Novecentismo and the Spanish Avant-Garde (1914-1939)
Novecentismo: The Cultural Movement of the 1910s in Spain
The Novecentismo movement, emerging in the second decade of the twentieth century in Spain, embraced the new century while opposing what it saw as the outdated and stale art of the 19th century. It challenged not only 19th-century Romanticism and Realism but also Modernism. The outbreak of World War I in 1914 marked a social and political turning point, signifying the end of the 19th century and giving rise to what some called the “Generation of 1914″.
Unlike the bohemian modernist writers, Noucentists were prestigious professionals (philosophers, scientists, linguists, lawyers, etc.), highly educated, many having studied abroad. Their intellectual origins explain many of the movement’s characteristics:
- Rationalism: Intellectual rigor, objective analysis, and clear exposition.
- Anti-Romanticism: Rejection of sentimentality in favor of balanced attitudes and intellectualized explanations of emotions.
- Defense of Pure Art: Art restricted to aesthetic pleasure, avoiding religious, political, or personal emotional concerns.
- Intellectual Elitism: Works aimed at connoisseurs, a “vast minority” as Juan Ramón Jiménez put it.
- Careful Style: Emphasis on detailed structure and a clean, pure style.
The European Avant-Garde in Spain (1914-1939)
From 1914-1939, artistic trends in Spain challenged established culture, breaking with 19th-century art. Common features included a desire for new forms of expression, a rejection of the artistic past, and public displays that often scandalized the bourgeoisie. Prominent movements included Expressionism, Futurism, Cubism, Dadaism, and Surrealism.
Expressionism
Rejected art as mere representation of external reality, aiming to reveal inner reality through physical or psychological characteristics. Characterized by strange, symbolic imagery. Key figures include Franz Kafka and Bertolt Brecht.
Futurism
Radical rejection of the past, celebrating the future. Literary mythology replaced traditional themes with modern life: machinery, automobiles, aircraft, etc. Filippo Tommaso Marinetti’s enthusiasm for action and violence aligned with Fascism.
Cubism
Fragmentation and creative reworking of reality through overlapping planes and shifting viewpoints. Guillaume Apollinaire, known for his calligrams (poems where letters form images), is a key figure.
Dadaism
Emerging in Zurich in 1916 (Tristan Tzara), Dadaism challenged traditional values through irreverence and provocation, attacking the causes of war. It embraced the absurd, illogical, childlike, and primitive, often rejecting meaning.
Ultraism, like other avant-garde movements, rejected previous art, focusing on “new objects.”
Key Figures of the Era
José Ortega y Gasset (1883-1956): Author of numerous essays (Meditations on Quixote, Invertebrate Spain, etc.), Ortega’s work spanned philosophy, politics, sociology, and history, significantly influencing Spanish literature. He saw the dehumanization of art in the avant-garde as difficult, intellectual, anti-realist, and anti-romantic.
The Generation of 1914 showcased a spirit of renewal. Examples include Miró’s lyrical novels, Pérez de Ayala’s intellectual and avant-garde novels, and Gómez de Serna’s unique style.
Gabriel Miró (1879-1930): A writer embodying the ideal of the dedicated Noucentista artist. Notable works include Our Father San Daniel and The Leper Bishop, as well as short story collections.
Ramón Pérez de Ayala (1880-1962): Initially writing realist novels, he later moved towards intellectual novels (Belarmino and Apolonio), prioritizing reflection over action.
Ramón Gómez de la Serna (1888-1963): The prototypical Spanish avant-garde writer. Known for his greguerías—witty, unusual metaphors establishing unexpected relationships between objects or concepts.