Exhibition dates: 27th May 2014 – 5th January 2015

Curatorship: Horacio Fernández

Artists: Francesc Català-Roca, Colita (Isabel Steva Hernández), Joan Colom, Salvador Costa, Ramón Masats, Xavier Miserachs, Francisco Ontañón, José Ortiz Echagüe Puertas, Leopoldo Pomés, Alfonso Sánchez Portela

 

 

Installation photograph of the exhibition photobooks. Spain 1905-1977 at the Museo Nacional Centro de Art Renia Sofia

 

 

This is one of those eclectic exhibitions that this archive likes to promote. What a fascinating subject, something that I knew nothing about. The posting is especially for my colleague Professor Martinez Alfredo-Exposito, Head of the School of Languages and Linguistics at the University of Melbourne.

Dr Marcus Bunyan

Many thankx to the Museo Nacional Centro de Art Renia Sofia for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

 

Installation photographs of the exhibition photobooks. Spain 1905-1977 at the Museo Nacional Centro de Art Renia Sofia

 

 

Álvaro Bartolomé (poems) and Joaquín del Palacio (Spanish, 1905-1989) (photographer)
Momentos
1944
Madrid: edición del autor

 

Joaquín del Palacio (Kindel) was a Spanish photographer who was born in Madrid in 1905 and died in Madrid in 1989. He changed his name to Kindel to adapt to the foreign names that were starting to work in Spain and so look modern too: KIN came from Joaquín and DEL was for the beginning of his last name.

He did most of his work between 1940 and 1970. He started in 1939, taking pictures of devastated regions of Spain after the Spanish Civil War had finished. Those pictures were social and dramatic scenes according to that period of time.

Later, he began to travel around Spain working for the “Dirección General de Turismo” (General Tourism Office). He took pictures of people and landscapes of Spain in the 1950s. This was a kinder image of the reality.

He was a master of photography that was able to capture the correct natural light for each image.

Text from the Wikipedia website

 

 

Enrique Palazuelo
Sans Titre. Nuevas escenas matritenses
c. 1957 / posthumous print, 2013
Copia de exposición

 

 

Francesc Català-Roca (Valls, Tarragona, Spain, 1922 – Barcelona, Spain, 1998)
Llegada a Barcelona (Arriving at Barcelona)
1950 (circa) / posthumous print, 2003
Selenium-toned gelatin silver print on paper
34.8 x 47.5cm

 

Son of Pere Català i Pic, a pioneer of avant-garde photography in Catalonia, Francesc Català Roca is considered the master of Catalan documentary photography. Learning his trade within the family, he opened his own studio in 1947 and began making street photography for editorial assignments. Thereafter, he worked continuously producing photographs for publications such as Destino, Gaceta Ilustrada and La Vanguardia. This was to be accompanied by studio work, illustrating artists’ books in collaboration with renowned architects, sculptors and painters such as Josep M. Sert, Eduardo Chillida and Joan Miró, books about the history of Catalan art and documentary photography on the real Spain. As a neo-realist photographer, Català Roca’s took risks, looking for unusual and unconventional viewpoints, playing with the plastic strength of shadows and contrasts, and always focusing on the human element. His technical skill was matched by a great ability to relate to the people he portrayed. His photography acts as a witness to a time when the country had one foot in the hardest era of the Franco regime and the other in what is known as the period of ‘developmentalism’. Following his first solo exhibition in 1953 at Sala Caralt, Barcelona, Català Roca exhibited extensively in parallel with his activity as a book illustrator, publishing numerous titles. Retrospective exhibitions of his work include those held at the Fundació Joan Miró (2000), La Pedrera, Barcelona (2012) and the Círculo de Bellas Artes, Madrid (2013).

Text from the MACBA Museu d’Art Contemporani de Barcelona website

 

 

Francesc Català-Roca (Valls, Tarragona, Spain, 1922 – Barcelona, Spain, 1998)
La Vía Layetana entre las calles Junqueras y Condal (The Vía Layetana between Junqueras and Condal streets)
1950 / posthumous print, 2003
Selenium-toned gelatin silver print on paper
36.9 x 45.3cm

 

 

Francesc Català-Roca (Valls, Tarragona, Spain, 1922 – Barcelona, Spain, 1998)
La Vía Layetana, Barcelona (The Via Layetana, Barcelona)
1950 (circa) / posthumous print, 2003
Selenium-toned gelatin silver print on paper

 

 

Francesc Català-Roca (Valls, Tarragona, Spain, 1922 – Barcelona, Spain, 1998)
Monumento a Colón (Columbus Monument)
1949 / posthumous print, 2003
Selenium-toned gelatin silver print on paper
With frame: 114 x 88cm

 

 

Francesc Català-Roca (Valls, Tarragona, Spain, 1922 – Barcelona, Spain, 1998)
Calle Muntaner (Muntaner Street)
1950 (circa) / Posthumous print, 2003
Selenium-toned gelatin silver print on paper
47.5 x 32.8cm

 

 

Francesc Català-Roca (Valls, Tarragona, Spain, 1922 – Barcelona, Spain, 1998)
Las Ramblas con lluvia (The Ramblas in the Rain)
1950 (circa) / posthumous print, 2003
Selenium-toned gelatin silver print on paper
47.7 x 37.5cm

 

 

Francesc Català-Roca (Valls, Tarragona, Spain, 1922 – Barcelona, Spain, 1998)
Vestíbulo de la tienda, Barcelona (Shop Vestibule, Barcelona)
1950 (circa) / posthumous print, 2003

 

 

Francesc Català-Roca (Valls, Tarragona, Spain, 1922 – Barcelona, Spain, 1998)
El hombre del saco (The Bogeyman)
1950 (circa) / posthumous print, 2003
Selenium-toned gelatin silver print on paper
47.8 x 35.7cm

 

 

The Exhibition photobooks. Spain 1905-1977 presents a journey through the history of the photobook in Spain, setting off at the beginning of the 20th century and ending in the mid seventies, via a selection from the Museo Reina Sofía Collection, contextualised and accompanied by an assortment of complementary material.

For a long time the aesthetic consideration of photography has been limited to individual images that are able to work in a similar way to paintings or etchings, a blueprint developed by historians and museum curators alike to assemble a canon of ‘masterpieces’ for studios or exhibitions. Yet this model is not the only one, and many photographers cannot synthesise their work in a single image, devising it instead in a series. Both models give rise to two coherent histories of photography: one comprised of photos to hang on walls, with a limited number of copies and on sale at art galleries; the other in book form, possibly with a reissue, available in bookstores. By and large, photographers prefer the last option: “pictures on walls and photos in books” (Cartier-Bresson).

A photobook is a publication made up of photographs ordered as a set of images, with plots and complex meanings, and the medium used by some of the most pre-eminent photographers to produce their greatest work; a tried-and-tested model to present, communicate and read photos. Photobooks are becoming more widely recognised as the best medium for presenting series of photographs.

As far as Spain is concerned, the history of photo books is determined by the avatars of its own national history, for instance the Civil War and the transition to democracy, the focus of some of the finest work produced. In addition to propaganda, changes to the image and social role of peasants and, above all, women, are also prominent issues that are explored. The relationship between literature and photography is another characteristic of Spanish photobooks, which also include works in closer proximity to the international history of the format, such as publications on urban matters.

The study of photobooks is leading to a reinterpretation of the history of photography in diverse countries, as well as in Spain. Along with well-known photographers (the likes of José Ortiz Echagüe, Alfonso, Francesc Català-Roca, Ramón Masats, Xavier Miserachs, Francisco Ontañón and Colita), the exhibition features a considerable number of practically unknown frontline artists who in their day actually published first-rate photography collections, as is the case with photographers like Antonio Cánovas, the collective work of Misiones Pedagógicas (Teaching Missions), José Compte, Enrique Palazuelo, Luis Acosta Moro and Salvador Costa.

Curated by Horacio Fernández, the exhibition photobooks. Spain 1905-1977 is in collaboration with Acción Cultural Española (AC/E) to present part of the line of investigation and acquisition carried out by the Museo Reina Sofía concerning photobooks. The exhibition, which coincides with the PHE2014 festival, is concluded with the publication of a catalogue raisonné, jointly published by the Museo Reina Sofía, AC/E and RM.

Text from the Museo Reina Sofía website

 

 

Enrique Palazuelo (photographs) and Camilo José Cela (text)
Nuevas escenas matritenses
Madrid, Alfaguara
1965-1966

 

 

Colita (Spanish, 1940-2023) (photographs) and Maria Aurèlia Capmany (Spanish, 1918-1991) (text)
Antifémina (Antifemale)
Madrid, Editorial Nacional
1977

 

Maria Aurelia Capmany i Farnés (3 August 1918, in Barcelona – 2 October 1991) was a Catalan novelist, playwright and essayist. She was also a prominent feminist cultural and anti-Franco activist.

Isabel Steva i Hernández (24 August 1940 – 31 December 2023), whose pseudonym was Colita, was a Spanish photographer. She trained with Xavier Miserachs i Ribalta, and began her professional career in 1961 as a laboratory technician and stylist for Miserachs.

Initially, she demonstrated great interest in dance photography – almost always flamenco music – and later she also specialised in portraits and journalistic photography. She had numerous exhibitions with photographs of Catalan artists and singers from the Nova Cançó era to the present. She published many books. …

Colita’s work in the press was published in magazines such as Siglo XX, Destino, Fotogramas, Interviú, Boccaccio, Primera Plana and Mundo Diario.

Throughout her career, Colita put on more than forty exhibitions and published some fifty books of photographs. Stylistically, she was closer to the ideas of the Barcelona School, although she was considered an all-purpose photographer. Her work is part of the collections of the Museu Nacional d’Art de Catalunya.

Text from the Wikipedia website

 

 

Colita (Isabel Steva Hernández) (Spanish, 1940-2023)
Novios gitanos. Barcelona (Gypsy Couple. Barcelona)
1962 / later print, 2011
Gold-toned chlorobromide print on paper
17.9 x 18cm

 

 

Joan Colom (Spanish, 1921-2017)
Raval
1958 (circa) / vintage print
Gelatin silver print on paper
23.5 x 11cm

 

Joan Colom published his series on Barcelona’s Chinatown in the magazine AFAL (1962) with an autobiography: “Age: 40. Profession: Accountant. Hobbies: Apart from photography, obviously, none.” Of his method, Colom said: “I have decided to only work with subjects that I have predetermined.” Oriol Maspons adds the technical details: “Everything was taken using a Leica M2, shot from the hip without framing or focusing. A real photographer’s work. More than a year on the same subject.” The series had been exhibited with some success (and controversy) at the Sala Aixelá in Barcelona the previous year, under the title El carrer (The Street). In 1964 it was finally published by Lumen in one of the finest photo-books in their Palabra e Imagen collection, “Izas, rabizas y colipoterras”, designed by Oscar Tusquets and Cristian Cirici. Camilo José Cela contributed a text based around Colom’s (surreptitious but captionless) photos that was full of broad, cruel humour, pitilessly mocking the women, photographed by Colom and judged by Cela. Somewhat ahead of her time, one of the women actually sued the photographer, the only result of which was the photo-book’s withdrawal from bookshops, and Colom’s retirement from photography for years. From the 1980s onwards public obscurity became public recognition, which has continued to grow.

Horacio Fernández

 

Joan Colóm was born in Barcelona in 1921. Following his military service, he became accountant in a firm where he stayed until his retirement in 1986. At the age of 36 he developed a passion for photography, joined the Photographic Association of Catalonia where he learnt very fast the technical skills that helped him in his atypical career: “I discovered the Barrio Chino in 1958, I understood that it was my world. I was fascinated by its diversity and its social richness… I literally got sucked in by the human quality of these characters…”

Every week end, for more than two years, Joan Colóm explored the “Raval”* neighbourhood, the “bas-fonds” of Barcelona; by photographing without aiming the camera, he was concerned about staying discreet and breaking with the aesthetised tradition of his elders. He was very aware of what he was doing “images that touch me,” he was an impassioned witness of a social theatre. It is whilst printing that he exactly framed the image, with a constant search for truth.

Today, the “imaginaire” of urban life of the Barrio Chino is rooted in Colóm’s images… His work was praised early on by personalities such as Ramon Massats and Josep Maria Casademont who wrote in 1961: “with Joan Colóm, we are entering a new phase of our history of photography.” In these images the modernist avant garde of the fifties is interwined with the “dark” and pessimist tradition of Spain during the Franco era.

In 1964 part of his work on the Barrio Chino – the prostitutes – was published in a book that is now legendary “Izas, rabizas y colipoterras” published by Lumen in Barcelona with a text by Camilo José Cela, who received the Nobel prize for literature in 1989. The book was a great success but also the subject of a scandal: in this repressive era dominated by Franco’s regime, it was obvious that this zone of unrestrained freedom was not appreciated. In addition one of the women photographed wanted to sue Colóm, this event disgusted him and led him to give up the pursuit of his project: “these women had all my respect and there was nothing exotic about them, they were part of whole, that tried to present a neighbourhood with authenticity.”

His work has been compared to Walker Evans’s New York Subway project: the strait crude vision, the rejection of the Pictorialist aesthetic. This work for sure is close to a search for pure realist photography, comparable to Brassai in its content.

Joan Colóm returned to photography when he retired in 1986: every day he roamed the streets in pursuit of his motto: “Yo hago la calle”– “Je fais le trottoir”– a play on words that Henri Cartier-Bresson liked to use often also. Some memorable images by HCB of the Barrio Chino in the 30’s are present in everyone’s memory. Joan Colóm didn’t know these photographs when he began his project, different but animated with this same desire to show life as it is.

*The “Raval” is the real name for this district of Barcelona which is known today as the “Barrio Chino”.

Anonymous. “Joan Colóm: Les Gens du Raval,” on the Fondation Henri-Cartier Bresson website April 2006 [Online] Cited 01/06/2024

 

 

Joan Colom (Spanish, 1921-2017)
No Title
1958 / vintage print
From the series El carrer (The Street)
Gelatin silver print on paper
27 x 21cm

 

 

Joan Colom (Spanish, 1921-2017)
No Title
1958 / vintage print
From the series El carrer (The Street)
Gelatin silver print on paper
23.2 x 16.2cm

 

 

Joan Colom (Barcelona, Spain, 1921)
No Title
1958 / vintage print
From the series El carrer (The Street)
Gelatin silver print on paper
23.2 x 16.2cm

 

 

photobooks. Spain 1905-1977 is a history of Spanish photography through a selection of its best photobooks, many of them little known. The exhibition, organised by the Museo Nacional Centro de Arte Reina Sofía and Acción Cultural Española (AC/E), is the result of a line of acquisitions and research undertaken by the Museum’s Department of Collections with the collaboration of Horacio Fernández, curator of the exhibition.

This exhibition offers a new perspective on Spanish photography during its most important period through the work of photographers like Luis Acosta Moro, Alfonso, Jalón Ángel, Antonio Cánovas, Robert Capa, Francesc Català-Roca, Colita, Joan Colom, José Compte, Salvador Costa, Ramón Masats, Xavier Miserachs, Misiones Pedagógicas, Fernando Nuño, Francisco Ontañón, José Ortiz Echagüe, Joaquín del Palacio, Enrique Palazuelo and Leopoldo Pomés.

photobooks. Spain 1905-1977 shows works published in Spain between 1905 and 1977 – in different styles, in limited or mass editions, printed using refined techniques or on inexpensive paper, for all audiences or for minorities. They are about people, things, behaviours, and ideas. Photobooks were few and far between at the start of the twentieth century, increased in number during the war, and reached their height of development in the sixties. They subsequently grew scarce, only to make a triumphal comeback in the new century, represented in the Museum’s Library in the show Books that are Photos, Photos that are Books. Together they make up a specialised collection that is unique in its kind and embodies the Museo Reina Sofia’s commitment to all aspects of photographic images.

The works on display, most of which are little known, provide a fresh insight into Spanish photography. photobooks probes the broad and suggestive relationships between photography, publishing, design and literature, popular art and culture, history and politics, and public and private life. In the pages of these works is a plural history of the profound transformation of Spanish society. Thanks to the collective work of photographers, publishers, designers and writers, the themes presented in photobooks include the image of woman, seen from perspectives as different as the submission to patriarchal culture in the works of Cánovas and Compte and the militant feminism of Colita. Another major topic is the representation of the Spanish Civil War from both sides, with books like Madrid, which deals with the victims of the bombings during the siege of the capital, contrasting with Jalón Ángel’s portraits of soldiers on the side of the uprising. The war is followed by the sadness and harshness of the dictatorship, shown in photobooks by Joaquín del Palacio and Alfonso.

The relationship between photography and literature emerges throughout the exhibition, starting with the book by Cánovas mentioned above. From the period of the Civil War, special attention is merited by the photobooks of Antonio Machado, Miguel Hernández and Arturo Barea. In the sixties, the Lumen publishing house brought out the Palabra e Imagen (Word and Image) collection, designed by Oscar Tusquets, with extraordinary contributions by writers like Aldecoa, Cela, Delibes, Vargas Llosa and Caballero Bonald, and photographers like Masats, Maspons, Miserachs and Colita. One outstanding work in this section is Nuevas escenas matritenses (New Scenes of Madrid), with photos by Enrique Palazuelo.

Urban culture is also present in the photobooks of Alfonso, Català-Roca, Miserachs and Ontañón. Mention should be made too of the books on the end of the dictatorship by Nuño and the Diorama and Foto FAD teams, which show the gradual disappearance of the old identifying features of Spanish society under the influence of tourism and the global economy.

Apart from displaying some photographs autonomously, the show also features systems that allow visitors to view the plural content of each work exhibited, since it is in the work as a whole, as a coherent sequence of images, that the true entity of the photobook resides.

The first Spanish photobooks

“What a history painter would have painted I photographed,” wrote Antonio Cánovas of ¡Quién supiera escribir!… (If Only I Knew How to Write!…), his adaptation of a poem by Ramón de Campoamor about women’s dependence in a patriarchal world. Using actors and sets, Cánovas recreated a group of tableaux vivants or living pictures subtitled like films, which were as novel as photobooks in 1905. The photographic poem came out in two editions: one in postcards, which was a great commercial success; and a limited edition printed using the technique of the finest twentieth-century photobooks, photogravure.

José Ortiz Echagüe’s photobook Spanische Köpfe, later published as España, tipos y trajes (Spain: Types and Costumes), is the first instalment of an extensive photographic project to document folk culture by seeking out tradition. His aim was to preserve ways of life that were dying out; to show situations from the past: “In wandering through the little villages, I talk to the people, select models one by one, start the difficult task of dressing them in the typical garb.” The result was photographs that were chiefly aesthetic, close to the paintings of Sorolla or Zuloaga, but also political, as they visualised concepts (people, race, collective identity…) used by different ideologies.

With the Misiones Pedagógicas (Educational Missions), the Second Republic set out to bring urban life closer to the rural world through culture. The ‘missionaries’ were university students who took the theatre, music, art, and the cinema to villages. Some of them, such as José Val del Omar and Guillermo Fernández, photographed the audiences, capturing shots that are devoid of local character. Instead of seeking references to the past, they hint at a better future represented by the people’s curious gazes: the photographs chosen for the photobook Patronato de Misiones Pedagógicas (Educational Missions Trust) are intended to disseminate democratic values and confidence in progress.

Both sides of the Spanish Civil War

The Spanish Civil War was photogenic. Dozens of photographers engaged in documenting it. Media all over the world published images of the war, which were used by the both sides to convey their own virtues and the atrocities committed by their opponents.

The collective photobook Madrid is a visual account of the consequences of a siege: destruction, homeless people, the exodus of refugees. The effects of the bombings on the civilian population are captured in montages and photographs by Luis Lladó, Robert Capa, Hans Namuth, Chim, and Margaret Michaelis, among others. The faces of the child victims should be stressed – some appalling forensic photographs that were widely used in Republican propaganda and have been mentioned by Arturo Barea, Virginia Woolf, and Susan Sontag, among other writers.

A type of cultural propaganda characteristic of the Republican side was the publication of books combining words and pictures. Several came out during the war, among them Madrid baluarte de nuestra guerra de independencia (Madrid Bulwark of Our War of Independence), with texts by Antonio Machado; Miguel Hernández’s book of poems Viento del pueblo (Winds of the People); and Arturo Barea’s collection of stories titled Valor y miedo (Courage and Fear). All three feature photographs whose authorship is not credited, though we now know that they were taken by photographers such as Walter Reuter or designers such as Mauricio Amster.

The cult of personality was a salient feature of the Nationalist side’s propaganda. In 1939 the rebel military were presented as serious and efficient technicians in Jalón Ángel’s Forjadores de imperio (Empire Builders), a triumphal parade by no means epically portrayed and much less generous with the defeated. This collection of portraits of the men who had won a war was published in a luxury version designed to hang in public offices and in a popular version in postcard form for mass distribution.

The conservative values of the new fascist regime were conveyed in photographs. In Mujeres de la Falange (Women of the Falange, a collection of photographs by José Compte published in luxury magazines and as humble postcards) woman as mother, subordinate to man and an outsider to society and employment, was a compulsory role model, the only exception being that dictated by war itself, which required her to perform “heavy work with feminine grace for when the men return…”

The postwar years

The hardship of the postwar years is conveyed in a few photobooks that managed to slip past the censors. Literature with photos continued to be published in books such as Momentos (Moments), whose poems would be less sad without the ruins, deserted villages, and bare trees found in the photographs of Joaquín del Palacio (Kindel). Rincones del Viejo Madrid (Corners of Old Madrid), a collection of night shots by Alfonso, is an expressionist photobook printed in the opaque tones of the finest photogravure work. Alfonso portrays the capital as yet another victim – a frozen and sinister backdrop as dead as its missing inhabitants.

The book of poems titled Les fenêtres (The Windows) features many closed windows that also resemble abstract paintings in Leopoldo Pomés’s photos, which bring to mind a confined, stifling place. But in spite of everything, life carries on, as shown by the photos in Barcelona, the city of Francesc Català-Roca, who believed that “what words describe photography places on view”: images found in the street, as alive as the people in the photos, in a pleasant urban photobook.

The 60’s: the golden decade of Spanish photography

Palabra e Imagen (Word and Image) was the creation of publisher Esther Tusquets and designer Oscar Tusquets. It was advertised by the Lumen publishing house as “a collection that is different from everything that has been done so far.” Its books “are not art books, they are not photography books, they are not literary works,” but “a new concept.” They all have a theme “and the writers, the photographer and those who plan and produce the book work on it as a team.” The aim was to present “an idea” using different means: “not just words but also the photography, the composition, the type of lettering, and the colour of the paper can be used to express it.”

Palabra e Imagen was Spain’s main contribution to the history of photobooks. For fifteen years it was a laboratory for experimenting with different ways of publishing a collective work produced by writers, designers, photographers, and editors that attached equal importance to visual and textual readings – word and image.

The photographs are by Jaime Buesa, F. Català-Roca, Colita, Joan Colom, Julio Cortázar, Dick Frisell, Antonio Gálvez, Paolo Gasparini, Sergio Larrain, César Malet, Ramón Masats, Oriol Maspons, Xavier Miserachs, Francisco Ontañón, and Julio Ubiña. Prominent among the graphic designers, in addition to the collection’s creator Oscar Tusquets, are Mariona Aguirre, José Bonet, Lluís Clotet, Toni Miserachs, and Enric Satué. Finally, the authors of the texts include writers such as Rafael Alberti, Ignacio Aldecoa, Carlos Barral, Juan Benet, José María Caballero Bonald, Alejo Carpentier, Cavafis, Camilo José Cela, Julio Cortázar, Miguel Delibes, Federico García Lorca, Alfonso Grosso, Ana María Matute, Pablo Neruda, Octavio Paz, Julián Ríos, and Mario Vargas Llosa.

Important photo-essays were published in the sixties, such as Los Sanfermines (The San Fermín Festivities) by Ramón Masats and Barcelona blanc i negre (Barcelona Black and White) by Xavier Miserachs, both of them masters of documentary photography. The first book was hailed as “the most personal photographic work that has been produced in Spain.” It is a “story told in pictures” that shows the expressive possibilities of the photobook and to what extent “a still photograph is not sufficient for a photographer who pursues a narration.” The second is a stroll through the streets of Barcelona in search of its inhabitants, and is more interested in life than in history. It is a “book to look at” that attempts a difficult combination of the subjective humanist photography of the previous decade and the new international urban photography based on the model established by William Klein, a “highly original way of hinting at cities” without succumbing to commonplaces or picturesqueness.

Also by Miserachs is Costa Brava Show, a photobook based on the mass phenomenon of tourism and featuring black-and-white photos on subjects such as young people enjoying themselves, sexual liberation, and the consequences of economic progress: chaotic town planning, corruption, and loss of authenticity. An equally critical intention underlies the photobook Vivir en Madrid (Living in Madrid), which is documentary in content and experimental in form – both the text and the pictures. Francisco Ontañón’s distant, stark photographs are kind to the common folk and critical of the privileged classes, but always humorous.

Nuevas escenas matritenses (New Scenes of Madrid) is a collection of 63 urban tales written by Camilo José Cela based on street photographs by Enrique Palazuelo that show an “incredible Madrid, where time stood still, oblivious and forgotten.” Published in several formats (from low to high culture: popular weekly and literary review; in normal and bibliophile editions), it tells stories invented from documentary photographs – a literary procedure that has been dubbed the ‘Celian picture-story.’ The photos make possible “hearing with new ears, seeing with different eyes what we believed to have been seen and heard forever.”

Luis Acosta Moro believed that the book of the future would be “a poem of short words and great pictures” of the kind embodied by his photobook Cabeza de muñeca (Doll’s Head), a symbolic work that alludes, among other themes, to the Civil War and the image of women. The publisher regarded it as a new type of book, a “film-novel-artistic essay.” The main subject is the model featured in all the pictures, sometimes dancing (or wrestling) with the photobook’s absolute author, who was responsible for everything: photographs, design, and text.

The 70’s: the last auteur photobooks

Los últimos días de Franco (The Last Days of Franco) is a photobook that is unique in both form and content: the funeral rites of the dictator. Live history is fleeting and the propaganda chiefs needed an official history capable of preserving “the living warmth of memories.” To achieve this, Fernando Nuño photographed videos. The result was a photobook consisting of television images that were second-hand but equally or more documentary than the original reports. “As they have been reproduced from video, [the photos] have the quality of a living document,” explains the book, a visual account that is completed with a second volume titled Los primeros días del Rey (The First Days of the King).

The second half of the seventies witnessed the transition to democracy, a highly politicised period in Spain. Two photobooks, Pintadas del referendum (Graffiti on the Referendum) and Pintades Pintadas (Graffiti), compile the propaganda of the day, in this case in the form of street graffiti – a subject also dealt with in French and Portuguese publications. The aim is to preserve the graffiti “as a necessary testament to and document of the vicissitudes of a people in pursuit of their future.” The authors are two short-lived groups of photographers, Equipo Diorama of Madrid and the Barcelona based Foto Fad.

The photobook Punk is pioneering in its portrayal of an international popular culture phenomenon. In Salvador Costa’s photographs taken from “close up and above the subject,” the scene is less important than the audience featured in the shots of ultramodern people, clothing, and rituals captured by the photographer, who was lucky enough to find a publisher capable of discovering more than just another short-lived fad in his photos.

Photographer Colita and writer Maria Aurèlia Capmany, collaborators on the Vindicación feminista magazine, are the authors of Antifémina (Antifemale), a photobook that set out to portray a type of woman “no one wants to look at” but who “is genuine and real, who is not twenty years old, who is not pretty.” To achieve this, Colita selected photos from her archives on themes such as old age, marriage, work, religion, prostitution, the body, marginalisation, advertising, fashion, and the practice of making flirtatious remarks at women. Antifémina is a visual and political essay, a manifesto in favour of women but against ‘femininity,’ which is always “related to the passive role of women.”

Catalogue

A catalogue on this exhibition has been published by the Museo Reina Sofía, Acción Cultural Española (AC/E) and RM. This books includes a text written by the curator and Javier Ortiz-Echagüe, photographies of all the artworks shown and complete and individual information about each photobook by different specialized authors (Horacio Fernández, Javier Ortiz-Echagüe, Concha Calvo, Rocío Robles, Mafalda Rodríguez, Angélica Soleiman and Laura Terré).

Press release from the Museo Nacional Centro de Art Renia Sofia website

 

 

José Ortiz Echagüe Puertas (Guadalajara, Spain, 1886 – Madrid, Spain, 1980)
Sermón en la aldea (Village Sermon)
1903
Carbondir on laid paper
40.5 x 38.7cm

 

One of José Ortiz Echagüe’s objectives is to achieve “the strange feeling of travelling to a different time.” He comes very close in one of his earliest photographs, Sermón en la aldea (Village Sermon), taken at the parish church of Viguera, a village in La Rioja, using a Photosphere 9 x 12 camera. With artistic photographs, what really matters is the quality of the copies, which in this case are numerous and have varying dates. Ortiz Echagüe made them himself in a laboratory using a personal variant on the technique known as direct carbon, developed under the name of “Carbondir”: a fine pigment print method which is complicated, slow and absolutely artisanal, that results in velvety blacks and clouds of pointillist faded half-colours. The specifics of the carbon direct method mean that Ortiz Echagüe’s prints approach the quality of chalcography, one of the aspirations of less imaginative artistic photography. However, these prints get further from photography the closer they get to engravings. As early as 1923 a review was criticising the disappearance of “what there originally may have been of photography” in his prints, and the artist’s excesses as he “scraped, eliminated, rubbed, smudged, lightened and darkened it.”

Horacio Fernández

 

José Ortiz-Echagüe (2 August 1886 in Guadalajara – 7 September 1980 in Madrid) was a Spanish entrepreneur, industrial and military engineer, pilot and photographer…

Photographic work

Ortiz-Echagüe believed strongly on the one hand that Spain must modernise itself in accordance with the spirit of the times – inter alia by founding industrial companies – but on the other hand was well aware that a broad modernisation could lead to disappearance of traditional clothing, a change in the villages and even a transformation of the landscape. He wanted at least to capture with his camera and hold this cultural heritage, before the change occurred.

Aesthetics

In the field of artistic photography, he is perhaps the most popular photographer in Spain and one of the most well known abroad. In 1935 the magazine ‘American Photography’ named him one of the top three photographers in the world, while some critics have also considered him to be one of the best Spanish photographers to date. This recognition becomes even more meritorious when it is considered that photography was a hobby to which he only devoted his spare time, especially during weekends and his various trips.

From an artistic point of view one might consider him as a representative of the generation of ’98 in photography, but he is also often included within the photographic movement of Pictorialism, being in fact the best known representative of the Spanish photographic Pictorialism, even though this late definition was never liked by Ortiz-Echagüe. His photographic work focuses on portraying the most defining characteristics of a people, their customs and their traditional costumes as well as locations. He managed to project through his pictures a personal expression which is closer to painting, often using effects during photo processing. Echagüe remained faithful throughout his life to the aesthetics and techniques of Pictorialism, including using gum bichromate and coal.

Working technique

Since 1898 when he got his first camera, he took thousands of photographs entirely in black-and-white. He exposed his negatives using a special technique similar to the carbon printing one (‘carbón fresson’) which was the mainstream practice during his youth. Soon its use would become outdated, however he followed that technique throughout his art, giving a special hue and a greater contrast result to his positives, which now makes his work easily recognisable.

Both paper-making as well as the procedure of obtaining photographs required a lot of patience, an extraordinary ability and a perfect management of that particular technique. Therefore, over the years and as photographic processes would become more simplified and automated, the few photographers still using this technique would tend to abandon it.

The sheet had a thin layer of gelatin onto which was added a black pigment and it was sensitised to light. The photographer obtained his copies under a process based on the principle that in the parts of the image receiving less light the gelatin would remain soft whereas in the parts of the image receiving more light the gelatin would become hardened. The treatment of the copy – bathing in water and sawdust – dissolved the unhardened gelatin together with the pigment onto it revealing a white zone underneath, while the hardened gelatin resisted the bathing process, trapping the pigment inside and subsequently producing black areas. In this way the image on paper was exposed. But furthermore this printed image with the paper still wet, could be retouched using brushes and cotton swabs or scrapers, giving a lot of freedom for creativity.

The ability to intervene in the outcome of a photograph, the greater richness of tones given from the pigment and its stability were the main reasons that Jose Ortiz-Echagüe used this technique. Nevertheless, this archaic method is not considered to be the strongest component in his images. Without an intriguing subject, a good composition, well directed lights on models and the correct layout of the scene, the procedure of coal placed directly to Fresson paper would give a vulgar result.

Text from the Wikipedia website

 

 

José Ortiz Echagüe Puertas (Guadalajara, Spain, 1886 – Madrid, Spain, 1980)
Puertas Lagarteranas (Women of Lagartera)
1920-1923 (circa)
Carbondir on laid paper
49.8 x 33.1cm

 

In 1929 José Ortiz Echagüe’s first photo-book came out in Berlin, Spanische Köpfe (Spanish Heads), published in Madrid in 1930 as Tipos y Trajes de España (Characters and Costumes of Spain), a title which, by 1971, would reach twelve editions. The photos needed to be set up, as the author wrote in 1925: “As I walk around the little villages, I talk to the people, I choose the models and then, one by one, I start the job of dressing them in traditional costumes. Having overcome the models’ objections to dressing up in their ancestors’ clothes, I get them together in a setting that I have chosen beforehand, which might be a typical square, the little church or a nearby hillside, from which one can see the village with its majestic castle which is included to create a wonderful backdrop. The sun has just come out, or is about to go down: its rays light the characters perfectly.” Ortiz Echagüe’s references are paintings by Ignacio Zuloaga and Joaquín Sorolla, particularly the Visión de España (Vision of Spain) series from New York’s Hispanic Society of America. Sorolla’s aim was to observe “without symbolisms or literature, the psychology of every region.” Ortiz Echagüe, on the other hand, is content to “perpetuate in graphic documents unalterable by time’s passage, all that Spanish attire has been and continues to be.” Lagartera, a village in the province of Toledo famous for its crafts, was one of his favourite places for photography, particularly with its unusual festival clothing, which the philosopher José Ortega y Gasset does not believe to be native. In the prologue to Tipos y trajes, he writes: “Lagartera attire is common to almost all Europe: with slight differences, it can be found across the whole of the central and Northern part of the continent.”

Horacio Fernández

 

 

José Ortiz Echagüe Puertas (Guadalajara, Spain, 1886 – Madrid, Spain, 1980)
Lagarteranas en misa (Women of Lagartera at Mass)
1920-1923 (circa)
Carbondir on laid paper
46.9 x 33.4cm

 

 

Xavier Miserachs (Barcelona, Spain, 1937 – Badalona, Barcelona, Spain, 1998)
No Title
1964 (circa) / vintage print
From the series Costa Brava Show
Gelatin silver print on paper
21.4 x 30.3cm

 

Costa Brava Show (1966) is a photo-book by the photographer Xavier Miserachs, also the author of Barcelona. Blanc i negre (1964), another urban photo-book that travels paths opened up by William Klein. Miserachs claims that in Costa Brava Show “the incorporation of Pop Art elements is obvious, because this is an aesthetic movement that absolutely fascinated me.” And it is true that the subject matter really could not be more perfect for Pop Art: firstly, there is what Manuel Vázquez Montalbán describes as “the paradise of leisure”, secondly “the party (that) is the most baroque display of that leisure time” and finally a “peculiar eroticism”, noted by Josep Pla, who wrote introduction and claims that the photographs are “the best ever taken of what is known as the Costa Brava.” Basically, this is mass tourism as experienced and presented by Miserachs with excellent humour in 155 colour and black and white photographs, covering all the clichés and presaging the globalisation awaiting us all.

Horacio Fernández

 

 

Xavier Miserachs (Barcelona, Spain, 1937 – Badalona, Barcelona, Spain, 1998)
No Title
1965 (circa) / vintage print
From the series Costa Brava Show
Gelatin silver print on paper

 

Xavier Miserachs i Ribalta (July 12, 1937 – August 14, 1998) was a Spanish photographer. He studied medicine at the University of Barcelona, but left school to be a photographer. He exhibited his work in Barcelona from 1956. His work is reminiscent of neorealism and is representative of the years of Spanish economic recovery, 1950-1960. His photographs show him as a creator of a new image of the city and its people.

Miserachs was born in Barcelona on July 12, 1937, in the middle of the Spanish Civil War. He was the son of a hematologist and a librarian, Manuel Miserachs and Montserrat Ribalta. He discovered photography at the Technical Institute of Santa Eulàlia, in Barcelona, where he met Ramon Fabregat and his brother Antonio. He studied four courses of a career in medicine, but left shortly before the end to embark on a career as a professional photographer.

In 1952, he became a member of the Photographic Association of Catalonia (Agrupació Fotogràfica de Catalunya), where he became friends with Oriol Maspons. He first exhibited at the headquarters of the Photographic Association of Catalonia in 1957, along with Ricard Terré and Ramon Masats. In 1959 they presented work together again in the Sala Aixelà of Barcelona. He began his professional career in 1959, when Xavier Busquets commissioned him to guide Picasso in his drawings of the facade of the College of Architects of Catalonia.

In 1961, after returning from military service, Miserachs wanted independence, and set up his first studio in Casa David at Carrer Tuset in Barcelona. He began photographing on request and for book authors with his work appearing in books such as Barcelona Blanc i Negre (with 400 photographs recounting the war in Barcelona) and Costa Brava Show.

During the 1960s he also served as a news reporter for Spanish magazines. In 1968 he signed an exclusive contract with the Revista Triunfo. He also published several articles in La Vanguardia, Gaceta Ilustrada, Interviú, Bazaar and Magazin. He was thus able to witness such historic events as May 68, Swinging London and Prague Spring. Miserachs engaged mainly in editorial photography but also did work doing reports.

In January 1967 he co-founded the Escola Eina, where he was one of the first professors of photography. He occasionally frequented Boccaccio’s, then the meeting place par excellence of the gauche divine [a movement of left-wing intellectuals, professionals and artists that emerged in Barcelona during the sixties and early seventies]. In 1997 he published his memoir, contact sheets, which won a Gaziel prize.

Text from the Wikipedia website

 

 

Xavier Miserachs (Barcelona, Spain, 1937 – Badalona, Barcelona, Spain, 1998)
No Title
1964 (circa) / vintage print
From the series Costa Brava Show
Gelatin silver print on paper
17.9 x 21.4cm

 

 

Francisco Ontañón (Barcelona, Spain, 1930 – Madrid, Spain, 2008)
La actual M-30 (Madrid) (The M-30 Ring Road Today [Madrid])
1963 (May) / posthumous print, 2013
From the series Vivir en Madrid (Living in Madrid)
Selenium-toned chlorobromide print on fibre-based paper
24.7 x 37.1cm

 

“It has been several years since I discovered photography; Today it is a physiological necessity for me. It was what I intended; It took me a lot to prove to myself that it was an open path, with an indefinite horizon; and without these conditions I would surely have abandoned […] with my work I have discovered everything that I imagined existed in the world; and little by little I have been penetrating into life and its things […] I think I am a little in the middle of it all as a simple spectator; As a photographer I am in a privileged place. […] In addition to all this, I am also one of those who think, with modesty, that I am contributing something to life and history. Having reached this conclusion, it should be added that it is also necessary to say something; that this testimony alone as such is not enough […] photography is also a utilitarian art.”

~ Francisco Ontañón, translated from the Spanish by Google Translate

 

 

Francisco Ontañón (Barcelona, Spain, 1930 – Madrid, Spain, 2008)
Sans Titre (Madrid) (No Title [Madrid])
1963 (May) / posthumous print, 2013
Selenium-toned chlorobromide print on fibre-based paper
25.6 x 38.4cm

 

 

Francisco Ontañón (Barcelona, Spain, 1930 – Madrid, Spain, 2008)
Sans Titre (Madrid) (No Title [Madrid])
1964-65 / posthumous print, 2013
From the series Vivir en Madrid (Living in Madrid)
Selenium-toned chlorobromide print on fibre-based paper
25.4 x 38.2cm

 

 

Francisco Ontañón (Barcelona, Spain, 1930 – Madrid, Spain, 2008)
Sans Titre (Madrid) (No Title [Madrid])
1964-65 / posthumous print, 2013
From the series Vivir en Madrid (Living in Madrid)
Selenium-toned chlorobromide print on fibre-based paper
25.7 x 38.4cm

 

 

Francisco Ontañón (Barcelona, Spain, 1930 – Madrid, Spain, 2008)
Sans Titre (Madrid) (No Title [Madrid])
1964 / posthumous print, 2013
From the series Vivir en Madrid (Living in Madrid)
Selenium-toned chlorobromide print on fibre-based paper
25.6 x 38.5cm

 

 

Francisco Ontañón (Barcelona, Spain, 1930 – Madrid, Spain, 2008)
600 en Casa de Campo con familia (Madrid) (Outing to Casa de Campo in the 600, with Family [Madrid])
1964-65 / posthumous print, 2013
From the series Vivir en Madrid (Living in Madrid)
Selenium-toned chlorobromide print on fibre-based paper
25.5 x 37.7cm

 

 

Francisco Ontañón (Barcelona, Spain, 1930 – Madrid, Spain, 2008)
Parque Sindical (Madrid) (Parque Sindical Sports Area [Madrid])
1964 / posthumous print, 2013
From the series Vivir en Madrid (Living in Madrid)
Selenium-toned chlorobromide print on fibre-based paper
25.5 x 38.1cm

 

 

Francisco Ontañón (Barcelona, Spain, 1930 – Madrid, Spain, 2008)
Entierro (Madrid) (Burial [Madrid])
1967 / posthumous print, 2013
From the series Vivir en Madrid (Living in Madrid)
Selenium-toned chlorobromide print on fibre-based paper
25.5 x 38.1cm

 

 

VV.AA.
Madrid
Barcelona, Industries Graphiques Seix i Barral
1937

 

 

Ramón Masats Tartera (Spanish, 1931-2024)
Neutral corner / Esquina neutral
1962 / vintage print

 

“Ramón Masats’ work dovetails with the end of the autarchy of the Franco regime and new policy of openness, which the photographer captured with a dynamic, unflinching language.”

“Masats, a man of few words, phlegmatic and stubborn in his convictions, coherent in his eye-heart connection, created a photographic legacy that is essential to understanding the development of graphic reporting in Spain.”

~ Chema Conesa

 

 

Mario Vargas Llosa (Peruvian, b. 1936) (text), Xavier Miserachs (Spanish, 1937-1988) (photographs)
Los cachorros
Barcelona: Lumen, colección Palabra e Imagen
1967

 

Xavier Miserachs (Barcelona, 1937-1998) was one of Catalonia’s leading photographers. His career began when he joined the Agrupació Fotogràfica de Catalunya as a teenager in 1952. It was there that he met Oriol Maspons and began what would become a lifelong friendship. In 1954, aged seventeen, he won the 1st Luis Navarro Trophy at the 2nd National Salon of Modern Photography organised by the Agrupació Fotogràfica de Catalunya. That same year, he began studying medicine, although he dropped out in the last year of his studies in order to concentrate fully on photography. The first of the two now-classic exhibitions with photographs by Xavier Miserachs, Ricard Terré and Ramón Masats was held in 1957 at the Agrupació Fotogràfica de Catalunya in Barcelona, at AFAL in Almeria, and at the Real Sociedad Fotográfica in Madrid. Two years later, in 1959, the second Terré-Miserachs-Masats show was held at Sala Aixelà in Barcelona.

From then on, Miserachs became one of the driving forces behind the renewal of documentary photography in Catalonia, which picked up the thread of a tradition that had been cut short by the Spanish Civil War. Miserachs published books that have, for decades, shaped the imaginary of Barcelona and the Costa Brava. Barcelona. Blanc i negre (Avmà, 1964), Costa Brava Show (Kairós, 1966) and Los cachorros (Lumen, 1967) are two key works from the photographic avant-garde of the time. Miserachs was strongly influenced by the work of the photographer William Klein and his books on cities, particularly the first one dealing with New York, which was published in 1955. The 1955 exhibition The Family of Man also left a deep impression on Miserachs and his contemporaries, and helped to shape the neutralist poetics that showed the working classes moving towards the new urban environment. From the late sixties onwards, Miserachs expanded his professional activities to include advertising, photojournalism and editorial photography. In 1966, be began travelling around the world as correspondent for La Actualidad Española, Gaceta Ilustrada, La Vanguardia, Interviú and Triunfo. In 1969 he co-founded Eina art school and became its first photography teacher, and in 1970 he began his occasional experiments with film: he was producer and director of photography for two underground films directed by Enrique Vila-Matas and Emma Cohen, and directed and produced the short film Amén, historieta muda. In the final years of his life, Miserachs became interested in writing as a way of leaving a written record of his way of conceiving photography, and he wrote books such as Fulls de contactes. Memòries (Edicions 62, 1998) and Criterio fotográfico (Omega, 1998). His photographs are part of some of the most important collections of the photography of the period, including Fotocolectania and MACBA.

Text from the MACBA Museu d’Art Contemporani de Barcelona website

 

 

Salvador Costa (Spanish, 1948-2008) and Jordi Valls (Spanish)
Sans Titre (from the series Punk)
1977

 

Salvador Costa (Barcelona, 1948-2008), photographer and author of one of the seminal photo-books on the international punk phenomenon. In the spring of 1977, called by his cousin Jordi Valls, he was a direct witness to its emergence in London, attending in the span of just a few days numerous concerts held in the British capital in venues such as the Roxy, where he documented with his camera not only the performances of Cherry Vanilla, The Cortinas, Generation X, The Jam, Johnny Mopped, The Lurkers, Models, The Polices, XTC, and The Strangles, but also the audience who became the undisputed protagonists of his shots, including Johnny Rotten of the Sex Pistols as well just hanging out.

Back from his London foray, Costa presented the work to Juan José Fernández, who published it that same year under his label Producciones Editoriales label with the title Punk (below), the eighth publication of his Especial Star Books collection, in which there are only two dedicated to photography (the other, Disparos, bears witness to the hippie movement of the sixties).

Text from the Archivo Lafuente website

 

 

Salvador Costa (Spanish, 1948-2008) and Jordi Valls (Spanish)
Punk
Barcelona: Producciones Editoriales, colección Especial Star Book
1977

 

 

Museo Nacional Centro de Art Renia Sofia
Calle Santa Isabel, 52
28012 Madrid

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Sunday 10.00am – 2.30pm
Tuesday Closed, including holidays

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