Excerpt from Exhibition of Paintings by Ignacio Zuloaga, Under the Auspices of Mrs. Philip M. Lydig A true son of this sombre Gothic Spain, this Spain that for eight centuries has been the scene of bitter strife and cynical op pression, Ignacio Zuloaga comes from the town of Eibar which lies hidden in the Cantabrian mountains midway between San Sebas tian and Bilbao. It is impossible to form an accurate conception of the art of Zuloaga without knowing something of his early surroundings and forbears. The name Zuloaga is a place name, there being in the judicial district of Azpeitia, in the province of Guipfizcoa, a sparse settlement boasting some four score souls from whence the family doubtless originally derived. At all events it is Eibar, the Toledo of the N orth, which for over two centuries has been the home of this dynasty of craftsmen who throughtheir indomitable energy inaugurated a memorable revival of the art of ornamental metal work. Creative spirits all, they have by turns been armourers, ceramists, or painters, not infrequently practising each profession with equal aptitude. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

The Spanish Craze is the compelling story of the centuries-long U.S. fascination with the history, literature, art, culture, and architecture of Spain. Richard L. Kagan offers a stunningly revisionist understanding of the origins of hispanidad in America, tracing its origins from the early republic to the New Deal. As Spanish power and influence waned in the Atlantic World by the eighteenth century, her rivals created the “Black Legend,” which promoted an image of Spain as a dead and lost civilization rife with innate cruelty and cultural and religious backwardness. The Black Legend and its ambivalences influenced Americans throughout the nineteenth century, reaching a high pitch in the Spanish-American War of 1898. However, the Black Legend retreated soon thereafter, and Spanish culture and heritage became attractive to Americans for its perceived authenticity and antimodernism. Although the Spanish craze infected regions where the Spanish New World presence was most felt—California, the American Southwest, Texas, and Florida—there were also early, quite serious flare-ups of the craze in Chicago, New York, and New England. Kagan revisits early interest in Hispanism among elites such as the Boston book dealer Obadiah Rich, a specialist in the early history of the Americas, and the writers Washington Irving and Henry Wadsworth Longfellow. He also considers later enthusiasts such as Angeleno Charles Lummis and the many writers, artists, and architects of the modern Spanish Colonial Revival in the United States in the late nineteenth and early twentieth centuries. Spain’s political and cultural elites understood that the promotion of Spanish culture in the United States and the Western Hemisphere in general would help overcome imperial defeats while uniting Spaniards and those of Spanish descent into a singular raza whose shared characteristics and interests transcended national boundaries. With elegant prose and verve, The Spanish Craze spans centuries and provides a captivating glimpse into distinct facets of Hispanism in monuments, buildings, and private homes; the visual, performing, and cinematic arts; and the literature, travel journals, and letters of its enthusiasts in the United States.

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