The monumental state-commissioned Execution of Torrijos and his Companions on the Beach at Málaga by Antonio Gisbert Pérez has only recently begun to receive earnest scholarly attention in Spanish-language literature after decades of relative obscurity, with no known lengthy discussion in English. Yet, it is a major Spanish history painting, commissioned as a monument to Spanish nation building in the wake of despotic monarchism. It is remarkable for its innovative composition and sensitive portrayal of liberal General José María Torrijos and his men, executed without trial on a Málaga beach in December 1831 for rallying against the absolutist monarch Ferdinand VII. In addition to Torrijos, among the dead were liberal politician Manuel Flores Calderón and the Byronic, Northern Irish-born Robert Boyd, active in the final years (1830–1831) of the Greek War of Independence and who was inspired by Torrijos’ cause. Introducing new material that builds on existing research, this essay offers a detailed analysis of the painting’s content and composition within its historical context. It carefully explores its production as a pivotal example of the Spanish visual culture of war and as a sensitively crafted memorial both to the men portrayed and the struggles of Spanish liberalism during the nineteenth century, a context that links it closely to Goya’s Third of May 1808, against which it is often compared, but which is at odds with the remarkably original composition of Gisbert’s work.

中文翻译：

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安东尼奥·吉斯伯特 (Antonio Gisbert) 的西班牙自由纪念碑：在马拉加海滩上处决托里霍斯和他的同伴（1888 年）

国家委托在马拉加海滩处决托里霍斯和他的同伴 安东尼奥·吉斯伯特·佩雷斯 (Antonio Gisbert Pérez) 在经历了几十年的相对默默无闻之后，直到最近才开始在西班牙语文学中受到认真的学术关注，在英语中没有已知的冗长讨论。然而，这是一幅重要的西班牙历史画，在专制君主制之后被委托作为西班牙国家建设的纪念碑。它的创新构图和对自由派将军何塞·玛丽亚·托里霍斯 (José María Torrijos) 和他的手下的敏感描绘而著称，他们于 1831 年 12 月在马拉加海滩上因集结反对专制君主费迪南德七世而在未经审判的情况下被处决。除了托里霍斯之外，死者中还有自由派政治家曼努埃尔·弗洛雷斯·卡尔德隆和出生于北爱尔兰的拜伦人罗伯特·博伊德，他活跃于希腊独立战争的最后几年（1830-1831 年），并受到托里霍斯的事业的启发。本文介绍了基于现有研究的新材料，详细分析了这幅画在其历史背景下的内容和构图。它仔细探索了它的制作，将其作为西班牙战争视觉文化的一个关键例子，并作为一个精心制作的纪念碑，以纪念所描绘的男人和 19 世纪西班牙自由主义的斗争，这种背景与戈雅的作品密切相关。1808 年 5 月 3 日，经常与它进行比较，但这与吉斯伯特作品的非常原始的构图不一致。