@misc{10481/75849,
year = {2021},
month = {12},
url = {http://hdl.handle.net/10481/75849},
abstract = {En junio de 1922 se celebrará el concurso de
cante primitivo andaluz o jondo de la plaza de
los Aljibes, en la Alhambra granadina, auspiciado
por Manuel de Falla, con la figura estelar
de García Lorca detrás. Manuel Ángeles Ortiz
será el encargado de hacer un cartel para un
concurso que venía precedido de una agria polémica
entre flamenquistas y antiflamenquistas,
que había trascendido al ámbito nacional.
MAO cuya mujer, gitana, Paquita Alarcón,
acaba de fallecer, hará un diseño barroco con
aperturas a la modernidad, que no gustará en
Granada. Quizás a medio camino entre su estilo
previo más costumbrista y el cubismo al que
le empujaba Picasso en París. Manuel de Falla
tendrá que traer en apoyo del cartel a Ignacio
Zuloaga, factótum en la sombra del concurso,
y pintor en cierta forma de la “España negra”.
Al sancionarlo con su apoyo, parecerá haber
acabado la polémica, pero esta se prolonga en
el tiempo. Ortiz continuará su vena de “cubismo
jondo”, e incluso hacía sus incursiones en
el mundo del cante. Su opción por lo jondo no
será circunstancial y permanecerá en el tiempo.
Hoy podemos aseverar que aquello no fue
realmente un enfrentamiento, como interpretó
Lorca, entre los “putrefactos” y modernos,
sino que la polémica sobre el concurso, y sobre
el cartel, cuestionaba la viabilidad del estilo
cultural español: el casticismo.},
abstract = {In June 1922, the competition for primitive
Andalusian or “jondo” singing was held in the
Plaza de los Aljibes, in the Alhambra in Granada,
sponsored by Manuel de Falla, with the
stellar figure of García Lorca behind it. Manuel
Ángeles Ortiz was commissioned to create
a poster for a competition that had been
preceded by a bitter controversy between
“flamenquistas” and “antiflamenquistas”,
which had transcended to the national level.
MAO, whose gypsy wife, Paquita Alarcón, has
died, will make a baroque design with openings
to modernity, which will not go down well
in Granada. Perhaps halfway between his previous
more “costumbrista” style and the cubism
to which Picasso was pushing him in Paris.
Manuel de Falla will have to bring in Ignacio
Zuloaga, shadowy factotum of the competition,
and in a way a painter of “black Spain”,
to support the poster. By sanctioning him with
his support, the controversy would seem to
have ended, but it dragged on for a long time.
Ortiz continued in his “cubismo jondo” vein,
and even made incursions into the world of
flamenco singing. His choice for the “jondo”
will not be circumstantial and will remain in
time. Today we can affirm that it was not really
a confrontation, as Lorca interpreted it,
between the “putrefactos” and the moderns,
but rather that the controversy over the competition,
and over the poster, questioned the
viability of the Spanish cultural style: “casticismo”.},
publisher = {Universidad de Granada},
keywords = {Cante jondo},
keywords = {Carteles},
keywords = {Antiflamenquismo},
keywords = {Casticismo},
keywords = {Cubismo jondo},
keywords = {Posters},
title = {Vanguardia y casticismo. Nuevas miradas sobre el cartel (de Manuel Ángeles Ortiz) del concurso de 1922 en Granada},
doi = {10.30827/caug.v52i0.22904},
author = {González Alcantud, José Antonio},
}