Iconology of '' Cante hondo '' by Julio Romero de Torres

Julio Romero de Torres is a cross-thematic nineteenth-century painter, however, usually framed in the context of Andalusian folklore.

Big fan of the actual Andalusian traditions such as bullfighting but, above all, the flamenco singing and song, were of his great inspirations to paint. In short, this Andalusian lyricism that is so characteristic of his work, be explained by explaining the key '' Cante hondo ''´.

The painting sums up the idea of this genre, breaking its structure in various shapes and portraying the various ideas conveyed by this kind of music.

The central character is shown completely naked. This is very common in painting Julio Romero, full of sensuality and eroticism, but here also the condition of divinity that has held this woman. It is the goddess of fate, or simply Goddess of Destiny (with negative connotations, as currently understood by '' fatal ''). It is destiny that occurs in people who are driven by passion. His attributes are the guitar, mantilla and comb; It is an Andalusian goddess. It is the divinity that also serves as the linchpin to cante hondo and therefore the composition. Although the pubic hair, in addition to their heels, give the image naturalism and sensuality, respectively, the truth is that your face reflects a major concern; It is concerned that uncontrolled human acts carried consequences, as its shows, fatal name. And they are inevitable.

It seems to rise on a silver throne with reliefs of classic cut that, if seen with detail, they are still mundane scenes inspired by other paintings of the author.

To the right of Doom embodiment of love couple appears, representing a woman dressed in light clothes releasing her breast as a sign of passion suffering she and her lover as they kiss then surely do love. The lass dressed in green, a color that alludes to life and fertility. The color symbolism Julio Romero also plays an important role, as will be seen later.

The peaceful and almost lewd picture changes completely with the situation shown below, where the former wife is slumped on the floor, due to the deadly attack received by his partner. This grabs the knife hard, bloody, and holds hair in despair. It is the personification of jealousy. She died because her neck was biased, which is implied by the blood around his head, and chest stains which also falls a rosary. God will rescue his soul. On the other hand, he is dressed in black, referring to the funeral character of the facts; green dress totally contrary to the previous scene.

The last scene of this interesting composition showing the woman killed by the white shroud, alluding to his death but also their purity as a victim. It lies in a coffin while flanking two characters. The left is another young woman, possibly a close relative, perhaps his sister, or perhaps a friend who regrets her dead. On the right is a guy who does not identify at all with the murder. It could also be a relative or perhaps the lover on the woman gave her life unintentionally. And over the deceased, a huge black greyhound it stands; another possible attribute of Doom, as the race of greyhounds is typical of Spain, and hence of Andalusia. It may serve as a psychopomp Julio Romero, not only because of its position, but also its color; as Anubis of ancient Egypt, the canine dark soul rises to heaven.

In the background the Cordoba landscape, so frequently seen in the painter. And in particular two scenes, which appear daily acts of simple cut, which could have to do or not with the main significance of the work. Of these, the most particular is on the left, with the woman lying on the edge of a man who seems to succumb to the ground. You may try an alternate version of the image of jealousy seen before, but it is difficult to establish a meaningful connection to the small scene right, so this part of the composition remains in doubt as to its meaning.

The painting in the Cordoba Museum of Julio Romero de Torres

In English: Interpretation of petroglyphs located in Galicia, Spain

A petroglyph, word formed by the combination of the Latin petrus (stone, in English) and the Greek graph (write, writing, in English), is the most correct way of referring to the engravings on stone brackets by prehistoric peoples and protohistoric or primitive, in various times and places.

Petroglyphs in Europe are given from the Neolithic to the Iron Age, approximately. Meanwhile, in other parts of the world, as in pre-Columbian America, dating and much more recent dates, ie, in centuries of our era. Finally, the most dispersed peoples continued creating them until the colonization of territories where stretched. This applies, for example, the petroglyphs made by the Australian Aborigines. The town declined with the arrival en masse of the British colonies, as so did the tribes of the Plains Indians. The few clans that survive today, both Aboriginal and Indian, and even other peoples of Africa, still retain the tradition of impact rocks so particular and symbolically.

So, in this post three different prints included in the category of petroglyphs will be analyzed. These petroglyphs originating in the Iberian Peninsula, more specifically, Pontevedra, Galicia province. Although engraved on granite, plutonic rock resistant feature Spanish northwest, its creation date is unknown. The Bronze Age is, par excellence, the stage in which prehistory expert fit these Galician petroglyphs. Therefore dating from 2500 to 3000 B.C. The incision, sometimes deeper than others, and not the accuracy or the trace shows that, as in every age, there are better artists than others even in strongholds such as'' small'' Pontevedra.

1. Petroglyphs shaped concentric circles.

   Petroglyphs ''Pedra da Serpe'' like concentric circles. Pontevedra, Spain. 2500-3000 B.C.

Petroglyphs also with that shape. Pontevedra, Spain. 2500-3000 B.C.

The petroglyphs shaped several concentric circles, if we talk about Europe, are very characteristic of Galicia and Asturias (Spain), but actually can be found throughout the Atlantic arc, and even in Scandinavia, although less defined forms that exposed travelers. Aboriginal Australians doing the same drawing in order to symbolize a settlement. If we use as the meaning for this primitive village, you can associate these concentric circles with the position of a clan. One would have to imagine that the square granite is therefore a large-scale map, where prehistoric peoples of Galicia have located certain elements of geography and guided getting a lot easier by the way. The concentric circles represent populations to serve on the map, which, depending on the size of the engraving, may be formed by more or less individuals. Or may be conferred with a more or less significant compared to the creator of the petroglyphs. Although the most likely interpretation is that I give the settlement, like the natives, concentric circles can also be of various geographical features (such as lakes, mounds or slopes). However, the most popular trend tends to link them with the form of the sun; therefore its interpretation would be related to the sun king and his fiery rings. However, taking into account especially the age of these people, I think the most childish interpretation.

2. Petroglyphs with sinuous shapes.

Petroglyphs ''Pedra da Serpe'  like curves. Pontevedra, Spain. 2500-3000 B.C. In the first image of number 1 can be seen a great location along concentric circles.

Both for indigenous Australians, as present in this entry, and for Plains Indians, the sinuous curves and lines have to do with the movement, the course of something. Mean dynamism at its best. The Ulla River, which passes near Valga, Pontevedra town, could be symbolized in these curves.

Map that positions the Ulla river, in the province of Pontevedra, Galicia, Spain.

Even little Valga, a tributary of river Ulla, can be represented in the sinuous petroglyph. However, the sharp curves of the line, and the final form of lead (where the straight line turns and disappears into the background uncut) very reminiscent of the drawing so highly curved that traces the area Ulla Pontecesures or Caton, for example, which then becomes more linear as it approaches the Ria de Arosa, perishing there. Large concentric circles placed next to this curvilinear shape may reflect a large village, a very important site, perhaps related to trade, such as Phoenician and Greek empires, but rather a local level. 

3. Petroglyphs with animal aspect.

Petroglyphs shaped cervids. Pontevedra, Spain. 2500-3000 B.C.

Finally this little entry ends with a comment from a couple of simple but amazing petroglyphs, because in them the representation of animals appears: a strange phenomenon, at least in regard to Pontevedra and around. The largest recorded would match symbolizing a male deer with antlers that are nothing more than a couple of sketches of layout. His back also is much more straight and elongated than the female, which is the smallest and belly arched figure, looking even a bit more robust than your partner. Both animals are extremely schematic petroglyphs. Therefore represent only those parts that are considered essential. No antlers, do not know exactly what is shown mammal. However, being able to locate the petroglyphs in the Spanish northwestern lets guess that this is a deer; very common in this area. Figuration of animals was always a feature of Paleolithic cave paintings, much older than these petroglyphs. Thus, one of the most common interpretations is the animal figuration associated with the pursuit of fertility and abundance thereof. So, if you represent a couple of deer of either sex is that it is intended that this species proliferate, or rather taking offspring growing number of other ways. It could also symbolize a ritual that had to do with the good omen in the hunt. However, this explanation, as lines quoted above, is one of the most common to understand the symbolism of the Paleolithic cave paintings. But petroglyphs already belong to the Age of Metal. Therefore, the meaning I give them is that, again, the writers used the rock artists like map, and the fact symbolize animals serves to place them in a given geographical area; place where they live or are sighted or hunt more often.

In English: Iconology of ''Dream caused by the flight of a bee around a pomegranate a second before awakening'', by Salvador Dalí

In this simple video explains, in just over five minutes, the meaning of the various elements that make up the table oil surrealist Salvador Dali, called ''Dream caused by the flight of a bee around a pomegranate a second before awakening'', which stands at the Thyssen-Bornemisza museum in Madrid. Search only in Spanish.