Maruja Mallo (1902-1995): Woman and Women
A creative universe in feminine
DOI:
https://doi.org/10.24310/Eviternare.vi10.12531Keywords:
Maruja Mallo, Modern woman, Avant-garde art, Female emancipation, FeminismAbstract
Maruja Mallo is a key figure in two areas of the first half of the Spanish 20th century: the artistic one, being part of the national art renewal groups and the one known as Generación del 27, and the feminist, participating in women’s emancipation movements and becoming the embodiment of modern woman. The artist developed her life as a free woman, conquering achievements usually reserved for the male territory; this modernity found place also within her artistic production, closely related to the representation of the concept of new women and in which we observe two characteristics: the revaluation of elements traditionally associated with the feminine and the creation of a universe inhabited by modern women in which there are no gender differentiations.
In this article we will focus on the study of the female symbols and women represented by the creator throughout her artistic career, distinguishing between three creative and vital stages –of which women play a fundamental role in the first two–, and selecting various works and series that testify to the importance of the representation of the female in the production of Maruja, a subject rarely discussed in the study of her work, offering also a brief vital context with which to understand the modernity and importance of the artist.
Downloads
Metrics
References
Alberti, R. (1 de julio de 1929). La primera ascensión de Maruja Mallo al subsuelo. Recuperado de: http://hemerotecadigital.bne.es/issue.vm?id=0003888441&search=&lang=es
Alberti, R. (28 de septiembre de 1985). De las hojas que faltan. Recuperado de: https://elpais.com/diario/1985/09/29/opinion/496792807_850215.html
Alcántara, F. (13 de junio de 1928). María Mallo en la Revista de Occidente. Recuperado de: http://hemerotecadigital.bne.es/issue.vm?id=0000374274&search=&lang=es
Diego, E. de (2008). Maruja Mallo. Madrid: Fundación Mapfre.
Fernández Granell, E. (07 de febrero de 1995). El coraje. Recuperado de: https://www.abc.es/archivo/periodicos/abc-madrid-19950207-1.html
Ferris, J. L. (2004). Maruja Mallo. La gran transgresora del 27. Barcelona: Temas de Hoy.
García Nieto, J. (1961). Maruja Mallo está en Madrid. Mundo Hispánico, nº 159, pp. 12-14. Recuperado de: http://www.cervantesvirtual.com/obra/num-159-junio-1961/
Illán, M. (2016). La construcción de la «Femme Fatale». En: C. Lomba (Ed.), Mujeres en la plástica española (1885-1930) (pp. 65-84). Zaragoza: Universidad.
Jiménez, J. R. (15 de enero de 1931). Satanismo inverso. Recuperado de: http://hemerotecadigital.bne.es/issue.vm?id=0003892863&search=&lang=es
Lomba Serrano, C. (2014). El umbral hacia la libertad. Artistas en España entre 1900 y 1926. En: M. Illán y C. Lomba (Coms.), Pintoras en España 1859/1926. De María Luisa de la Riva a Maruja Mallo (pp. 51-69). Zaragoza: Universidad-Diputación Provincial.
Los Magos. El día de los niños. (6 de enero de 1929). Recuperado de: http://hemerotecadigital.bne.es/issue.vm?id=0002927031&search=&lang=en
Mangini, S. (2007). Maruja Mallo. La Bohemia encarnada. Arenal. Revista de historia de mujeres, 14 (2), 291-305. Recuperado de: http://www.ugr.es/~arenal/indices.php?n=14_2
Novais Teixeira, J. (16 de julio de 1928). Arte Moderna em Espanha. Algumas notas á margem da exposiçiao da pintora Maruja Mallo. Recuperado de:
http://hemerotecadigital.cmlisboa.pt/OBRAS/Ilustracao/1928/N62/N62_item1/P1.html
Pérez de Ayala, J. (1992). Álbum biográfico. En: Pérez de Ayala, J. & Rivas, F. (Eds.). Maruja Mallo (pp. 77-91). Galería Guillermo de Osma y Fundación Cultural Banesto. Recuperado de: http://guillermodeosma.com/wp-content/uploads/PDF%20-%20Maruja%20Mallo(completo)FINAL.pdf
Pérez Martín, A.M. (2018). Maruja Mallo, pintora de la Vanguardia española. Ponencia presentada en el X Congreso Virtual sobre Historia de las Mujeres de la Asociación de Amigos del Archivo Histórico Diocesano de Jaén. Recuperado de: https://dialnet.unirioja.es/servlet/libro?codigo=729878
Quance, R. (1993). Imágenes femeninas, 1929: las madres y Un mundo, de Ángeles Santos. La Balsa de la Medusa 28, 3-21. Recuperado de: https://prensahistorica.mcu.es/arce/es/catalogo_imagenes/grupo.do?path=2000608521&aceptar=Aceptar
Rivas, F. (1992). Maruja Mallo pintora del Más Allá. En: Pérez de Ayala, J. & Rivas, F. (Eds.), Maruja Mallo (pp. 15-29). Galería Guillermo de Osma y Fundación Cultural Banesto. Recuperado de: http://guillermodeosma.com/wp-content/uploads/PDF%20-%20Maruja%20Mallo(completo)FINAL.pdf
Rojas Paz, P. (1937). Maruja Mallo. Revista Alfar 77, 18-24.
Televisión Española (Productor). (1980). A fondo – Maruja Mallo. Disponible en: https://www.rtve.es/alacarta/videos/a-fondo/fondo-maruja-mallo/4995675/
Televisión Española (Productor). (2013). Imprescindibles. Maruja Mallo. Disponible en: https://www.rtve.es/alacarta/videos/imprescindibles/imprescindibles-maruja-mallo/966721/
Ulacia Altoaguirre, P. (2018). Concha Méndez. Memorias habladas, memorias armadas. Sevilla: Renacimiento.
VV. AA. (1992). 7 visiones de Maruja Mallo. En: Pérez de Ayala, J. & Rivas, F. (Eds.). Maruja Mallo (pp. 93-102). Galería Guillermo de Osma y Fundación Cultural Banesto. Recuperado de: http://guillermodeosma.com/wp-content/uploads/PDF%20-%20Maruja%20Mallo(completo)FINAL.pdf
VV. AA. (1992). Conversaciones con Maruja Mallo. En: Pérez de Ayala, J. & Rivas, F. (Eds.). Maruja Mallo (pp. 105-109). Galería Guillermo de Osma y Fundación Cultural Banesto. Recuperado de: http://guillermodeosma.com/wp-content/uploads/PDF%20-%20Maruja%20Mallo(completo)FINAL.pdf
Downloads
Published
How to Cite
Issue
Section
License
All the contents published in Revista Eviterna are subject to the Creative Commons Reconocimento-NoComercia-Compartirigual 4.0 license, the full text of which can be found at <http://creativecommons.org/licenses/by-nc-sa/4.0>
They may be copied, used, disseminated, transmitted and publicly exposed, provided that:
The authorship and original source of your publication (Journal, editorial and URL of the work) are cited.
They are not used for commercial purposes.
The existence and specifications of this use license are mentioned.
Copyright is of two kinds: moral rights and patrimonial rights. Moral rights are perpetual, inalienable, inalienable, inalienable, inalienable and imprescriptible prerogatives.
In accordance with copyright legislation, Revista Eviterna recognizes and respects the moral rights of the authors, as well as the ownership of the economic right, which will be transferred to the University of Malaga for dissemination in open access.
The economic rights refer to the benefits obtained by the use or disclosure of the works. Revista Eviterna is published in open access and is exclusively authorized to carry out or authorize by any means the use, distribution, disclosure, reproduction, adaptation, translation or transformation of the work.
It is the responsibility of the authors to obtain the necessary permissions of the images that are subject to copyright.
12.png)
