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Art and culture in Francoist Spain is a historiographic term, with little use beyond the chronological placement of artists and cultural events, or political identification. The term is used generically, without involving ideological or aesthetic evaluation of the entire art and culture of Francoist Spain (1939–1975), which would only be suitable for art and culture more identified with the Franco regime, where other expressions are sometimes used: 'Fascist art and culture in Spain', 'Falangist art and culture', or 'nationalist-catholic (nacional-católica) art and culture', and so forth. The terms 'Spanish Fascist art', 'Fascist Spanish painting', 'Spanish fascist sculpture', 'Spanish fascist architecture', 'Spanish fascist culture', 'Spanish fascist literature', and so on, are infrequently used, but there are examples, as in the writing of Spanish historian Julio Rodriguez-Puértolas. Such terms have a wide application, which can be restricted to cultural products more identified with Spanish Falangism and the ''azul'' (blue) ''familias del franquismo'' (organizations affiliated with Francoism), although very often these more specific terms are generalized, to cover all of the art identified as "nacional" ('national') in Francoist Spain. ==Internal and external exile== Artists active in Francoist Spain include the writers José María Pemán, Agustín de Foxá and Luis Rosales, the painters Carlos Sáenz de Tejada and Fernando Álvarez de Sotomayor, architect and sculptors of the Valle de los Caídos, and the music of Concierto de Aranjuez, Quintero, León y Quiroga, the films of José Luis Sáenz de Heredia and Luis Lucia Mingarro. Prominent cultural figures included the psychiatrists Antonio Vallejo-Nájera and López Ibor,〔Juan Casco y Antonio Espino (''En el centenario de López Ibor'' ), El País 09/05/2006.〕 as well as the social scientists Melchor Fernández Almagro, Ramón Carande and Luis Suárez Fernández). Much of the Spanish artistic and cultural production of the time was made by authors ideologically opposed or indifferent, or who had aesthetic criteria completely unrelated to a Fascist aesthetic: writers Carmen Laforet, Antonio Buero Vallejo, Vicente Aleixandre; visual artists Dalí, Joan Miró, Antoni Tàpies; sculptors Paul Serrano, Eduardo Chillida, Jorge Oteiza; architects Saenz de Oiza, Miguel Fisac; composers Bernaola Luis de Paul; filmmakers Luis García Berlanga, Juan Antonio Bardem, Carlos Saura; and researchers in natural sciences such as Large Covián, Michael Sanudo Catalan, George Francis Taylor, Antonio de Zulueta, and social scientists such as Jaume Vicens Vives, José Antonio Maravall, Antonio Domínguez Ortiz, Julio Caro Baroja, José Luis Sampedro, Fabian Estapé, Juan José Linz. Some of these artistic and cultural figures were situated more or less precisely in the so-called internal exile. The list of those belonging to this category is not easy to determine. The literature often refers to Vicente Aleixandre and Dámaso Alonso, but in the case of Alonso, 'internal exile' can only be attributed to the period prior to integration in institutions (Royal Academy). Also frequently included are Juan Gil Albert and Rafael Cansinos-Asséns among the literati, and Joan Miró among the visual artists. The ''Epistolario del exilio'' (Letters from Exile) of Max Aub, referring to internal exile, collects the letters of Gabriel Celaya Luis Landinez Gloria Fuertes, Aleixandre, José Agustín Goytisolo and Luis Goytisolo, Gil Albert, Jose Luis Lopez Aranguren José Carlos Mainer, Roman Gubern, Ana María Matute, and others. Others included as internal exiles may be Blas de Otero, José Hierro, Eugenio de Nora, José Agustín Goytisolo, and José Ángel Valente. Jorge Tello Francisco, Antonio de Zulueta and Miguel Catalan Sañudo survived in internal exile, but in a significantly reduced capacity for scientific work due to the hostility of the new authorities, the lack of communication with the outside world, and the postwar economic hardships.(José Manuel Sánchez Ron, (''Un siglo de ciencia en España'' ), Residencia de Estudiantes, ISBN 84-95078-88-0). Many artistic and cultural figures, whether or not from the beginning, eventually reaching a high social and even official recognition, as the regime struggled to maintain an inclusive attitude towards cultural products that were not identified as a direct challenge by the opposition to Franco (especially after the appointment of Joaquín Ruiz-Giménez as education minister, replacing José Ibáñez Martín in 1951).〔''Ruiz Giménez no estaba solo. Dio paso a una serie de personajes que se revelarían capitales en el proceso de amoldamiento mutuo entre el poder y la vanguardia. Durante su mandato en el ministerio de Educación (1951-1956), se creó un cierto clima liberal'' (Marzo, ''op. cit.'', pg. 25).〕 Spanish art forms not only developed in the interior of Spain, but outside it, given the extraordinary cultural power of the Spanish Republican exiles, to which belonged figures of the stature of Juan Ramón Jiménez, Pablo Picasso, Julio González, Pablo Casals, Luis Buñuel, the architects of GATEPAC, José Ferrater Mora, Zambrano, Américo Castro, Claudio Sánchez-Albornoz, Juan Negrín Blas Cabrera, and many others. A leading Falangist, Ernesto Giménez Caballero, was the main theorist of the art of Fascist Spain. In 1934, after attending a conference in Italy, Ernesto Giménez Caballero had been published in an ''F. E.'' magazine article, ''Art and State", which became a book in 1935. Caballero identified the Monastery of El Escorial as "the epitome of all the virtues of Spanish art'' and a "symbol of what art should be fascist'', while the most prestigious Spanish art theorist of the time, Eugenio d'Ors, strove to create an artistic environment related to the regime but open and assimilative (Salón de los Once, Academia Breve de Crítica de Arte, 1941-1954)), including the avant garde, which increased over time to even be a hallmark of the regime, increasingly interested in showing, both internally and externally, a contemporary image. Artists and writers related to Franco have suffered from a general underestimation by historians, art critics and literary critics. As Andres Trapiello stated, Francoists "won the war and lost the history of literature".〔Andrés Trapiello, ''Las armas y las letras: literatura y Guerra Civil (1936-1939)'', Península, 2002, ISBN 978-84-8307-519-7; reeditado en Destino, 2009 ISBN 84-233-4191-7. Citado por Javier Rodríguez Marcos en (''Generales, curas y señoritos españoles'' ), El País, 30/03/2009.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Art and culture in Francoist Spain」の詳細全文を読む スポンサード リンク
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