Amor imposible, cosas en común Rafael Alberti and Maruja Mallo 1925–1929
2007; Routledge; Volume: 84; Issue: 1 Linguagem: Espanhol
10.1080/14753820601140610
ISSN1478-3428
Autores Tópico(s)Spanish Literature and Culture Studies
ResumoClick to increase image sizeClick to decrease image size Notes 1 This poem was originally published in La Gaceta Literaria in July 1929, p. 1 and was subsequently suppressed in all further collections. In an interview with Geoffrey Connell in 1979, Alberti explains that the reason for the exclusion of this poem ‘¡son asuntos amorosos con otras mujeres para que no sean celosas!’ (see Robert Havard, The Crucified Mind. Rafael Alberti and the Ethos of Surrealism [London: Tamesis, 2001], 96). Robert Marrast's meticulous ‘Essai de bibliographie de Rafael Alberti’, Bulletin Hispanique, 57 (1955), 147–77 (p. 152) includes the following entry: ‘La primera ascensión de Maruja Mallo al subsuelo, La Gaceta Lit. III, no. 61, 1 jul. 1929. (Avec deux dessins de Maruja Mallo)’. 2 Havard, The Crucified Mind, 107. 3 For more detail on the presentation of women in Alberti's poetry of the 1920s poetic female, see my ‘Consolation in Purity: Fairy-Tale in the Early Lyrics of Rafael Alberti’, BHS (Liverpool), LXXIII (1996), 153–63 and ‘Cortas las faldas, cortas las melenas: The Re-invented Feminine in Rafael Alberti's Cal y canto’, MLR, 93 (1998), 71–82. 5 Derek Gagen, ‘“Invitación al aire”: The Imagery of Ascent in Alberti's Sobre los ángeles’, MLR, 83 (1988), 867–81 (p. 880). 4 C. B. Morris, ‘Sobre los ángeles: A Poet's Apostasy’, BHS, XXXVII (1960), 222–31 (p. 229); Solita Salinas de Marichal, El mundo poético de Rafael Alberti (Madrid: Gredos, 1968), 213. 6 Xosé Hermida, ‘Maruja Mallo, la musa del surrealismo español, fallece en Madrid a los 93 años’, El País, 7 February 1995, p. 34. 7 Francisco Calvo Serraller, ‘El espíritu de la vanguardia’, El País, 7 February 1995, p. 35. 8 These exhibitions were held in the Galería Guillermo de Osma, Madrid in 1992 and in the Centro de Arte Contemporáneo de Galicia, Santiago de Compostela, 1993–1994 (touring retrospective). 11 Francisco Rivas, ‘Maruja Mallo, pintora del más allá’, in Ensayos sobre Maruja Mallo, ed. Juan Pérez de Ayala and Francisco Rivas (Madrid: Guillermo de Osma Galería/Fundación Cultural Banesto, 1992), 15–29 (pp. 15–16). 9 Maruja Mallo, 59 grabados en negro y 9 láminas en color 1928–1942, estudio preliminar por Ramón Gómez de la Serna (Buenos Aires: Losada, 1942), 8. 10 Dictionary of Women Artists, ed. Delia Gaze, 2 vols (London: Fitzroy and Dearborn, 1997), II, 906. 12 Francisco Calvo Serraller, ‘Maruja Mallo, invencible en su sueño’, El País, 25 September 1983, p. 41. 15 Camilo José Cela, Memorias, entendimientos y voluntades (Madrid: Espasa-Calpe, 2001), 178–79. 13 García Montero, ‘Biografía’, in Rafael Alberti: el poema compartido, ed. Luis García Montero (Granada: Consejería de Cultura/Centro Andaluz de Letras, 2003), 99–328 (p. 133). 14 The quotation is from Rafael Alberti, La arboleda perdida. Libros III y IV de memorias (Barcelona: Seix Barral, 1987), 27. Henceforth, all references to Alberti's autobiography will be cited in the text by the abbreviation AP followed by the volume and the page number: AP, I—Libros I y II; AP, II—Libros III y IV. La arboleda perdida. Libros III y IV de memorias (Barcelona: Seix Barral, 1987). A third and final volume was also published, La arboleda perdida. Libro quinto (Madrid: Anaya, 1996). 18 José Luis Ferris, Miguel Hernández. Pasiones, cárcel y muerte de un poeta (Madrid: Temas de Hoy, 2002), 230. 20 Luis Felipe Vivanco, ‘Rafael Alberti en su palabra vestida de luces’, Papeles de Son Armadans, VI (1957), 20–32 (p. 29). 16 For example, the Argentinian artist and illustrator Norah Borges was married to Guillermo de Torre, poet and ultraísmo exponent. Alberti was married in 1931 to the writer María Teresa León; the poet Concha Méndez was married to fellow poet, Manuel Altolaguirre and Maruja Mallo was romantically involved with the poet Miguel Hernández in the early 1930s. Studies include: John C. Wilcox, Women Poets of Spain 1860–1990 (Chicago: Univ. of Illinois Press, 1997); Una mujer moderna: Concha Méndez en su mundo (1898–1936), ed. James Valender (Madrid: Publicaciones de la Residencia de Estudiantes, 2001); Paloma Ulacia Altolaguirre, Concha Méndez: Memorias habladas, memorias armadas, foreword by María Zambrano (Madrid: Mondadori, 1990) and Catherine Bellver, Absence and Presence: Spanish Women Poets of the 20s and 30s (Lewisburg: Bucknell U. P., 2001). 17 Francisco Javier Blasco, ‘Otros poetas del 27’, in Francisco Rico, Historia y crítica de la literatura española, ed. Víctor García de la Concha, 9 vols (Barcelona: Editorial Crítica, 1984), VII, Época contemporánea 1914–1939, 480–501 (p. 496). 19 Rafael Alberti, La arboleda perdida. Libros I y II de memorias (Barcelona: Seix Barral, 1981); for more detail regarding selective omission in La arboleda perdida, see my article ‘Como debajo de un vidrio: Rafael Alberti and the Autobiographical Act’, Romance Studies, 21 (2003), 203–15. All references to poetic texts will be from volume I of Rafael Alberti, Obras completas, ed. Luis García Montero (Madrid: Aguilar, 1988), and will be cited after the text with the abbreviation OC and the page number. 21 Manuel Bayo, Sobre Alberti (Madrid: CVS Ediciones, 1974), 36. 22 Geoffrey Connell, ‘Sobre los ángeles: Form and Theme’, Spanish Studies, 4 (1982) 1–14 (p. 10). 23 José Luis Tejada, ‘Una entrevista con Rafael Alberti’, Gades, 12 (1984), 1–25 (p. 8). 24 María Asunción Mateo, De lo vivo y lejano (Madrid: Espasa-Calpe, 1996), 121–22. 25 Pedro Salinas y Jorge Guillén, Correspondencia (1923–1951), ed., intro. y notas de Andrés Soria Olmedo (Barcelona: Tusquets, 1992), 124. 26 Mateo, De lo vivo y lejano, 124–25. 27 García Montero, ‘Biografía’, 133. 28 Rafael Alberti, Álbum de Victoria Amado. (Manuscrito y técnica mixta sobre papel. Colección particular, Madrid) catalogued in Rafael Alberti, Sobre los ángeles, catálogo exposición. Madrid Residencia de Estudiantes dic. 2003–enero 2004, ed. Andrés Soria Olmedo (Madrid: Residencia de Estudiantes, 2003), 106, 234. 29 Litoral Alberti (Torremolinos: Litoral, 1993) Special number, Vol. 200, 11. 30 Litoral Alberti, n.p. 31 Havard, The Crucified Mind, 93. 32 Rafael Alberti, Sobre los ángeles. Yo era un tonto y lo que he visto me ha hecho dos tontos, ed. C. B. Morris (Madrid: Cátedra, 1989), 76 (footnote). 33 Litoral Alberti, 12. 35 Mallo, 59 grabados, 10. 34 The Dictionary of Art, ed. Jane Turner, 34 vols (London: Macmillan, 1996), XX, 205. 36 Manuel Abril, Blanco y Negro, 28 December 1930, reproduced in Mallo, 59 grabados, 49. 37 Jean Cassou, La Revue Hebdomadaire, 28 May 1932, reproduced in Mallo, 59 grabados, 50. 38 Córdova Iturburo, El Sol (Buenos Aires), 9 November 1939, reproduced in Mallo, 59 grabados, 51. 39 Picasso on Art: A Selection of Views, ed. Doré Ashton (New York: Viking, 1972), 131. 40 Rafael Alberti, interview with Luis Pancorbo, Gaceta del Arte, April 1974, p. 23. For more detail on this aspect of Alberti's poetry, see Yolanda Pascual Solé, ‘Estética impresionista en A la Pintura de Rafael Alberti’, BHS (Liverpool), LXXIV (1997), 197–214 and my ‘Angels, Art and Analysis: Rafael Alberti's Sobre los ángeles’, in Crossing Fields in Spanish Culture, ed. Federico Bonaddio and Xon de Ros (Oxford: Legenda, 2003), 103–17. 41 Alberto Sánchez, ‘Fragmento’, Arte (Madrid), 2 (1933), n.p. 45 Sánchez, Palabras de un escultor, 15. 42 Álvaro Delgado, ‘Álvaro Delgado’, catálogo exposición ‘Álvaro Delgado’ (Zaragoza: Caja de Ahorros y Monte de Piedad, 1983), 5. 43 Enciclopedia del arte español del siglo XX, dirigida por Francisco Calvo Serraller, 2 vols (Madrid: Mondadori, 1992), II, 151. 44 Alberto Sánchez, Palabras de un escultor (Valencia: Fernando Torres, 1975), 7. 46 García Montero, ‘Biografía’, 136. 47 A British Academy funded article currently in preparation, ‘Mad for Love. Rafael Alberti and Maruja Mallo's Representations of the Mind’, will deal separately with the poetic and pictorial translation of a mutual emotional crisis, revealing the essential biographical and artistic complementarity of Sobre los ángeles and Cloacas y campanarios. 51 Manuel Abril, Revista de Occidente, Madrid, July 1928. 56 Ana Vázquez de Parga, ‘¿Maruja Mallo Surrealista?’, in Ensayos sobre Maruja Mallo, 31–43 (p. 33). 57 Maruja Mallo, ‘Lo popular en la plástica española (a través de mi obra) 1928–1936’, in Mallo, 59 grabados, 39–40 (p. 40). 60 ‘Rafael Alberti: la poesía popular en la lírica Española contemporánea’, in Rafael Alberti, Prosas encontradas 1924–1942, recogidas y presentadas por Robert Marrast (Madrid: Editorial Ayuso, 1973), 113–33 (p. 117). 61 Mallo, ‘Lo popular en la plástica española’, 40. 64 Yara González Montes, Pasión y forma en ‘Cal y canto’ (New York: Ediciones Abra, 1982), 117. 66 Salvador Dalí, ‘San Sebastiá’, L'Amic de les Arts, XVI (1927), n.p. 68 C. B. Morris, This Loving Darkness. The Cinema and Spanish Writers 1920–1936 (Oxford: Oxford U. P., 1980), 86. 70 See Havard, The Crucified Mind, 13. 48 See for example José Luis Tejada, Rafael Alberti, entre la tradición y la vanguardia (Madrid: Gredos, 1977) and Carlos E. del Árbol and Ángela Olalla Real, ‘Maruja Mallo, entre la tradición y la vanguardia’, Cuadernos Hispanoamericanos, 514–16 (1993), 293–300. 49 The Verbena series consists of four large paintings, oil on canvas (120 × 166 cm) in which various city fairs in Madrid are depicted. Kermesse is currently in storage at the Centre Georges Pompidou, Paris having been exhibited previously at Le Musée de Jeu de Paume. Verbena is currently at the Museo Nacional Centro de Arte Reina Sofia, Madrid. The locations of the remaining two pictures are uncertain, possibly in private collections. 50 Del Árbol and Olalla Real, ‘Maruja Mallo’, 294. 52 See ‘Obras perdidas e inacabadas’, in Rafael Alberti, Obras completas, ed. Eladio Mateos, 2 vols (Barcelona: Seix Barral, 2003), Teatro I, 605–08. 53 Mallo, 59 grabados, 7. 54 Rivas, ‘Maruja Mallo, pintora del más allá’, 18. 55 Dictionary of Women Artists, II, 907. 58 Salinas de Marichal, El mundo poético de Rafael Alberti, 53. 59 Derek Gagen, ‘The Consequences of Concupiscence. Love Poetry in Sobre los ángeles, Romance Studies, 32 (1998), 5–19 (p. 12); Pamela Bacarisse, ‘Fear of Freedom: Rafael Alberti's Marinero en tierra’, BHS, LXVII (1990), 15–25 (p. 21). 62 Del Árbol and Olalla Real, ‘Maruja Mallo’, 294. 63 García Montero, ‘Biografía’, 131. 65 The four paintings to which I refer are reproduced on pages vi, vii, viii and ix of Maruja Mallo, 59 grabados. As with the majority of Mallo's work, these have either disappeared without trace or are in the hands of private collectors. 67 See Helen Laurenson, ‘Cortas las faldas, cortas las melenas’, in which I discuss Cal y canto as suppressing ‘two powerful forces in conflict, the old and the new, which can be resolved only by the ultimate vanquishing of one of them through lyrical battle’ (81). 69 Del Árbol and Olalla Real, ‘Maruja Mallo’, 298. 71 Juan Pérez de Ayala, ‘Álbum biográfico’, in Ensayos sobre Maruja Mallo, 77–79 (p. 78). 72 Rivas, ‘Maruja Mallo, pintora del más allá’, 19. 73 Morris, This Loving Darkness, 87; Juan Ramón Jiménez, ‘Satanismo inverso’, La Gaceta Literaria, January 1931, n.p. 74 The advertisement reads: ‘Le Cinéma Comique. Un album de 15 lithiographies originales en couleurs, de format 0,26 × 0,35, numerotées et signées par l'artiste’ (Galerie Jeanne Bucher, Paris).
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