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Eduardo Alaminos<\/strong><\/p>\n <\/p>\n
Undoubtedly, the painting by Jos\u00e9 Guti\u00e9rrez Solana<\/strong>, \u201cLa tertulia del Caf\u00e9 de Pombo\u201d (located at the Reina Sof\u00eda Museum), is the most important graphic document about it. It can be affirmed that this work depicts not only the gathering created by Ram\u00f3n G\u00f3mez de la Serna<\/strong>, but also an entire era, that of a certain nonconformist Madrid in the first third of the twentieth century. Domingo R\u00f3denas de Moya (El orden del azar. Guillermo de Torre entre los Borges<\/em>, 2023<\/em>) referred to it as a \u201ctemple and palestra\u201d and a sphere of \u201ceffervescent atmosphere of aesthetic nonconformity\u201d.<\/p>\nThe birth of the Pombo gathering<\/strong> in 1915 went along with the release of a \u201cPrimera Proclama\u201d, edited as a loose sheet (730 x 535 mm.). There is a facsimile edition published by Poes\u00eda. Revista de informaci\u00f3n po\u00e9tica<\/em>, No. 3, 1978. We can consider it as a manifesto (so common in the field of artistic and literary avant-gardes of those years), as a notarial deed of its opening and existence and even as an advance of the structure that would have the two books that Ram\u00f3n, its creator, dedicated to it: \u201cPombo\u201d (1918) and \u201cLa sagrada cripta de Pombo\u201d (1924).<\/p>\nOn the front page, the \u201cProclama\u201d opened with a synthetic image, a line and flat ink drawing by Salvador Bartolozzi in which he depicted eleven seated participants in the gathering wearing top hats and a standing waiter, and a large mirror behind them in which a fragment of a gas lamp from the Caf\u00e9 and other forms of difficult identification were reflected based on points. This image, the first of the gathering, serves as a portico to the text addressed to a certain Mr. D\u2026 signed by Ram\u00f3n. A reproduction of the painting by Antonio Gisbert, Fusilamiento de Torrijos y sus compa\u00f1eros en las playas de M\u00e1laga<\/em> (1888) (Prado Museum), can also be seen, in a clear allusion to the liberalism and heroism of the gathering that Ortega y Gasset would later endorse in a famous speech \u201cson ustedes la \u00faltima generaci\u00f3n liberal<\/strong>\u201d, and finally, a typographic ornament with the names of the founders: Manuel Abril, Salvador Bartolozzi, Jos\u00e9 Bergam\u00edn, Rafael Bergam\u00edn, Tom\u00e1s Borr\u00e1s, Rafael Cansinos-Assens, Jos\u00e9 Guti\u00e9rrez Solana, Ram\u00f3n G\u00f3mez de la Serna, Gustavo Maeztu, Diego M\u00aa Rivera, Rafael Romero Calvet and Jos\u00e9 Cerezo<\/strong> (\u201cwaiter of our chapel\u201d), eleven names as in Bartolozzi\u2019s drawing.<\/p>\nOn the back of the sheet were included a card from Ram\u00f3n with his \u201cmonogramed silhouette\u201d, as Ram\u00f3n himself defined it, made by the sculptor Julio Antonio; two references of place and time: \u201cSaturdays \/night\u201d and \u201cOld caf\u00e9 and liquor store of Pombo\u201d; Ex-libris made by the architect Rafael Bergam\u00edn; a drawing of the Pombian lamp in the shape of a lyre that would become the logo of the Caf\u00e9, which Alfonso Reyes described as a \u201csubtle drawing of the gas spider\u201d and which Ram\u00f3n would include as a letterhead at the top of his letters. Finally, preceding the printer\u2019s information, a notice that read: \u201cBeautiful words have been said about our Pombo by COLOMBINE in El Heraldo<\/em> and XENIUS in La Veu<\/em>\u201d.<\/p>\nThese two literary references<\/strong> (since literary matters also contributed to shape the image of the Pombian gathering) can be considered, along with the images and texts of the \u201cProclama\u201d itself, as the first literary portraits that were written about Pombo.<\/strong> I will start with the one by Eugenio d\u2019Ors, titled \u201cEpigrama del Pombo\u201d, published in \u201cLa Veu de Catalunya\u201d on June 16, 1915, no. 5,790, pg. 1, edici\u00f3 del Mat\u00ed.<\/p>\nAs Andreu Navarra has pointed out, \u201cin Madrid, d\u2019Ors did not miss a gathering, party or commemoration<\/strong> (\u2026) he could often be seen at the gatherings of the \u201cmovimiento\u00a0 ultra\u00edsta\u201d (\u2026) and he also attended regularly the fundamental gathering of Pombo, where he was highly respected\u201d (La escritura y el poder. Vida y ambiciones de Eugenio d\u2019Ors<\/em> [2018]). I am interested in highlighting several images from d\u2019Ors\u2019s gloss in \u201cLa Veu de Catalunya\u201d: the first, in which d\u2019Ors portrays Pombo\u2019s nightlife at eleven in the evening as \u201ca pearl held by a somber romantic bow on the beautiful plebeian and lively neck of Madrid\u201d. Xavier Pla, when commenting on the Eugeni d\u2019Ors\u2019s gloss, concludes that \u201cPombo, the pearl of Madrid, was there to be seen and shown, even to \u2018sweat it\u2019, so that it could shine delicately and softly every evening\u201d (“De Ram\u00f3n a Eugenio, de Buenos Aires a Madrid. Unas cartas in\u00e9ditas\u201d, Revista de Occidente, No. 481, 2021). In contrast to other Caf\u00e9s that d\u2019Ors considered as diamonds, Pombo conceived it as a pearl, but we must not forget that the term pearl can also be used ironically.<\/strong><\/p>\nThe term \u201cplebeian\u201d referring to Madrid (used here by d\u2019Ors in an epigrammatic way) clarifies one of the features of that gathering, which accommodated characters of very varied nature, as opposed to, for example, the limited and elitist gathering of the \u201cRevista de Occidente\u201d, created by Ortega y Gasset, and recently studied by Juan Manuel Bonet, Fernando R. Lafuente and Fernando Castillo (Catalogue of the exhibition Revista de Occidente o la modernidad Espa\u00f1ola<\/em> [2023]). D\u2019Ors perceived the Pombian gathering as a centre of agitation with respect to that cultural context that Ram\u00f3n denounced at the beginning of the \u201cProclama\u201d<\/strong>: \u201ceverything is becoming more clumsy, more entangled, more insidious and more reactionary\u201d. He considered the gathering as a collective being, the plebeian, or if you prefer \u201clo castizo\u201d (the traditional, authentic) and associated it with certain romantic traits, two axes that Ram\u00f3n knew how to reconcile admirably, linking them without continuity, with other attributes of the nineteenth century: the popular, the defence of modernity and the exaltation of the new.<\/p>\nThe second Dorsian image, and this one seems to me perhaps even more interesting as a conceptualization of the gathering, is to consider that Pombo resembles \u201cthe colour of a certain display case, the Carnavalet, a museum in Paris, equally full of romantic memories<\/strong>\u201d. But he adds that this romantic pearl of Paris is confined and overly sheltered”. Why does d\u2019Ors cite this museum? The Carnavalet Museum (inaugurated in 1882) was founded following a suggestion by Baron Haussmann a year before the major urban reform of Paris (1865. The museum\u2019s aim was to collect any pieces that the urban reform would inevitably cause to disappear.<\/p>\nTherefore, \u201cLa sagrada cripta de Pombo\u201d was considered by d\u2019Ors as the gatherings\u2019 Carnavalet<\/strong>, but less modest because of the character of the city, Madrid. If so, the two books that Ram\u00f3n dedicated to it could be visualized as display cases loaded with memories, testimonies and anecdotes.<\/p>\n
\nSource:\u00a0educational EVIDENCE<\/strong><\/p>\nRights:\u00a0Creative Commons<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"Undoubtedly, the painting by Jos\u00e9 Guti\u00e9rrez Solana, \u201cLa tertulia del Caf\u00e9 de Pombo\u201d (located at the Reina Sof\u00eda Museum), is the most important graphic document about it. It can be affirmed that this work depicts not only the gathering created by Ram\u00f3n G\u00f3mez de la Serna, but also an entire era, that of a certain nonconformist Madrid in the first third of the twentieth century. Domingo R\u00f3denas de Moya (El orden del azar. Guillermo de Torre entre los Borges, 2023) referred to it as a \u201ctemple and palestra\u201d and a sphere of \u201ceffervescent atmosphere of aesthetic nonconformity\u201d.<\/p>\n","protected":false},"author":4,"featured_media":11136,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_FSMCFIC_featured_image_caption":"","_FSMCFIC_featured_image_nocaption":"1","_FSMCFIC_featured_image_hide":"","footnotes":""},"categories":[268],"tags":[610,609,611,612],"class_list":["post-11610","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-humanities","tag-cafe-de-pombo-en","tag-gathering","tag-jose-gutierrez-solana-en","tag-ramon-gomez-de-la-serna-en"],"yoast_head":"\n
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It can be affirmed that this work depicts not only the gathering created by Ram\u00f3n G\u00f3mez de la Serna, but also an entire era, that of a certain nonconformist Madrid in the first third of the twentieth century. Domingo R\u00f3denas de Moya (El orden del azar. 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