dep art amento de conser v ación y - Fundación César Manrique

E N G L I S H V E R S I O N
“Torcusa”
Collection
Maximiano Trapero
Romancero General
de Lanzarote
“Manrique”
collection
VV.AA.
César Manrique. Pintura
Few writers
This series is devoted to research on the culture, history,
science and heritage of the island of Lanzarote and the rest of
the archipelago. It aims to contribute to research and the
dissemination of studies related to the region that hosts the
institution.
In 2003, the FCM released the eighth number in this series,
Romancero General de Lanzarote by Maximiano Trapero.
Maximiano Trapero, head of the Department of Spanish
Language and Literature at the University of Las Palmas,
awardee of a Canary Island Gold Medal for his entire oeuvre,
prepared a book of ballads from Lanzarote in 2003.
The book, titled Romancero General de Lanzarote, contains
159 ballads and 345 versions, divided into a number of
categories: traditional, religious, popularised modern folk,
semi-literary (i.e., in centuries past, narrated by — often blind
— storytellers travelling from town to town who sold them in
pamphlet form) and local semi-literary. With this publication,
Maximiano Trapero culminated an ambitious project begun in
1980, consisting in the publication of a romancero for each of
the islands in the archipelago, that would reflect local
tradition both as versions of ballads compiled in the past and
more recent arrangements, systematically gathered for this
purpose.
This series is designed to illustrate, study and analyse César
Manrique’s oeuvre as a whole. The books published to date
are César Manrique, by Fernando Ruiz Gordillo and César
Manrique en sus palabras (César Manrique in his own words
by Fernando Gómez Aguilera). Two videos have also been
published, titled César Manrique: Arte y Naturaleza [César
Manrique: art and nature] and César Manrique. Obra espacial
[César Manrique. Special works].
This book is an account of César Manrique’s pictorial career
in four essays and 65 illustrations. The narration is divided
into four chronological chapters that describe Manrique’s
personality as a painter. María Dolores Jiménez Blanco writes
about the general context in which Manrique worked. Lázaro
Santana describes the painter’s earliest works, through the
year 1958. Mariano Navarro analyses the work of the sixties
and seventies and Fernando Castro Borrego studies the
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