Some Cultural Consequences in Spain of the Spanish Invasion of Morocco 1859–60

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

Editorial: Spain and Orientalism

“…Mariano Fortuny y Marsal, Spain's most successful and influential Orientalist painter of the second half of the nineteenth century, has been discussed by a number of scholars in relation to such issues. 6 The last three articles in this issue focus on later and less well-known moments in Spanish Orientalism from around 1900 onward, a period marked by Spain's traumatic loss of what was left of her old empire and increasing interests in turning Morocco into a new colony. For King Alfonso XIII (nicknamed "El Africano" for his imperial ambitions), Morocco represented an opportunity, however unrealistic, to revive Spain's "imperial fortunes" and restore its "claims to greatness."…”