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2023-02-13
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Universidad Nacional de Educación a Distancia (España). Espacio Tiempo y Forma. Serie VII, Historia del Arte
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Durante la Segunda República, algunas transformaciones sociales hicieron tambalear los pilares sobre los que se había construido la feminidad tradicional, entre otros, la piedad religiosa. Como resultado, muchas mujeres se encontraron en una situación fronteriza entre las posibilidades que les ofrecían los nuevos tiempos y unos roles de género decimonónicos que habían aprendido y que, además, continuaban constituyendo la normatividad en una sociedad que todavía estaba asimilando los cambios. En el presente artículo se analiza cómo las artistas se adaptaron a esta realidad combinando elementos modernos, como dedicarse profesionalmente a la pintura o cultivar una estética próxima a la vanguardia de los años treinta, con otros más conservadores, como la repetición de los temas religiosos en sus creaciones. Finalmente, se analiza la obra religiosa de Rosario de Velasco, Marisa Roësset y Julia Minguillón, como muestra de aquel arte entre la tradición y la modernidad que tanto éxito reportó en su momento.
During the Second Republic, there were transformations that shook the foundations on which traditional femininity had been built, including religious piety. As a result, many women found themselves in a threshold situation between the possibilities offered by the new times and the nineteenth-century gender roles they had learned which, moreover, continued to constitute the standard in a society that was still assimilating the changes. This article analyses how women artists adapted to this reality, combining modern elements, such as dedicating themselves professionally to painting or cultivating an aesthetic typical of the avant-garde of the 1930s, with other more conservative elements, such as the repetition of religious themes in their creations. Finally, the work of Rosario de Velasco, Marisa Roësset and Julia Minguillón is analysed as an example of that art between tradition and modernity which was so successful at the time.
During the Second Republic, there were transformations that shook the foundations on which traditional femininity had been built, including religious piety. As a result, many women found themselves in a threshold situation between the possibilities offered by the new times and the nineteenth-century gender roles they had learned which, moreover, continued to constitute the standard in a society that was still assimilating the changes. This article analyses how women artists adapted to this reality, combining modern elements, such as dedicating themselves professionally to painting or cultivating an aesthetic typical of the avant-garde of the 1930s, with other more conservative elements, such as the repetition of religious themes in their creations. Finally, the work of Rosario de Velasco, Marisa Roësset and Julia Minguillón is analysed as an example of that art between tradition and modernity which was so successful at the time.
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Julia Minguillón, Marisa Roësset, Rosario de Velasco, Segunda República, arte moderno, mujeres artistas, pintura religiosa, religión, Julia Minguillón, Marisa Roësset, Rosario de Velasco, Second Spanish Republic, modern art, religion, religious painting, women artists