No abstract

(1860) initially as a journalist, then as a soldier (1954, pp.882-1107), 1 and by his fellow writer, one of the leading Spanish officers, Antonio Ros de Olano who composed a short rêverie, Leyendas de África (1860), as he recovered in his tent from the effects of cholera. The Catalan artist Marià Fortuny was dispatched to Morocco by the Diputación de Barcelona, arriving just after the fall of Tetuan, on a commission to glorify Catalan participation in the war in paintings. 2 Though he never finished any of them, not even the Batalla de Tetuán on which he worked for over a decade, it is widely acknowledged that his style changed radically after his trip to Morocco, substantially due to his response to the light, and that this, and his subsequent two visits, as well as his not-unrelated sojourn in Granada was fundamental to his

No abstract

The theorisation of the origins of cultural modernity has tended to centre on France, and more particularly Paris, in the mid-nineteenth-century, the time of Manet, Flaubert, and Baudelaire. 1 Most theoretical accounts from Greenberg through Clarke, Bourdieu, Benjamin, Fried, and Brettell, whether seeking to overcome or to reinforce cultural modernism, have recognised among the key components of the latter a profound attempt at a renewal of vision. There are two dimensions to what this 'Fresh Seeing' in the phrase that Brettell adopts from the Canadian painter Emily Carr. The first, widely observed in Courbetian Realism is the attempt to undermine what Fried terms 'theatricality', that is to say to overcome the sensation that we are looking something that has been assembled, usually in a conventional manner, for the benefit of its audience. Instead, cultural modernism aspires to what Fried calls 'absorption' or what Brettel, following Laforgue, terms 'the flash of identity between subject and object' that is 'almost universally accepted as the duty of the modern artist'. But this breaking through the theatrical barriers of conventional representation, this intimate identification with what is seen, this 'fresh seeing', supposes simultaneously and from Courbet onwards a profound focus on

No abstract