Gaceta de Arte

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Gaceta de Arte

description Spanish culture magazine
Area of ​​Expertise Contemporary literature and fine arts
language Spanish
publishing company Gaceta de Arte (Spain)
First edition February 1, 1932
attitude May 1, 1936
Frequency of publication initially monthly, later irregularly
Sold edition 600 copies
Editor-in-chief Eduardo Westerdahl
editor Círculo de Bellas Artes Santa Cruz de Tenerife / Eduardo Westerdahl
executive Director Pedro García Cabrera
Web link jable.ulpgc.es/jable/Gaceta+de+Arte.htm?lang=es

The Gaceta de Arte was a cultural magazine that initially appeared monthly from February 1932 to May 1936 and later appeared irregularly in Santa Cruz de Tenerife .

The evolution of the magazine

After a stay in the Netherlands, France, Czechoslovakia and Germany, Eduardo Westerdahl , later editor-in-chief of the magazine, saw the need to establish regular contact between the Canary Islands and the centers of avant-garde culture through a magazine. The aim of the magazine was not only to report on cultural progress in Europe on the islands, but also to make the achievements of Tenerife's cultural workers known in Europe. The magazine appeared until the 14th edition as an organ of the literature department of the Círculo de Bellas Artes de Tenerife . From April 1933 it was subtitled "revista internacional de cultura" as an independent cultural magazine with the express reference to its claim to internationality. Between April and August 1935, the newspaper could not appear due to the debts caused by the activities surrounding the Arte surrealista exhibition . In the "Second Period No. 37" issue of March 1, 1936, the magazine appeared for the first time as a quarterly magazine in a smaller format but with a length of 20 pages. After the 38th edition, the publication of the magazine had to be stopped in 1936 because of the Spanish Civil War and its consequences.

The editorial board

The editorial staff of the magazine initially consisted of Eduardo Westerdahl as editor-in-chief and Domingo Pérez Minik, Francisco Aguilar, Domingo López Torres, Oscar Pestana Ramos, José Arozena and Pedro García Cabrera, who also carried out the duties of editorial secretary. Emeterio Gutiérrez Albelo and Julio Antonio de la Rosa joined them later. The majority of the editorial team worked as teachers, actors, writers or in professions that were not directly related to the contents of the magazine. The entire editorial team worked without pay.

The initial retail price of the magazine was one peseta. The last two issues were sold for three pesetas and 50 cents. A supplement to the 14th edition included sales outlets in Germany (Hamburg), France (Paris), Argentina (Buenos Aires), Belgium (Brussels), Czechoslovakia (Prague), Spain (Madrid, Barcelona), Italy (Rome) and Mexico (Mexico City), Peru (Lima), Portugal (Lisbon), Romania (Bucharest), Sweden (Stockholm), Switzerland (Geneva), Uruguay (Montevideo), Chile (Santiago de Chile), Denmark (Copenhagen), Greece (Athens), Holland (Amsterdam), England (London). The proceeds from the sale of the magazine were largely used for shipping abroad. The magazine was sent free to artists, writers and cultural centers in Europe and North America. Universities, magazine collections, libraries, and art galleries were also provided with free copies. The magazine was financed by various sources: The Círculo de Bellas Artes de Santa Cruz de Tenerife supported the publication of the first issues of the magazine. The director of the newspaper La Prensa contributed a part , and there was also a temporary subsidy from the Cabildo Insular de Tenerife. Some editions on suitable topics were made possible by grants from the German consul Jacob Rahn.

The design of the magazine

The design of the magazine was based heavily on typography as propagated by the Bauhaus and Jan Tschichold . Issues 1 to 36 each consisted of 4 pages in the format 35 × 49 cm. Often the magazine had inserts printed on one side in a different format. B. Contained calls or statements of principle. From the 37th edition, the format was reduced to about 17 × 22 cm. The number of pages increased for issue 37 to 20 and for issue 38 to 82 pages. For the amount of text was instead of a (written) sans a roman font used. Up to issue 23, the entire text was set in minuscules . The first issue was accompanied by a single sheet of paper printed on one side. An essay by Franz Roh was reproduced there, in which he demands the exclusive use of minuscules. A supplement to the 23rd edition explains why people now use common and capital letters.

The contents of the magazine

The magazine covered the most important pages of the culture of their time, painting, architecture, cinema, sculpture, aesthetics, philosophy, literature, music, theater and poetry. She repeatedly published appeals against the prevailing bad taste. The texts came from the members of the editorial team and many other Canarian authors. The list of foreign authors of the texts and authors of the images reads like a “Who's Who” of the cultural avant-garde of the 1930s: (The numbers in brackets after the name indicate the edition in which an article was published) Richard Aldington ( 5), Alfred Barr (15, 27), Willi Baumeister (29), Julien Benda (2), Jean Cassou (13), René Char (16), René Crevel (12), Ernst Robert Curtius (3), Guillermo Díaz -Plaja (13), Gerardo Diego (12), Óscar Domínguez (13, 28), André Gide (10), Will Grohmann (= Olaf Rydberg) (32), Ludwig Hilberseimer (4, 5), Le Corbusier (= Charles -Édouard Jeanneret-Gris) (4), Ernst May (4), Amédée Ozenfant (16, 18), Franz Roh (12), André Salmon (7), André Suarès (= Félix André Yves Scantre) (3), Gertrude Stein (11, 20), Paul Valéry (6). Issue 3 of April 1, 1932 was dedicated to Johann Wolfgang von Goethe on the occasion of the hundredth anniversary of his death . The leading article “posible influencia hispánica en la obra de goethe” (Possible Spanish influences in Goethe's works) wrote Raymond Matthys, the then director of the German School in Santa Cruz de Tenerife. The copies sent abroad were sometimes accompanied by translations into German or English. In the 8th edition of September 1, 1932, a collaboration between Gaceta de Arte and Galerie Flechtheim and the magazine Omnibus published by Alfred Flechtheim was announced. As a result, some images were printed in Gaceta de Arte with the permission of Galerie Flechtheim . This even happened in part from clichés that the magazine Omnibus had made available.

The editors' book publications

In parallel to the publication of the magazine, the Gaceta de Arte editorial team published books that were written by members of the editorial team but also by other authors. The subject areas of the magazine are also reflected in the books. They deal with literature, fine arts and social problems.

  • Emeterio Gutiérrez Albelo: Romanticismo y cuenta nueva . Gaceta de Arte, Santa Cruz de Tenerife 1933.
  • Sebastián Gasch: Angel Ferrant . Gaceta de Arte, Santa Cruz de Tenerife 1933.
  • Agustín Espinosa: Crimen . Gaceta de Arte, Santa Cruz de Tenerife 1934.
  • Eduardo Westerdahl, Óscar Domínguez, Willi Baumeister: Willi Baumeister . Gaceta de Arte, Santa Cruz de Tenerife 1934.
  • Pedro García Cabrera: Transparencias fugadas . Gaceta de Arte, Santa Cruz de Tenerife 1934.
  • Emeterio Gutiérrez Albelo: El enigma del invitado . Gaceta de Arte, Santa Cruz de Tenerife 1936.

Exhibitions and congresses organized by the editorial staff

Another field of activity of the members of the editorial team of Gaceta de Arte , but especially of the editor-in-chief Eduardo Westerdahl, was the organization of exhibitions.

The exhibition El mueble moderno , which took place at the end of June 1932 in the rooms of the Circulo de Bellas Artes de Tenerife , dealt with furniture design. Mainly samples of Bauhaus designs were shown. As an introduction, Eduardo Westerdahl gave a lecture on the latest developments in art in Germany.

After the criticism of the 1928 joint exhibition organized by Westerdahl by the artists Lily Guett and Óscar Domínguez was very poorly received by critics, Óscar Domínguez's pictures were enthusiastically praised in the press in a joint exhibition with some local artists that took place in late 1932. The first solo exhibition with pictures by the artist, which took place in May 1933 in the rooms of the Circulo de Bellas Artes de Tenerife , was organized by the editorial team of Gaceta de Arte .

The Primer Congresillo de Juventudes (First Congress of Young People) took place on August 5th and 6th, 1933 in Las Palmas de Gran Canaria . At this congress, various aspects of urban development, culture and social policy were discussed with Canarian youths. As part of this congress, an exhibition in the Circulo Mercantil in Las Palmas de Gran Canaria from August 6 to September 20, 1933 showed works by Robert Gumbrich, Servando del Pilar and Óscar Dominguez.

In November, the editorial team of Gaceta de Arte held a series of public events on Tuesdays and Thursdays in the evening at the University of La Laguna . The topics were philosophy, sociology, literature and fine arts from a contemporary perspective. The editors of the Gaceta de Arte were invited by the Federación Universitaria de Estudiantes student association to hold these events .

Of the exhibitions organized by the editorial staff of Gaceta de Arte , the Arte surrealista is considered to be the one with the greatest importance. It was opened on May 11, 1935 in the Ateneo de Santa Cruz de Tenerife. It was the first exhibition - not only in Spain, but in all of Europe - in which the visitor could get an overview of the most important works of Surrealism . The establishment of the contacts was largely thanks to Óscar Domínguez, who lived in Paris at the center of the emerging art movement. Almost all of the artists who are now known representatives of Surrealism were represented in this exhibition: Oil paintings by Hans Arp , Victor Brauner , Giorgio de Chirico , Salvador Dalí , Óscar Domínguez , Max Ernst , Valentine Hugo, René Magritte , Joan Miró , Meret Oppenheim , Pablo Picasso , Man Ray and Yves Tanguy . There were watercolors , drawings , collages and etchings by Marcel Duchamp , Max Ernst, Alberto Giacometti , Maurice Henry, Marcel Jean, Joan Miró, Pablo Picasso, Jindřich Štyrský and Yves Tanguy as well as photographs of surrealist objects by Hans Bellmer and Marcel Duchamp and beyond Photographs by Marcel Duchamp, Dora Maar and Man Ray. The surrealist film The Golden Age by Luis Buñuel was also to be shown as part of the exhibition . The performance was banned by the civil governor of the province of Santa Cruz de Tenerife . André Breton , Jacqueline Lamba and Benjamin Péret traveled to Tenerife for the opening of this exhibition . Their stay on the island created a lasting connection, which was to be strengthened through further exhibitions and literary events. However, as a result of the events of the Spanish Civil War and the subsequent restrictive cultural policy of the Spanish government, these relationships only became of practical importance again in the 1950s.

In June 1936 an exhibition took place in Santa Cruz, which was organized jointly by ADLAN and Gaceta de Arte . The style of the exhibits was not uniform; in addition to the surrealistic, there were also abstract and pictures of other styles. Works by Hans Arp , Willi Baumeister , Salvador Dalí , Óscar Domínguez , Karl Drerup , Max Ernst , José Luis Fernández , Ángel Ferrant , Alberto Giacometti , Juan Ismael , Georges Hugnet , Wassily Kandinsky , Joan Miró , Ben Nicholson , O Kamote were among others , Luis Ortiz Rosales, Wolfgang Paalen , Sophie Taeuber-Arp , Yves Tanguy , Friedrich Vordemberge-Gildewart and Gérard Vulliamy . In addition, surrealist objects created by Óscar Domínguez, Eduardo Westerdahl, Pérez Minik, Pedro García Cabrera and Luis Ortiz Rosales were exhibited.

The importance of the magazine

When founding Gaceta de Arte in 1992, Maud Westerdahl remarked that it actually seemed nonsensical that some young people who lived on an island whose closest neighbor is the Sahara desert wanted to spread the most progressive of modern ideas in Spain via Tenerife. The whole thing without previous knowledge, without experience, without contacts and without money. But, she said, the dream came true. Today one cannot read a treatise or book on avant-garde art without a reference to the Gaceta de Arte or the Arte surrealista exhibition from 1935 being mentioned. In retrospect, the authors who have dealt with the magazine, the members of the editorial team and the freelancers come to the conclusion that the self-portrayal given in the supplement to the 14th edition of April 1933 was absolutely correct and the goals , which the editorial team had put themselves, were reached. In this supplement, the magazine describes itself as the only magazine in Spain that expresses the new spirit with the greatest purity, as a magazine that maintains relationships with the most important people who advance the new art. The editors see their task beyond the publication of the magazine in promoting a new awareness in books, exhibitions, concerts and conferences and public actions and about new trends in the fields of painting, architecture, cinema, sculpture, aesthetics to report on philosophy, literature, music, theater and poetry.

literature

To Gaceta de Arte it seems, despite their importance for the dissemination of works by German artists to be no German-language literature. So it is all about literature in Spanish.

  • Pilar Carreño Corbella: Eduardo Westerdahl . Ediciones del Umbral, Santa Cruz de Tenerife 2002, ISBN 84-87340-63-6 , p. 206 (Spanish).
  • Pilar Carreño Corbella: La Aventura de Mirar . Publicaciones Museo Patio Herreriano, 2005, ISBN 84-96286-06-1 , p. 264 (Spanish).
  • Emmanuel Guigon: Gaceta de Arte y su época. 1932-1936 . Viceconsejeria de Cultura y Deportes del Gobierno de Canarias, Centro Atlantico de Arte Moderno, Santa Cruz de Tenerife 1977 (Spanish).
  • Emilio Sánchez-Ortiz: Eduardo Westerdahl - La Era de gaceta de arte . Viceconsejeria de Cultura y Deportes del Gobierno de Canarias, Canarias 1992, ISBN 84-7947-025-9 , pp. 231 (Spanish).
  • Valeriano Bozal: Pintura y Escultura Españolas del Siglo XX ( 1939-1990 ) . 3. Edition. tape 37 . Espasa Calpe SA, Madrid 1996, ISBN 84-239-5480-3 .

Web links

All issues of the magazine can be viewed on the website of the University of Las Palmas de Gran Canaria.

Individual evidence

  1. ↑ Pilar Carreño Corbella: La Aventura de Mirar . Publicaciones Museo Patio Herreriano, 2005, ISBN 84-96286-06-1 , p. 211 .
  2. ↑ Valeriano Bozal: Pintura y Escultura Españolas del Siglo XX (1939 - 1990) . 3. Edition. tape 37 . Espasa Calpe SA, Madrid 1996, ISBN 84-239-5480-3 , p. 221 f .
  3. ^ Pilar Carreño Corbella: Eduardo Westerdahl . Ediciones del Umbral, Santa Cruz de Tenerife 2002, ISBN 84-87340-63-6 , p. 94 .
  4. ↑ Gaceta de Arte No. 14 (PDF) April 1, 1933, accessed on March 16, 2012 .
  5. ^ Pilar Carreño Corbella: Eduardo Westerdahl . Ediciones del Umbral, Santa Cruz de Tenerife 2002, ISBN 84-87340-63-6 , p. 93 f .
  6. ↑ Carmelo Vega, Maud Westerdahl Ed .: Westerdahl: Escrito con Luz . tape 2 . Viceconsejeria de Cultura y Deportes del Gobierno de Canarias, Santa Cruz de Tenerife 1992, ISBN 84-7947-021-6 , p. 344 .
  7. ↑ gay sus relaciones europeas. (PDF) gaceta de arte, September 1932, accessed on April 16, 2012 (Spanish). In: Gaceta de Arte. No. 8, p. 4.
  8. ↑ Emmanuel Guigon: Gaceta de Arte y su época. 1932-1936 . Viceconsejeria de Cultura y Deportes del Gobierno de Canarias, Centro Atlantico de Arte Moderno, Santa Cruz de Tenerife 1977, p. 198 (Spanish).
  9. ↑ Gaceta de Arte No. 18. (PDF) August 1933, accessed on March 16, 2012 .
  10. ↑ Gaceta de Arte No. 20. (PDF) October 1933, accessed on March 16, 2012 .
  11. ^ Gaceta de Arte fue un referente de las mejores publicaciones del surrealismo. El Congreso "Surrealismo Siglo XXI". El Día, June 29, 2006, accessed March 16, 2012 (Spanish).
  12. ↑ Emmanuel Guigon: Gaceta de Arte y su época. 1932-1936 . Viceconsejeria de Cultura y Deportes del Gobierno de Canarias, Centro Atlantico de Arte Moderno, Santa Cruz de Tenerife 1977, p. 219 (Spanish).
  13. ↑ The case of the film surrealista “la edad de oro” in tenerife. (PDF) gaceta de arte, October 1935, accessed on April 16, 2012 (Spanish). In: Gaceta de arte. No. 36, p. 2.
  14. ↑ Gacta de arte no. 38 (PDF) May 1936, accessed April 16, 2012 .
  15. ↑ Eduardo Westerdahl: Escrito con Luz 2 . Viceconsejeria de Cultura y Deportes. Gobierno de Canarias, Santa Cruz de Tenerife 1992, ISBN 84-7947-021-6 , pp. 357 .
  16. ^ Emilio Sánchez-Ortiz: Eduardo Westerdahl - La Era de gaceta de arte . Viceconsejeria de Cultura y Deportes del Gobierno de Canarias, Canarias 1992, ISBN 84-7947-025-9 .
  17. ↑ Gaceta de Arte No. 14 (PDF) April 1, 1933, accessed on March 16, 2012 .