#pepín bello

[docpiplup]

#el ministerio del tiempo #emdt #emdt polls #juan martín diez #el empecinado #lope de vega #ambrosio spínola #pablo picasso #federico garcía lorca #rosita díaz #luís buñuel #salvador dalí #pepín bello #jordi hurtado

[armatofu]

#REPASANDO FOTOS #Salvador Dalí #Federico García Lorca y Pepín Bello en 1925.

[cuartoretorno]

Un perro andaluz (Luis Buñuel 1929) 

Un perro andaluz (título original en francés: Un chien andalou) es un cortometraje franco-español mudo (no fue hasta la versión de 1960 que se incorporaron los motivos de Tristán e Isolda de Richard Wagner y un tango),2​ escrito, producido, dirigido e interpretado por Luis Buñuel en 1929 con la colaboración en el guion de Salvador Dalí y gracias a un presupuesto de 25 000 pesetas que aportó la madre de Luis Buñuel. Fue estrenada el 6 de junio de 1929 en el cine Studio des Ursulines de París (Francia). Posteriormente se exhibió durante nueve meses ininterrumpidamente en el Studio 28 de la misma ciudad.3​

El rodaje duró quince días.4​ Según refiere Buñuel a De la Colina y Pérez Turrent, Un perro andaluz nació de la confluencia de dos sueños. Dalí le contó que soñó con hormigas que pululaban en sus manos y Buñuel soñó con una hoja de navaja que cortaba la luna en dos.5​

Un perro andaluz está considerada la película más significativa del cine surrealista. Transgrediendo los esquemas narrativos canónicos, la película pretende provocar un impacto moral en el espectador a través de la agresividad de la imagen. Remite constantemente al delirio y al sueño, tanto en las imágenes producidas como en el uso de un tiempo no lineal de las secuencias.

El nombre Un perro andaluz fue elegido porque no guardaba relación alguna con los temas del filme. Federico García Lorca se sintió aludido por el título, pero Buñuel negó dicha alusión, alegando que era el de un libro de poemas que él tenía escrito desde 1927.6​7​ En primer lugar pensó que la película se llamara El marista en la ballesta (según el título que tenía un caligrama de Pepín Bello)7​ y luego Es peligroso asomarse al interior, como inversión del aviso que tenían los trenes franceses: C'est dangereux de se pencher au dehors ('Es peligroso asomarse al exterior').8​

#Un perro andaluz #Luis Buñuel #Salvador Dali #Surrealismo #Un chien andalou #Cortometraje #Franco Español #art nouveau #cine de culto #arte y cultura #cigarros pall mall #Ron Cartavio #cerveza Pilsen #Hot Topic #vans classics #vans old school

[spectaculardistractions]

To José Bello Paris, 11 May 1930 Dearest Pepín, I received your letter and I truly believe, as the swine-Christ might say, that our silence is offensive as well as shameful. But I offer the excuse from my side that since November I’ve not had a single day’s rest, not even on Sundays. I don’t know if you heard that Noailles has given me a million francs to make him a talking film with absolute complete creative freedom, and I hope for that reason it will make everyone who sees it blush with shame. It’s a great spectacle over an hour long. I was thinking of calling it The Andalusian Beast, but now I prefer Down with the Constitution! Of course, neither the Cadiz Courts nor any other constitutional courts appear in the film. I worked with Dalí on the plot as we did for An Andalusian Dog. I would be so pleased if you could come to the premiere, which will be mid-June. Then we could go to Toledo for a week. And even if you can’t come, do let me know if you would like to plan a trip. I would write at once to Hinojosa. And Dalí would come too. You wouldn’t believe how much I’ve changed and the progress I feel I’ve made, especially in terms of ideology and application. But better to wait until we meet up and our long conversations will leave you in no doubt. I heard you have a girlfriend. You, on the other hand, tell me nothing. Instead you speak only of your grand exploits. What’s this? Pepín with enough money to buy a car? Tell me at once where it came from. Although I assume it’s from the exhibition and the canal. Anywhere rather than from our friend Mantecón. Not that I mean to suggest he’s tight-fisted. I mean for your work for Vías and Riegos. I have no news of your plans, what you intend to do, your life, your family, etc., etc. And what’s more, I feel there’s no point trying to explain things like that in a letter, especially after all the time that has elapsed since we last met up or even wrote. Really, our letters should have no purpose other than to show we are up to date, that our friendship is still alive, and that the day for excuses or explanations can wait. I’m so removed from our other friends by now that I have no feelings either way, positive or negative. When I was in Madrid last November I was back home by 7pm because there was no-one to spend time with. The only person I saw regularly was Moreno Villa, and even then, I only still felt close to him because of the memories, ideologically, we have nothing in common. In spite of this, I still think of my friendship with him as one of the few that has survived. And as for Federico, I’ve almost no idea who he is. If I saw him now, I wouldn’t know what to say to him, I would find him as alien as Doucloux, do you remember? I have broken ties with everyone in Madrid. Particularly since the return of that filthy faggot, son of a bitch, gouty old bastard they call Unamuno. I wept with rage at that old fart of a man on a train coming back into Spain shouting: GOD, HOMELAND AND LAW. I thought Bergamín’s article was particularly abject and now consider him worthy of my utter contempt and future scorn. Basically, I’ve broken off contact permanently WITH EVERYONE. You, Hinojosa, Moreno Villa and I’m sorry to say Dalí, are the only real friends I have left. Oh! I was forgetting Sánchez Ventura. Of Vicens, I can tell you he’s the epitome of commercial abjection and spiritual poverty. He is still the same man, the same good friend, but his life is probably the most regrettable of all. And I’ll stop now because I’m making myself miserable. I hope to see you as soon as possible, with much love Luis

Jo Evans & Breixo Viejo, Luis Buñuel: A Life in Letters

#jo evans #breixo viejo #luis bunuel: a life in letters #luis bunuel #jose bello #salvador dali #miguel de unamuno

[blog-oscar-iglesias-casado-23675]

Sección fotos históricas: Salvador Dalí, Federico García Lorca y Pepín Bello en 1925. https://www.instagram.com/p/Ck7w2AVN1fX/?igshid=NGJjMDIxMWI=

[las-microfisuras]

Salvador Dalí, Federico García Lorca y Pepín Bello en el Museo de Ciencias Naturales de Madrid, 1925

#salvador dalí #federico garcía lorca #pepín bello

[pauloacacio]

Salvador Dalí, Federico García Lorca y Jose ‘Pepín’ Bello, 1926. Foto de Luis Buñuel @alves.g.sergio https://www.instagram.com/p/BvSbpJ-h_97tm8gMoek9u6KnhCd3YT_xGnQkHA0/?utm_source=ig_tumblr_share&igshid=1t12pn5o6cmac

[barbararosillo]

El teatro según García Lorca

El teatro según García Lorca

De izquierda a derecha, Louis Eaton-Daniel, Juan Centeno, Federico García Lorca, Emilio Prados y José (Pepín) Bello en una habitación de la Residencia. 1924. Fundación Federico García Lorca.

          “Queridos amigos: Hace tiempo hice firme promesa de rechazar toda clase de homenajes, banquetes o fiestas que se hicieran a mi modesta persona; primero, por entender que cada uno de ellos pone un…

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[elcomunero]

El teatro según García Lorca

El teatro según García Lorca

De izquierda a derecha, Louis Eaton-Daniel, Juan Centeno, Federico García Lorca, Emilio Prados y José (Pepín) Bello en una habitación de la Residencia. 1924. Fundación Federico García Lorca.

          “Queridos amigos: Hace tiempo hice firme promesa de rechazar toda clase de homenajes, banquetes o fiestas que se hicieran a mi modesta persona; primero, por entender que cada uno de ellos pone un…

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[captain-norberto-ruiz-lima]

Federico García Lorca vivió en varias casas en Madrid. Una en la calle Ayala 60 (hoy 72 y desaparecida) donde se reunía con Pepín Bello o Martínez Nadal y donde escribió letras como nubes después de volver de vivir como Poeta en Nueva York. Pasar por allí es trenzar lunas de nuevo. #Lorca https://www.instagram.com/p/CHGL_btlG3O/?igshid=oe5f173hguae

#lorca

[lifelastingcouples]

Salvador Dalí and Gala

Salvador Domingo Felipe Jacinto Dalí i Domènech, 1ˢᵗ Marquess of Dalí de Púbol, was born in Figueres, Catalonia on the 11ᵗʰ of May 1904. Dalí's older brother, who had also been named Salvador (born 12ᵗʰ October 1901), had died nine months earlier, on August 1903. Dalí was haunted by the idea of his dead brother throughout his life, mythologizing him in his writings and art. Dalí also had a sister who was three years younger. Dalí's father, was a middle-class lawyer and notary, an anti-clerical atheist and Catalan federalist, whose strict disciplinary approach was tempered by his wife, who encouraged her son's artistic endeavors.

In 1922, Dalí moved to Madrid and studied at San Fernando Royal Academy of Fine Arts. There he became close friend with Pepín Bello, Luis Buñuel, Federico García Lorca, and others associated with the Madrid avant-garde group Ultra. The friendship with Lorca had a strong element of mutual passion, but Dalí said he rejected the poet's sexual orientation. Lorca was killed by Spanish Nationalist militia on August 1936.

In the mid-1920s Dalí grew a neatly trimmed moustache. In later decades he cultivated a more flamboyant one in the manner of 17th-century Spanish master painter Diego Velázquez, and this moustache became a well known Dalí icon.

In April 1926 Dalí made his first trip to Paris where he met Pablo Picasso, whom he revered. Picasso had already heard favorable reports about Dalí from Joan Miró, a fellow Catalan who later introduced him to many Surrealist friends.

From 1927 Dalí's work became increasingly influenced by Surrealism. Influenced by his reading of Freud, Dalí increasingly introduced suggestive sexual imagery and symbolism into his work.

Elena Ivanovna Diakonova (Gala) was born in Kazan, Russia, on the 7ᵗʰ of September 1894. Coming from a family of intellectuals, among her childhood friends was the poet Marina Tsvetaeva. Gala was the second of four children born to Ivan and Antonine Diakonoff. When Gala was ten years old her father disappeared prospecting gold in Siberia. This left the family, (her sister Lidia and her two brothers, Nikola and Vadim) destitute. According to the law of the Russian Orthodox Church, Gala’s mother could not remarry but Antonine defied normal practice by choosing to live with a wealthy lawyer.

Ill from tuberculosis, in 1912 she was sent to a sanatorium at Clavadel, near Davos in Switzerland. There she met Paul Éluard and fell in love with him. They were both seventeen. In 1916, during World War I, she traveled from Russia to Paris to reunite with him; they were married one year later. Their daughter, Cécile, was born in 1918. Gala detested motherhood, mistreating and ignoring her child.

Gala was an inspiration for many artists including Éluard, Louis Aragon, Max Ernst, and André Breton. Breton later despised her, claiming she was a destructive influence on the artists she befriended. Gala, Éluard, and Ernst spent three years in a ménage à trois, from 1924 to 1927.

In early August 1929, Éluard and Gala visited Salvador Dalí in Costa Brava, Spain. An affair quickly developed between Gala and Dalí, who was about ten years younger than Gala. It was a love at first sight. In his Secret Life, Dalí wrote:

«She was destined to be my Gradiva, the one who moves forward, my victory, my wife».

The name Gradiva comes from the title of a novel by W. Jensen, the main character of which was Sigmund Freud. Gradiva was the book’s heroine and it was her who brought psychological healing to the main character.

After living together since 1929, Dalí and Gala married in a civil ceremony in 1934, and remarried in a Catholic ceremony in 1958 in the Pyrenean hamlet of Montrejic. They needed to receive a special dispensation by the Pope because Gala had been previously married and she was a believer (not Catholic ✝ but was an Orthodox Christian ☦︎). Due to his purported phobia of female genitalia, Dalí was said to have been a virgin when they met in 1929. Around that time Gala was found to have uterine fibroids, for which she underwent a hysterectomy in 1936.

The start of their cohabitation was much of a challenge. Dalí was then far from being a top-earning artist, and Gala had no income of her own. In the early 1930s, Dalí started to sign his paintings with his and her name. He stated that Gala acted as his agent, and aided in redirecting his focus. To top it all, there was a public outcry about the inscription Dalí had made on one of his pictures: ‘Sometimes I spit with pleasure on the portrait of my mother.' This made his father shun connection with the son and cut off his allowance. And many in the neighbourhood did side the notary of so high a reputation, and refused Salvador residence or tenancy. Only a fisherman’s widow, some Lidia Sabana de Costa, who had known him since his childhood, and always believed in his talent, — only she sold the couple for a song a solitary shack off Cadaqués, in Port Lligat, used for storing fishing tackle. And Salvador and Gala’s love made the shack a castle.

The room of sixteen square metres in area was the front parlour, the bedroom, and the studio — all in one. For lunch, they sometimes had one fruit for the two of them. This period of her and Dalí's living below the breadline hardly fits the popular idea of Gala as an avaricious, money-minded woman, though, when with Paul Éluard, she had had a far better-off lifestyle in well-furnished Parisian apartments. n that period, the peak of their success was Dalí's solo exhibition held in June, 1931, in the Pierre Colle Gallery.

During 1937 Gala assumed more power in the position of Dalí’s business manager and agent and procurer of artistic contracts. They travelled widely in the United States during the eight years spent there in exile, with winters spent conducting business at the St Regis Hotel in New York, summers in California. In 1948 the pair returned to Europe. Upon returning to Spain, From this date they would spend summers in Spain in Port Lligat and winters in New York or Paris.

Gala had a strong libido and throughout her life had numerous extramarital affairs, which Dalí encouraged, since he was a practitioner of candaulism. In the end of the sixties their relationships started to fade away, and the rest of their life it was just smouldering pieces of their bygone passion. In 1968, Dalí bought Gala the Castle of Púbol, Girona, where she would spend time every summer from 1971 to 1980. He also agreed not to visit there without getting advance permission from her in writing.

In 1980, at the age of 76, Dali was forced to retire due to palsy. The motor disorder left him unable to hold a brush, and as his condition worsened, he became less tolerant of Gala’s continued affairs. Gala was also using the income from Dali’s art to lavish money and gifts on her lovers, who were mostly young male artists. One day, the artist had enough. He beat Gala so badly, he broke two of her ribs.

In her late seventies, Gala had a relationship with millionaire multi-platinum rock singer Jeff Fenholt, former lead vocalist of Jesus Christ Superstar. Gala died the 10 of June 1982, at the age of 87 after suffering from a severe case of influenza. She was interred in the Castle of Púbol, in a crypt with a chessboard style pattern.

In 1982, King Juan Carlos I bestowed on Dalí the title of  Marquess of Dalí of Púbol in the nobility of Spain, Púbol being where Dalí then lived.

Dalí died of heart failure on the 23 of January at the age of 84.

Gala and Dalí lived together for 53 years.

[docpiplup]

Some time ago I made this post with all the links to the section of post about La Orden de Toledo and I put a modern map as a reference in the post to locate the places Buñuel, Lorca, Dalí, Pepín Bello and the rest of the members visited. Well, I have finally found some maps from the 1920s and 1930s:

1. 1924

2 & 3. 1926

4. 1928

5. 1929

6. 1935

And to compare it, here's the turistic map of the old town of Toledo used nowadays:

#la orden de toledo #1920s & 1930s #toledo #emdt #federico garcía lorca #luis buñuel #salvador dalí #pepín bello #maps

[basalocastillo]

#pepinbello moría el 11 de enero de 2008. #generaciondel27 Escritor e #intelectualespañol Fue el último testigo vivo de los famosos amigos de la #residenciadeestudiantes  de Madrid, entre los que se encontraban muchos miembros de la generación del 27 como Lorca, Dalí, Alberti y Buñuel, de quienes fue un íntimo amigo y con los que mantuvo relación durante toda la vida de estos. Con Federico García Lorca compartió habitación durante algunos meses de cursos sucesivos en la mencionada Residencia de Estudiantes. Pepín Bello es conocido como «el fotógrafo de la generación del 27», por haber realizado la gran mayoría de las fotos que se conservan de aquel momento, tanto durante el periodo en que convivieron en Madrid como de los encuentros que tuvieron lugar durante el final de la década de 1920 y el comienzo de la guerra civil en 1936. Estudió medicina y durante la República desempeñó diferentes cargos oficiales. Enrique Vila-Matas se refirió a él como «el arquetipo genial del artista hispano sin obras». Su actividad profesional ha estado alejada de la actividad cultural propiamente dicha, aunque ha mantenido contactos con muchos de los amigos hechos en la Residencia como con #rafaelalberti . Le concedieron la Medalla de Oro al mérito en las Bellas Artes en 2004. Murió el 11 de enero de 2008 a los 103 años. #pepínbello (en Getafe, Madrid) https://www.instagram.com/p/B7KFuJQC1Uw/?igshid=ydrgas9khcoc

#pepinbello #generaciondel27 #intelectualespañol #residenciadeestudiantes #rafaelalberti #pepínbello

[cotidianoaldia]

Alcalde Abel Martínez reinaugura el Parque Ercilia Pepín con apadrinamiento de Unión Médica

Alcalde Abel Martínez reinaugura el Parque Ercilia Pepín con apadrinamiento de Unión Médica

   Santiago,-El alcalde Abel Martínez, dejó formalmente reinaugurado uno de los parques más bellos con los que cuenta el municipio, se trata del parque Ercilia Pepín, enclavado en la parte céntrica de la ciudad, entre las calles Sabana Larga, Hostos, Mauricio Álvarez y la Franco Bido.

   El hermoso parque que honra la memoria de la insigne educadora santiaguera, fue reconstruido y remozado,…

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[spectaculardistractions]

To José Bello Paris, 25 March 1929 Dear Pepín, This behaviour is beneath you. My long letters have been for nothing. On the 2nd I start work on what will be your favourite film in the world. All our ideas up on screen. I’m really sorry I can’t get you over here to help out, play a part, or screw the hot, plump, daft and not ugly star. I should be finishing it by the beginning of May. The edition of L’Amic de les Arts with your work in it will be out the 30th. It’s going to be wonderful. Dalí and I are going to start a magazine. Goodbye, Luis PS Dalí is coming to Paris in a few days and plans to stay for a long while.

Jo Evans & Breixo Viejo, Luis Buñuel: A Life in Letters

#jo evans #breixo viejo #luis bunuel: a life in letters #luis bunuel #jose bello #salvador dali

[davidgpuerta]

Vamos a ver qué nos ha dejado este día en nuestro pasado.  1641.- Fallece en Madrid el poeta y pintor Juan de Jáuregui y Aguilar. 1835.- Fallece en Madrid Juan José Ruiz de Apodaca y Eliza el último Virrey de Nueva España. El virreinato de Nueva España llegó a comprender los terrenos españoles en Norteamérica, Centroamérica, Asia y Oceanía. 1862.- Giuseppe Verdi llega a Madrid para dirigir la ópera La Forza del Destino. 1932.- La universidad Central entra bajo el rectorado de Claudio Sánchez Albornoz.  1936.- Se estrena  en Madrid la obra “La Guerrilla” de Azorín. 1938.- Se decide que el papel sustituya a las monedas para que todo el metal posible quede destinado a la fabricación de armamento. 1943.- Nace en Madrid el actor Luis Varela. 1975.- Fallece el periodista y diplomático Juan Ignacio Luca de Tena. 1988.- Fallece en Madrid el escritor y militar Federico de Mendizabal. 1989.- Fallece en Madrid el escultor Cristino Mallo 2008.- Fallece en Madrid el escritor Pepín Bello.

Giuseppe Verdi (Fuente fotografía Fundación Juan March)

via DE MADRID A LA NUBE

#IFTTT #DE MADRID A LA NUBE