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Coal and Velvet
Coal and Velvet

Coal and Velvet

Takes on Popular Costume

DESIGN

120 Pages, 8.25 x 9.75

Formats: Trade Paper

Trade Paper, $24.95 (US $24.95) (CA $33.95)

Publication Date: October 2017

ISBN 9788494625718

Rights: US & CA

By Architect Publications (Oct 2017)
Architect Publications

Price: $24.95
 
 

Overview

Coal and Velvet explores the romantic vision and the aesthetic revision that Cristóbal Balenciaga, in his Haute Couture creations, and Ortiz Echagüe, in his photographic narrations of traditional Spain, make of popular costumes. More than 80 works by these two contemporary artists establish a dialogue offering interpretations of a reality, that of popular costumes, which was already becoming extinct in the early 20th century and which both, through works of undeniable artistic quality, give validity and bestow on them a timeless quality. Photography and fashion are united in this context to pay tribute to the popular costume, to its universal values, and to the work of two artists who were able to reinterpret tradition as a source of creativity and innovation.

Author Biography

José Ortiz Echagüe (Guadalajara, 1886 - Madrid, 1980) stands out in the national art scene as a pioneer in pigmentation techniques for photography and, above all, for putting these techniques -characteristic to pictorial photography- to the service of ethnography. This comes at a time when, with the burden of the crisis of 1898, the concept of nation is being reconstructed from a political and philosophical viewpoint, by looking at history and tradition, the invariants. His work, published mainly as photo albums from the Thirties -España, tipos y trajes (1933); España, pueblos y paisajes (1939); España mística (1943); España, castillos y alcázares (1956)- make up the most important documentary body on a historical legacy such as historical clothing, religious events (weddings, funerals, Easter) and other traditional events. The photographs gathered in this exhibition are mostly from the Ortiz Echagüe Legacy, University of Navarra and all have been made using the carbon Fresson printing process, except two, which have used the bromoil process. The selection covers a long and consistent career, from those images with family members and friendly events conforming with European pictorialism: Sermón en la aldea (1909), Taller de costura (1905), Retrato de mi esposa I (1916); or Danza al viento (1912); until some of his later landscapes, such as Siroco en el Sahara (1964), he abandons the practice of photography in 1968.