violence penetrates into women’s daily life at a microscopic level. Fear and shame transferred in the mother-daughter relationship are presented not as the emotional and psychological state but as an affect that crosses the mother’s body and is transmitted to the daughter’s body. Tusquets’ trauma narrative presents the ethic of empathy and consideration based on the potential of the resonance of affect.

Catholic organisation Opus Dei in Spain: origin and formation (1928–1975)

The article examines the history of the emergence and development of the Catholic organisation Opus Dei. The key stages of its development are determined, the social and political, educational and intra-church activities of Opus Dei members during the Franco period are analysed. Special attention is given to the history of the origin of the organisation, its structure and institutionalisation, its influence on economic policy and education in Spain, as well as obtaining the official standing of Opus Dei in the hierarchy of the Catholic Church. The problems of opening the first centers of the organisation, the foundation of the Priestly Society of the Holy Cross, the formation of legal mechanisms that allowed regulating the activities of Opus Dei are considered. It also examines the economic policy of the Spanish government during the period of the second Francoism, in which the main places were occupied by members of Opus Dei. The economic reforms carried out according to the stabilisation plan (1959) and development plans (1964–1967, 1968–1971, 1972–1973) are analysed.

Framing Emotions: White Romance and Colonial Melodramas During Francoism

This article examines two lesser-known colonial melodramas released during the Francoist period, Obsesión (1947) by Arturo Ruiz Castillo and Piedra de toque (1964) by Julio Buchs. Melodrama is not a genre prominently associated with colonial cinema, but it was the most popular style within the Spanish cinematographic production on Equatorial Guinea. In this article I explore why directors privileged this genre in representing the Spanish colony, and I examine how the white love triangle served disparate purposes in these films, from conveying subversive meanings to reinforcing normative ideologies.

Dos visiones del fenómeno anarquista en la novela barcelonesa: de Mariona Rebull a La verdad sobre el caso Savolta

This paper aims to study the presence of anarchism as a historical and social phenomenon in the novels Mariona Rebull by Ignacio Agustí, published in 1944, and La verdad sobre el caso Savolta by Eduardo Mendoza, published in 1975. This paper offers a contrast between the two novels, observing their commonalities —the theme and location, mainly— and their points of opposition —narrative technique and description of social environments—. These differences also allow us to observe the diverse treatment of anarchist violence in the historical novel written under the Franco period, noting clear differences between the vision offered by Agustí, in the midst of the post-war period, and that of Mendoza, at the gates of the democratic transition.

Dos visiones del fenómeno anarquista en la novela barcelonesa: de Mariona Rebull a La verdad sobre el caso Savolta

This paper aims to study the presence of anarchism as a historical and social phenomenon in the novels Mariona Rebull by Ignacio Agustí, published in 1944, and La verdad sobre el caso Savolta by Eduardo Mendoza, published in 1975. This paper offers a contrast between the two novels, observing their commonalities —the theme and location, mainly— and their points of opposition —narrative technique and description of social environments—. These differences also allow us to observe the diverse treatment of anarchist violence in the historical novel written under the Franco period, noting clear differences between the vision offered by Agustí, in the midst of the post-war period, and that of Mendoza, at the gates of the democratic transition.

Democracy and Theatre in Catalonia Since 1975

Democracy and Theatre in Catalonia Since 1975

Ciencia en transición. El lastre franquista ante el reto de la modernización [Science in transition. The Francoist burden and modernization's challenge] ed. by Lorenzo Delgado and Santiago M. López

Reviewed by: Ciencia en transición. El lastre franquista ante el reto de la modernización [Science in transition. The Francoist burden and modernization's challenge] ed. by Lorenzo Delgado and Santiago M. López Lino Camprubí (bio) Ciencia en transición. El lastre franquista ante el reto de la modernización [Science in transition. The Francoist burden and modernization's challenge] Edited by Lorenzo Delgado and Santiago M. López. Madrid: Sílex Ediciones, 2019. Pp. 386. The title of this edited volume plays with the general meaning of "transition" and the more specific meaning in a Spanish context: the mid-1970s political shift from the Francoist dictatorial regime to the current democratic system. This is thus a welcome incursion in the relatively understudied development of Spain's scientific research system within that political and economic transformation. The book's subtitle contains a strong thesis: the Francoist period (1939–75) constituted a "burden" that prevented Spain from properly facing "modernization's challenge." Modernization occurred. By most indicators, in the 1960s, the Spanish economy experienced one of history's most rapid developments. Yet, as the editors' introduction explains, the Francoist administration failed to meet the economic and political challenges this growth implied. Specifically, the missed opportunity to implement an adequate research and development policy prevented successful economic development. The book's introduction borrows from Thomas P. Hughes's Networks of Power to identify the "reverse salients" that stopped the system moving in the direction system builders expected. In particular, letting growth rest on technology imports eventually made Spanish companies too dependent on foreign machinery and decisions. In addition, the failure to create a critical mass of highly trained scientists and technical workers hampered Spain's productivity and political stability. The editors offer an intriguing comparison—South-Asian dictatorial economies emerging in the same period—which needs further justification and elaboration. There is much to debate here. For historians interested in the intersections of technology and political economy, the Spanish case is particularly productive for exploring the prevailing assumptions that economic growth rests on technological innovation, which in turn depends on investment in scientific research. But even assuming innovation is a universal model (but see Lee and Russell, The Innovation Delusion), describing an entire forty-year period as a "burden" misses some of the book's nuances. Other chapters state that some public enterprises created in the first two decades of Francoism contributed to private growth in the 1960s. Secondary and tertiary education opened up from the elites to large parts of the population, facilitating the creation of a middle class that did ensure certain levels of productivity and political stability. [End Page 554] But the value of this volume lies precisely in its exploratory character. It enables historians of technology to reformulate big questions: Can technology imports occur without innovating adaptations? What are the scientific, technical, and labor conditions for external know-how to have an internal impact? How do we account for science's role in the wider political economy in a context of low public expenditures in science? Individual chapters provide some answers. Chapters 2–5 each look at one major research institution that concentrated most public spending on scientific and technological development during the Francoist period. Most of these four chapters summarize earlier findings. Together, however, they offer a clear picture of areas where research and development did have a significant impact on science and society at large, even though this did not always translate directly into productivity and growth. Four chapters are of particular interest to an international readership (chs. 6–9). They explore how international and diplomatic relations (including trade), particularly with Germany, France, and the United States, impacted Spanish science policy. Hence the book's eye-catching frontispiece: the three Apollo 11 astronauts dressed up as toreros during a visit to Madrid, organized by NASA to celebrate and secure Spanish observation sites for the moon landings. The book then turns to the testimonies of reflective actors involved in the political transition to democratic institutions for science. Caution is of course needed when using primary sources, but these chapters offer valuable reflections on policy, labor, and the growing role of regional governments (chs. 10–13...

Основные тенденции мемориальной урбанонимии Испании периода диктатуры Ф. Франко в XX–XXI веках

The paper studies urban place names of the era of the Spanish Civil War (from 1936 to 1939) and the dictatorship of Francisco Franco (from 1939 to 1975) in the context of the historical memory in contemporary Spain. The material included academic articles on historical memory, publications in the mass media, pieces of legislation, and data from the National Statistics Institute (Spain). Turning to toponyms allows us to provide insights into the problem of historical memory in Spain after the end of the dictatorship in 1975. The 1977 Amnesty Law (Ley de Amnistía de 1977) stipulated the oblivion of the events of the Franco period so as not to provoke conflict in society. In the late 20th century, the history of the Civil War and Francoist dictatorship needed to be re-examined. The research demonstrates that the current legal framework for memory in Spain is based on the Historical Memory Law (Ley de memoria histórica), adopted in 2007. The paper found that the number of urban toponyms containing symbols of the period under study, such as the names of participants in and events of the Civil War and Francoist dictatorship, has decreased significantly in recent years. However, changes in Francoist toponyms are inevitably accompanied by discussions and polemics at the level of local legislatures as well as public commemorative organizations, which are often covered in the media. Thus, the process of renaming continues to be a topical problem for Spain.

The Feminine Section and the political instrumentalization of flamenco dance during the Franco dictatorship (1940-1975)

This article analyzes the political instrumentalization of flamenco dance during the Franco dictatorship through the Feminine Section of Traditionalist Spanish Falange and the National Syndicalist Offensive Boards (hereinafter, FET and JONS). The research method used for this work is the historiographical based on a systematic study of primary sources consisting mainly of periodic, graphic and oral publications, as well as official documents of the time, in addition to the already published works that have addressed succinct Andalusian folklore during the Franco period (1940-1975). The results show a first autarchic stage, that of the forties, in which flamenco dance is instrumentalized under the myth of the unity of the homeland, for from the fifties, as part of the developmental strategy in the economic and openness in politics, flamenco becomes a weapon of political indoctrination to reinforce and symbolize the new national identity. In this way, the idea of ​​identity construction of the Spanish referent (Spanishness) generated by flamenco dance and its indoctrination mechanisms is valued.

Uneven Souths: The Mediterranean Dimension of Spain's Southern Regionalism

Abstract This article traces the continuities between the Mediterranean and the Global South while noting the asymmetries between and within these concepts as revealed by the development of Spain's southern regionalism or andalucismo in the 1920s and 1930s and during the post–Franco period (1975–present). Prefiguring post–Cold War South–South relations, early andalucismo promoted a wider Mediterranean community extending from Cordoba to Damascus, but opposed Spain's colonial presence in Morocco. Despite its anticolonial dimension, this modern revival of medieval al-Andalus was not envisioned as a network of comparable material and ethnic locations that could encourage lateral movements of people, capital, and ideas. In contrast to the anticolonial celebrations of Andalusian conviviality found in the work of Arabic and Muslim writers and activists in the 1930s, including Shakib Arslan and Sir Muhammad Iqbal, the andalucista archive—cultural magazines, regionalist manifestos, and literary texts—simultaneously included and excluded the Maghreb and the wider Islamic Mediterranean from articulations of Spanish and Andalusian identity. This ambivalence, which persists in contemporary immigration and cultural policies and European economic and political integration, demands a form of comparative analysis that does not reduce the interaction among the world's “Souths” to unproblematic relations of analogy, mutual recognition, and solidarity.

The Art of Protest: Artistic Opposition to Francoism

The issues of interaction between art and politics are part of the problematic field of the social history of art, where one of the most significant issues is related to the assessment of the possibilities of cultural solidarity, which often goes beyond the declared politicization. In reality, oppositional cultural practices focus not only on undermining political regimes, but also on established ways of seeing and perceiving. This article presents a study of the politicization of Spanish art during the Francoist period and analyzes the role of politically and socially involved art in the formation of an anti-Francoist opposition and an alternative artistic discourse to official aesthetic attitudes.

Vida escénica de ‘La Celestina’ en España (1909–2019) by María Bastianes

 Reviews causes his downfall’ (p. ). Sentimental fictions rework the role of erotic desire in penitential fictions—as an energy that can be exploited for ethical conversion—into desire for narrative innovation. Miguel-Prendes restricts her analysis to works that feature a dream-vision frame or distort the consolation: Pedro de Portugal’s Sátira de infelice e felice vida; Triste deleytación; Francesc Alegre’s Somni and Rehonament; Juan de Flores’s Grimalte y Gradisa; and San Pedro’s Arnalte y Lucenda and Cárcel de amor. e chapter discusses other works that contain sentimental content but do not utilize the dream vision (e.g. Flores’s Grisel y Mirabella) to demarcate the genre’s boundaries (pp. –). e consolatory mode is thus transformed by ‘caballeros sçientes’ from maleoriented penitential fictions into sentimental fictions read by men and women at court. Narrating Desire is a major contribution to scholarship on both sentimental fiction and its literary and scholastic antecedents. Miguel-Prendes’s work effectively synthesizes all that came before and provides a clear argument as to why this new way of reading the genre gives it its long-wished-for unity. Summaries of the works discussed, together with English translations of quotations, also importantly open up this topic to a broader readership. H C, O R D S Vida escénica de ‘La Celestina’ en España (–). By M B. (Spanish Golden Age Studies) Oxford: Peter Lang. . xx+ pp. £. ISBN ––––. is exhaustive survey of theatrical representations of the Spanish masterpiece Celestina is not for the faint-hearted, and it helps if, like me, you have edited the text once or twice before, and thus can follow the extensive analyses of sub-acts and passages which have been removed, augmented, abridged, or otherwise altered for theatrical production. e problem, quite simply, is that the long sixteen- or twenty-one-act work is a dialogue novel and cannot be presented on the stage unless extensive surgery is performed. is means that the true genius of the work, its portrayal of figures who evolve and are influenced by the other characters, cannot be conveyed convincingly on stage and, essentially, we are oen given a plot summary rather than a genuine version. It is rather like claiming to have seen Romeo and Juliet aer attending the ballet, which itself is wonderful in the Prokofiev/MacMillan version but is not Shakespeare. However, some of the contradictions of Fernando de Rojas’s work about two lovers, less star-crossed than corrupted (by the cynicism of their servants and the go-between, sorceress, and possible witch Celestina), can be conveyed in semaphoric form, particularly the choice between Celestina’s forensic powers versus her putative witchcra to explain how the virgin Melibea is convinced so apparently easily, and seduced by the both parodic and basically cynical Calisto. María Bastianes’s analysis of the staging of the work since the s points out that my work and that of June Hall Martin [McCash] on parody—especially MLR, .,   as regards the figure of Calisto as inept courtly lover—has influenced numerous interpretations. e social realism of José Antonio Maravall’s work was similarly important for many productions from the s and s. It took international stagings by Jeanne Moreau (France), Robert Lepage (Spain and Italy), and Calixto Bieito (Edinburgh) to really set the ball rolling, and there was a veritable explosion of versions in the noughties and teens, especially among those small local theatres and travelling troupes in Spain that specialize in making set texts for the baccalaureate more accessible for students. Before that happened, the daunting and sexually quite explicit text was adapted very infrequently, and the fairly successful  version was not followed by another attempt until aer the Civil War in . A long silence followed again until the Franco period was nearing its end and liberalizing somewhat. Huberto Pérez de la Ossa and Luis Escobar’s version of – was popular in the early s, and Alejandro Casona’s adaptation had legs in the mid to late s. But it was not until the post-Franco era of the Movida that the sexual components of the plot were exploited, on...

Studies on Spanish Poetry in Honour of Trevor J. Dadson: Entre los Siglos de Oro y el siglo XXI by Javier Letrán and Isabel Torres

MLR, .,   as regards the figure of Calisto as inept courtly lover—has influenced numerous interpretations. e social realism of José Antonio Maravall’s work was similarly important for many productions from the s and s. It took international stagings by Jeanne Moreau (France), Robert Lepage (Spain and Italy), and Calixto Bieito (Edinburgh) to really set the ball rolling, and there was a veritable explosion of versions in the noughties and teens, especially among those small local theatres and travelling troupes in Spain that specialize in making set texts for the baccalaureate more accessible for students. Before that happened, the daunting and sexually quite explicit text was adapted very infrequently, and the fairly successful  version was not followed by another attempt until aer the Civil War in . A long silence followed again until the Franco period was nearing its end and liberalizing somewhat. Huberto Pérez de la Ossa and Luis Escobar’s version of – was popular in the early s, and Alejandro Casona’s adaptation had legs in the mid to late s. But it was not until the post-Franco era of the Movida that the sexual components of the plot were exploited, on screen in particular. Ángel Facio’s version, first staged in Bogotá, toured Spain in the early s, and Gonzalo Torrente Ballester was responsible for a key adaptation later in the decade. Although critics slammed the text used for the Lepage version (effectively a retranslation of a French adaptation), it was beautifully staged, as can be seen in a number of colour plates reproduced in this book. At the time of writing, the last major touring production of La Celestina was by Ricardo Iniesta (–), which might still find an audience in what we hope will be the post-Covid landscape. Luckily for scholars but not for practitioners, manuscripts that passed through the Francoist censorship apparatus were oen archived. Bastianes gives us masses of information about textual versions, actors, staging, and costumes, as well as critical reception of the main Spanish productions. Photographs are reproduced, and reviews summarized and contextualized. She has also placed the versions within the framework of the literary criticism of their time. Appendices give us a full account of the travels of the main productions, as well as actors and staging information. ere is a full bibliography and an index. All in all, this is a must-acquire for dedicated celestinistas. U  L D S S Studies on Spanish Poetry in Honour of Trevor J. Dadson: Entre los Siglos de Oro y el siglo XXI. Ed. by J L and I T. Woodbridge: Tamesis. . vii+ pp. £. ISBN ––––. is volume is a fitting tribute to the late Trevor J. Dadson (–), one of the most remarkable Hispanists of our time and ‘a maestro for the present and future generations’ (p. ). e twelve studies in this Festschri—by former students, colleagues , and friends from the UK, Ireland, Spain, and the USA—approach Spanish poetry from the Golden Age to the present, mirroring the way Dadson articulated  Reviews his academic career around Spanish early modern and contemporary poetry. e chronologically ordered studies are an acknowledgement of ‘the honoree’s most crucial contributions to knowledge’ (p. ), but they also aim to build on Trevor Dadson’s research with the enthusiasm and scholarly rigour he inspired in students and colleagues alike. e approaches to Spanish poetry range from New Lyric Studies, close textual analysis, comparative literature, and intertextuality to philosophy , critical theory, and sociology (again echoing Dadson’s contributions—listed in an appendix of the volume—which encompassed biographical studies, edited texts, scholarship on textual editing and book ownership, and studies of poetic production). e editors pay touching homage to Dadson in the Introduction. e maestro ’s former students outline his biography and academic achievements while also providing comprehensive abstracts of the contributions to the collection, stressing how they ‘enhance understanding of the wide spectrum and innovation of the original research’ (p. ). ‘Voicing Time: e Temporal Textures of Garcilaso de la Vega’, by Isabel Torres, is the first of six chapters looking at Golden Age poetry, and it incisively considers lyric as ‘genre’ and ‘mode’ through her disengagement from New Lyric Studies. ‘Luis de Le...

Teaching Representations of Resistance and Repression in Popular Spanish Film

This essay presents a brief analysis of three popular Spanish films released between 2001 and 2012 that are set in the immediate post Civil War period and first decades of the Franco dictatorship. Specifically, it considers three films which aim to reconstruct and represent the experience of the men, women, and children who fought Francoism or who endured repression after the end of the Spanish Civil War: Silencio roto (Armendáriz 2001), El laberinto del fauno (Del Toro 2004), and 30 años de oscuridad (Martín 2012). This essay explores the way in which tropes of politics, history, resistance, and repression are represented in each film, and how filmmakers using popular cinematic forms have appropriated the Spanish Civil War and Franco period settings to comment on contemporary political and social issues in Spain. Most of the recent Spanish cinematic productions (fictional and documentary) that depict the Spanish Civil War and Franco period have focused on the moral vindication of the vanquished. The three films considered here aim to reconstruct the particular experience or memories of the Spanish maquis and topos, and the civilians who supported them in their struggles. Each of the films discussed has sought to play a role in the recasting of collective identity in Spain, and affords important insights into the social processes and experiences of the time in which they were created. In a world where the visual immediacy of cinematic images increasingly works to displace traditional historiography, these representations have become ever more important and merit discussion. This essay takes into account that these cinematic representations are subjective and mediated depictions of events, participants, and circumstances of the Civil War and Franco period, and suggests pedagogical approaches to discussing each film in order to enable students (and other viewers) to grasp how to distinguish between history and the historicizing effect of its representations.

“The Museum for Those Who Do Not Go to Museums.” A Cultural Exploration of the Almanac of the Unión Española de Explosivos [Spanish Explosives Union] in the Years of the Franco Regime

Since 1900, the Maxam Group (formerly Unión Española de Explosivos) has published an annual almanac, with each edition illustrated by a Spanish painter commissioned to produce a work thematically related to the company’s activity. Focusing on what was popularly known as “the museum for those who do not go to museums” or the “explosive women calendar,” this article analyzes the iconographic program of this unique archive from a cultural and historical perspective, with special attention to the Francoist period. The dynamics of the representation of women, the tensions between bourgeois and popular culture, as well as the questions it inspires with respect to the almanac’s life in society and on the institutional level invite the reader to consider this collection, little esteemed for its artistic quality, as a complex cultural mechanism, useful for the analysis of the aesthetic continuities and discontinuities associated with Spanish modernity.

La aldea perdida, de Palacio Valdés, alegato anti-industrialista

En La aldea perdida (1903), de Armando Palacio Valdés, encontramos un buen muestrario de los principales planteamientos anti-industrialistas del momento. De hecho, la novela enlaza con el anti-industrialismo “fin de siglo” y también con los recelos del catolicismo social español frente al mundo industrial. Sin embargo, su fuerte componente anti-industrialista quedó muy difuminado en la adaptación cinematográfica llevada a cabo por Sáenz de Heredia en 1948, en pleno primer franquismo: eran años en los que la retórica oficial agrarista se combinaba con una orientación abiertamente industrial de la política práctica.

Habla el policía: Polifonia novelesca y debate democrático en algunas novelas españolas sobre el franquismo y la Transición

The Policeman Speaks: Novel Polyphony and Democratic Debate in Some Spanish Novels about Francoism and the Transition In recent years a new orientation in the Spanish political memory (a shift from the tendency towards forgetting conflicts to the claims for recognition for all victims) can also be noticed in a significant number of literary works. Many novels offer a broad coverage of social discourses and engage in the process of negotiations over a critical period in the 20th century history of Spain, namely the “Transition” from the late francoism era to democracy. This paper analyses fragments of three contemporary novels (La caída de Madrid by Rafael Chirbes, El vano ayer by Isaac Rosa, and El día de mañana by Ignacio Martínez de Pisón) whose authors give voice to an ambiguous character -- a policeman from the Francoist period. He makes attempts to justify his work and his support for the regime. These fictional utterances are studied from the perspective of certain theories of literary dialogism and literary poliphonic devices. The final question is whether it is reasonable to expect any social impact of such literary representations of “democratic” dialogues.

Cuando los otros importantes eran siempre "ellas"

Chadwick y Courtivron analizaron en su obra Los otros importantes el espacio creativo que se generaba entre aquellos artistas que formaron pareja sentimental. Frente a la historiografía tradicional en que describía la creatividad como la lucha solitaria de un individuo (normalmente un hombre), estas investigadoras planteaban que en el caso de las parejas de artistas la interrelación de vidas y obras debería hacer que necesariamente el influjo tuviera que ser mutuo. Sin embargo, la obra de las artistas sigue siendo interpretada como dependiente la de la parte masculina de la pareja.En la historia del arte español contemporáneo esta situación se acentuó como consecuencia de las condiciones socioculturales del periodo franquista, en el que nombres como el de Magda Bolumar fueron invisibilizados, aunque va más allá del marco cronológico de este período, afectando en pleno siglo XXI a artistas como Patricia Gadea.