Customize Consent Preferences

We use cookies to help you navigate efficiently and perform certain functions. You will find detailed information about all cookies under each consent category below.

The cookies that are categorized as "Necessary" are stored on your browser as they are essential for enabling the basic functionalities of the site. ... 

Always Active

Necessary cookies are required to enable the basic features of this site, such as providing secure log-in or adjusting your consent preferences. These cookies do not store any personally identifiable data.

No cookies to display.

Functional cookies help perform certain functionalities like sharing the content of the website on social media platforms, collecting feedback, and other third-party features.

No cookies to display.

Analytical cookies are used to understand how visitors interact with the website. These cookies help provide information on metrics such as the number of visitors, bounce rate, traffic source, etc.

No cookies to display.

Performance cookies are used to understand and analyze the key performance indexes of the website which helps in delivering a better user experience for the visitors.

No cookies to display.

Advertisement cookies are used to provide visitors with customized advertisements based on the pages you visited previously and to analyze the effectiveness of the ad campaigns.

No cookies to display.

Written by admin

El pueblo gitano, más allá del estereotipo. José Mongrell y Joaquín Sorolla.

La fascinación de los artistas con la vida errante del pueblo gitano viene de antiguo, pero fue sobre todo desde época romántica cuando esa atracción trascendió la mera búsqueda de temas pintorescos o exóticos. La imagen que el artista romántico empezó a granjearse de sí mismo (y que se intensificaría con los pintores de las primeras vanguardias) encontró en la figura del gitano un modelo con el que ilustrar suapuesta por la bohemia y su compromiso antiburgués.