ABSTRACT Throughout the years immediately following the Spanish Civil War, Francoist discourse on the nation was strongly linked to the idea of virility. All the different political cultures of the dictatorship defined the Spanish nation as intrinsically shaped around values that spoke firstly of daring, strength and vigour, but also of self-discipline, restraint and control. Despite the intensity of this discourse, the narrative it presented revealed porosities and elasticities that permitted ambiguous images to filter through that challenged this language of national virility. One example was the imagery of José Gutiérrez Solana, a leading artist of the regime and assiduous participant in its art exhibitions, but one who, with his dark paintings full of beggars, death and fanaticism, presented a substantially different image of the Spanish nation. Beginning with this apparent contradiction, the intention of this article is to examine the discourse deployed around Solana in order to explore the ways in which the profile of the virile and victorious nation was renegotiated to include his work within it, and the degree to which the key to this inclusion lay in a set of reinterpretations intended to extend virility to an artist otherwise close to images of the “feminization” of Spain.

中文翻译：

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重新谈判强国的边界：José Gutiérrez Solana 在战后西班牙艺术展中的 España negra（1940-45）

摘要在西班牙内战之后的几年里，佛朗哥主义关于民族的论述与男子气概的观念密切相关。独裁统治下的所有不同政治文化都将西班牙民族定义为本质上围绕着价值观塑造的，这些价值观首先谈到了勇敢、力量和活力，但也谈到了自律、克制和控制。尽管这种话语很激烈，但它所呈现的叙述揭示了多孔性和弹性，允许模糊的图像过滤，挑战了这种民族男子气概的语言。一个例子是何塞·古铁雷斯·索拉纳 (José Gutiérrez Solana) 的形象，他是该政权的主要艺术家，也是其艺术展览的勤奋参与者，但他的黑色画作充满了乞丐、死亡和狂热，呈现出截然不同的西班牙民族形象。从这个明显的矛盾开始，本文的目的是检查围绕索拉纳展开的话语，以探索重新谈判这个强悍而胜利的国家的形象以将他的作品纳入其中的方式，以及这种包容性的关键在于一系列重新诠释，旨在将男子气概扩展到与西班牙“女性化”形象相近的艺术家身上。