Papers by Íñigo Basarrate
The Journal of Art Historiography, 2018
During the seventeenth and eighteenth centuries, it was not uncommon for British artists and arch... more During the seventeenth and eighteenth centuries, it was not uncommon for British artists and architects to travel to France and Italy; very few, however, ventured into Spain, which was considered a decadent and dangerous country.1 In contrast, the late eighteenthand early nineteenthcenturies witnessed a growing number of British travellers to Spain. Spain was, of course, not part of the British colonial agenda, which, according to Edward Said, had driven British scholars' attention to the lands of Islam from the eighteenth-century onwards.2 The increase of British interest in Spain was partly due to the Peninsular War (1808-1814), in which British and Spanish soldiers joined forces against Napoleon’s occupying army.3 The British intellectual interest in Spain was tainted by the increasing Romantic fascination with the 'exotic' that swept across Europe in the early nineteenth-century; in this scenario, many were attracted by the monumental heritage of al-Andalus (the Span...
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Architectural History, 2017
ABSTRACTAlthough the work of Edwin Lutyens has received careful scholarly study since the 1980s, ... more ABSTRACTAlthough the work of Edwin Lutyens has received careful scholarly study since the 1980s, his projects in Spain remain very little known. Unfortunately, Lutyens was unable to complete his Spanish commissions, mostly because of the deterioration of country's economy and social order in the 1930s, and this has played a major role in keeping these projects in the dark. Furthermore the devastation caused by the Civil War obliterated most of the evidence once held in Spanish archives.This paper focuses on Lutyens's main commission in Spain, the palace of El Guadalperal, designed for the eighteenth Duke of Peñaranda as a country house on his estate in south west Spain. This decades-long commission, lasting from 1915 to 1934, represents a very significant and original work in Lutyens's output. The first version for the palace shows his capacity to adapt his architecture to the local climate and architectural traditions, while the second would have been, if built, his largest country house, approaching the grandeur and magnificence of the Viceroy's House in Delhi.
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Journal of Art Historiography , 2018
During the seventeenth and eighteenth centuries, it was not uncommon for British artists and arch... more During the seventeenth and eighteenth centuries, it was not uncommon for British artists and architects to travel to France and Italy; very few, however, ventured into Spain, which was considered a decadent and dangerous country. 1 In contrast, the late eighteenth-and early nineteenth-centuries witnessed a growing number of British travellers to Spain. Spain was, of course, not part of the British colonial agenda, which, according to Edward Said, had driven British scholars' attention to the lands of Islam from the eighteenth-century onwards. 2 The increase of British interest in Spain was partly due to the Peninsular War (1808-1814), in which British and Spanish soldiers joined forces against Napoleon's occupying army. 3 The British intellectual interest in Spain was tainted by the increasing Romantic fascination with the 'exotic' that swept across Europe in the early nineteenth-century; in this scenario, many were attracted by the monumental heritage of al-Andalus (the Spanish territories under Islam, 711-1492). Spain with its remarkable Islamic artistic heritage, especially in Granada, Cordoba, and Seville, became attractive as the most accessible place for British travellers to get a flavour of the so-called 'Orient'. 4 Although during most of the nineteenth-century, the British fascination for the Alhambra and an idealised Islamic Spain continued, there also arose a growing curiosity for the buildings erected in territories under the gradually expanding Christian rule. This article will focus on the gradual discovery of Spanish Romanesque and Gothic architecture by British architects and architectural historians in the nineteenth century. It will also explore their attitude towards this architecture, as expressed in the books published on the topic. I am very grateful to Claudia Hopkins for her invaluable and meticulous comments on an earlier
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The British Art Journal , 2018
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Architectural History, 2017
Although the work of Edwin Lutyens has received careful scholarly study since the 1980s, his proj... more Although the work of Edwin Lutyens has received careful scholarly study since the 1980s, his projects in Spain remain very little known. Unfortunately, Lutyens was unable to complete his Spanish commissions, mostly because of the deterioration of country’s economy and social order in the 1930s, and this has played a major role in keeping these projects in the dark. Furthermore the devastation caused by the Civil War obliterated most of the evidence once held in Spanish archive.
This paper focuses on Lutyens' main commission in Spain, the palace of El Guadalperal, designed for the eighteenth duke of Peñaranda, as a country house in his estate in south west Spain. This decades-long commission, lasting from 1915 to 1934, represents a very significant and original work in Lutyens’ output. Lutyens´s first version for the palace shows his capacity to adapt his architecture to the local climate and architectural traditions, while the second project for the palace would have been, if built, his largest country house, approaching the grandeur and magnificence of the Viceroy´s House in Delhi.
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Books by Íñigo Basarrate
Oro Editions, 2022
Galíndez is, without any doubt, the most brilliant of the architects that have ever existed in Bi... more Galíndez is, without any doubt, the most brilliant of the architects that have ever existed in Bilbao: a city with a very high architectural quality, due to its privileged place in economic terms within Spain, and to the existence of an industrial bourgeoisie very relevant not only locally, but nationally. The book analyses eight buildings by Manuel Galíndez, located in Madrid, Barcelona, and Bilbao. The book’s purpose is to fill the gap related to the absence of the great architects of the 20th Century ignored by the sectarian modern historiography. Galíndez works are very conscious with the integration within the urban context. He is an architect that cares for the compositional issues beyond the style he uses in a given building. And his construction is meticulous, rigorous, and exquisite.
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Dialogo artístico durante la Edad Media Arte islámico -arte mudéjar, 2020
The 19th century saw an increasing, albeit only slowly growing, appreciation of Spanish architect... more The 19th century saw an increasing, albeit only slowly growing, appreciation of Spanish architecture by British architects and travellers. While Spanish Islamic architecture was amongst the first to fascinate and attract British historians, by the middle of the century their interest turned more towards what they considered Christian architecture, that is, Gothic and Romanesque. However, British travellers of the first half of the 19th century, on the other hand, paid as good as no attention to Mudéjar architecture. However, as the century progressed this attitude gradually changed. This paper will analyse the development of the attitudes of Victorian architects and architectural historians towards Spanish Mudéjar architecture from the beginning until the end of the 19th century.
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by Luis Sazatornil Ruiz, Antonio Urquízar Herrera, Ida Mauro, Margarita Ana Vázquez Manassero, Alicia Camara, Cristina Agüero Carnerero, Julio J. Polo, Yayoi Kawamura, Ester Prieto Ustio, Tomás Pérez Vejo, José A. Vigara Zafra, Álvaro Molina, Sergio Ramírez González, Vanesa Rodriguez-Galindo, Eva Ramos Frendo, Elodie Baillot, Gerardo Rebanal Martinez, and Íñigo Basarrate Biblioteca de Historia del Arte (31), 2019
Las relaciones entre ciudad, consumo artístico, sociedad e ideología son un campo de investigació... more Las relaciones entre ciudad, consumo artístico, sociedad e ideología son un campo de investigación clave para la historia social, la historia cultural y la historiografía del arte. En los últimos treinta años se han producido aportaciones relevantes sobre esta materia. Cierto es que, en el contexto de los estudios sobre la Edad Moderna, la labor de la nobleza ha recibido una atención especial, derivada del hecho de que este estamento fuera uno de los motores básicos de la actividad urbana durante el periodo. Sin embargo, tales estudios no han alcanzado al mundo contemporáneo hasta fechas recientes. Por ello, en este volumen, sus autores han entendido que sería interesante adoptar una perspectiva que enlace la tradición de análisis ideológicos y sociales, sobre la práctica de promoción artística de la nobleza en la Edad Moderna, con el estudio de la evolución de estas narrativas en los inicios del mundo contemporáneo.
Sin duda, uno de los grandes ejes en estos estudios es el de los discursos urbanos, su producción, articulación, evolución y su percepción colectiva. Pero, para analizar las culturas urbanas y la evolución del relato de una ciudad, es necesario identificar a los agentes que dominan los modos de producción de esos discursos y reconocer que una parte relevante de la cultura urbana y sus discursos se afirma a través de las artes y la representación visual del poder.
La presente obra puede ayudar a comprender el fenómeno como un proceso de largo recorrido, con continuidades y cambios. Un compendio de estudios que analizan en detalle algunos casos paradigmáticos que ilustran la construcción artística de los discursos urbanos desde los inicios de la Edad Moderna hasta las transformaciones económicas, sociales y formales del sistema urbano español en el siglo XIX.
Este volumen reúne resultados de cinco proyectos de investigación financiados por el Ministerio de Ciencia, Innovación y Universidades (AEI/FEDER, UE): «Culturas urbanas en la España Moderna: Policía, Gobernanza e Imaginarios (siglos XVI-XIX)» (HAR2015-64014-C3-1-R); «Políticas en tránsito para la legitimación nobiliaria: memoria e historia en el coleccionismo y las escenografías domésticas de la nobleza española (1788-1931)» (HAR2015-66311-P); «El dibujante ingeniero al servicio de la monarquía hispánica. Siglos XVI a XVIII. Ciudad e ingeniería en el Mediterráneo» (HAR2016-78098-P); «Poder y representaciones culturales en la época moderna: agentes diplomáticos como mediadores culturales de la Edad Moderna (siglos XVI-XVIII)» (HAR2016-78304-C2-2-P); e «Identidad y Construcción Cultural de Andalucía: Arte y Turismo» (1839-1939) (HAR2016-79758-P).
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Papers by Íñigo Basarrate
This paper focuses on Lutyens' main commission in Spain, the palace of El Guadalperal, designed for the eighteenth duke of Peñaranda, as a country house in his estate in south west Spain. This decades-long commission, lasting from 1915 to 1934, represents a very significant and original work in Lutyens’ output. Lutyens´s first version for the palace shows his capacity to adapt his architecture to the local climate and architectural traditions, while the second project for the palace would have been, if built, his largest country house, approaching the grandeur and magnificence of the Viceroy´s House in Delhi.
Books by Íñigo Basarrate
Sin duda, uno de los grandes ejes en estos estudios es el de los discursos urbanos, su producción, articulación, evolución y su percepción colectiva. Pero, para analizar las culturas urbanas y la evolución del relato de una ciudad, es necesario identificar a los agentes que dominan los modos de producción de esos discursos y reconocer que una parte relevante de la cultura urbana y sus discursos se afirma a través de las artes y la representación visual del poder.
La presente obra puede ayudar a comprender el fenómeno como un proceso de largo recorrido, con continuidades y cambios. Un compendio de estudios que analizan en detalle algunos casos paradigmáticos que ilustran la construcción artística de los discursos urbanos desde los inicios de la Edad Moderna hasta las transformaciones económicas, sociales y formales del sistema urbano español en el siglo XIX.
Este volumen reúne resultados de cinco proyectos de investigación financiados por el Ministerio de Ciencia, Innovación y Universidades (AEI/FEDER, UE): «Culturas urbanas en la España Moderna: Policía, Gobernanza e Imaginarios (siglos XVI-XIX)» (HAR2015-64014-C3-1-R); «Políticas en tránsito para la legitimación nobiliaria: memoria e historia en el coleccionismo y las escenografías domésticas de la nobleza española (1788-1931)» (HAR2015-66311-P); «El dibujante ingeniero al servicio de la monarquía hispánica. Siglos XVI a XVIII. Ciudad e ingeniería en el Mediterráneo» (HAR2016-78098-P); «Poder y representaciones culturales en la época moderna: agentes diplomáticos como mediadores culturales de la Edad Moderna (siglos XVI-XVIII)» (HAR2016-78304-C2-2-P); e «Identidad y Construcción Cultural de Andalucía: Arte y Turismo» (1839-1939) (HAR2016-79758-P).
This paper focuses on Lutyens' main commission in Spain, the palace of El Guadalperal, designed for the eighteenth duke of Peñaranda, as a country house in his estate in south west Spain. This decades-long commission, lasting from 1915 to 1934, represents a very significant and original work in Lutyens’ output. Lutyens´s first version for the palace shows his capacity to adapt his architecture to the local climate and architectural traditions, while the second project for the palace would have been, if built, his largest country house, approaching the grandeur and magnificence of the Viceroy´s House in Delhi.
Sin duda, uno de los grandes ejes en estos estudios es el de los discursos urbanos, su producción, articulación, evolución y su percepción colectiva. Pero, para analizar las culturas urbanas y la evolución del relato de una ciudad, es necesario identificar a los agentes que dominan los modos de producción de esos discursos y reconocer que una parte relevante de la cultura urbana y sus discursos se afirma a través de las artes y la representación visual del poder.
La presente obra puede ayudar a comprender el fenómeno como un proceso de largo recorrido, con continuidades y cambios. Un compendio de estudios que analizan en detalle algunos casos paradigmáticos que ilustran la construcción artística de los discursos urbanos desde los inicios de la Edad Moderna hasta las transformaciones económicas, sociales y formales del sistema urbano español en el siglo XIX.
Este volumen reúne resultados de cinco proyectos de investigación financiados por el Ministerio de Ciencia, Innovación y Universidades (AEI/FEDER, UE): «Culturas urbanas en la España Moderna: Policía, Gobernanza e Imaginarios (siglos XVI-XIX)» (HAR2015-64014-C3-1-R); «Políticas en tránsito para la legitimación nobiliaria: memoria e historia en el coleccionismo y las escenografías domésticas de la nobleza española (1788-1931)» (HAR2015-66311-P); «El dibujante ingeniero al servicio de la monarquía hispánica. Siglos XVI a XVIII. Ciudad e ingeniería en el Mediterráneo» (HAR2016-78098-P); «Poder y representaciones culturales en la época moderna: agentes diplomáticos como mediadores culturales de la Edad Moderna (siglos XVI-XVIII)» (HAR2016-78304-C2-2-P); e «Identidad y Construcción Cultural de Andalucía: Arte y Turismo» (1839-1939) (HAR2016-79758-P).