‘‘psychological portraits’’ of famous personalities.
Both later evolved towards book projects on cities
and civilizations.
The 1970s saw the birth of a growing, although
weak, infrastructure: in Barcelona, the schools
Institut d’Estudis Fotogra`fics de Catalunya and
Spectrum; in Madrid, the gallery Redor and the
schools Photocentro and CEI; in Zaragoza, the
Spectrum gallery. Also, Lumen published the book
collectionPalabra e Imagenwith attractive layouts
matching a well-known writer and a photographer.
Unfortunately, except for the Institut and Zarago-
za’s Spectrum, most of these private initiatives dis-
appeared and the next two decades saw the
blooming of festivals sponsored by several distinct
political administrations: FOCO and PHoto-
Espan ̃a in Madrid, Primavera Fotografica de Cat-
alunya, Fotobienal de Vigo, Imago in Salamanca,
and others. In the 1980s, the magazinePhotovision
and Lunwerg Publishers initiated their publications
with excellent reproductions and serious research
on historic and contemporary photographers.
During the 1980s, some authors proposed a more
formally constrained image linked to neotopograph-
ism: the landscapes of Carlos Ca ́novas (1951–),
Manolo Laguillo (1953–), and Ferra ́n Freixa (1950–)
or the portraits of Humberto Rivas (1937–) and
Valentı ́n Vallhonrat (1956–). Also, the possibili-
ties of color as a documentary element were
explored by Genı ́n Andrada (1963–), Xurxo
Lobato (1956–), Jose ́M. Navia (1957–), Manuel
Sendo ́n (1951–), Marta Sentı ́s (1949–), and Miguel
Trillo (1953–). In photojournalism, the attempted
coup of 1982 was photographed by Manuel Perez
Barriopedro and Manuel Hernandez de Leon with
worldwide coverage. More dream-like visions
were those of Manel Esclusa (1952–) and Manel
Serra (1949–), which show the possibilities of pho-
tography as a light trail.
Since the 1980s, there has been a clear movement
back towards the studio work and experimentation
with a deeply introverted image, artisan processes, or
combinations of photography with other media. The
studio group includes the kitsch scenes of Ciuco
Gutie ́rrez (1956–), the surrealist irony and visual
poetry of Chema Madoz (1958–), or the more con-
ceptual work of In ̃igo Royo (1962–), Javier Vallhon-
rat (1953–), and Manuel Vilarin ̃o (1952–). Inspired
by the documentary work of the 1970s, a new gen-
eration emerged in the 1990s, including Clemente
Bernad (1963–), Kim Manresa (1961–), Jose ́Mun ̃oz,
Txema Salvans (1971–), and Ana Torralva (1957–).
The message becomes more introspective, gathering
up intimate experiences, in the documentary works of
Alberto Garcı ́a Alix (1956–) or Luis Baylo ́n (1958–).
In the artisanal group, various mediums agitate in a
fruity cocktail—physical matter and image join in the
work of Ramo ́n David (1963–) and Javier Esteban
(1963–); video and photography in Luis Contreras
(1959–); painting and photography in Tomy Ceballos
(1959–), Susy Go ́mez (1964–), and Darı ́o Villalba
(1939–); sculpture and photography in the installa-
tions of Eduardo Cortils (1963–), Paloma Navares
(1947–), Daniel Canogar (1964–), and the teams Pala-
cı ́n-Viaplana (1964–; 1962–) and Elorza-Mota (1961–;
1965–). In this turmoil, some authors proposed a
more radical approach, deconstructing the assump-
tions about photographic truth, such as Joan
Fontcuberta’s projects Flora, Fauna (with Pere
Formi-guera, 1952–), and Sputnik. Meanwhile,
Pablo Genove ́s (1959–), Juan Urrios (1962–), and
others are combining painting’s brushstroke with
the digital image to welcome the twenty-first century.
It should be noted that photography confirmed
its status in the commercial art scene in the late
1990s, obtaining high sales in Arco, the biggest art
fair in Spain, and some museums and institutions
have started to organize their photographic collec-
tions and plan new acquisitions. However, in con-
trast with the abundance of photofestivals, Spain
clearly lacks more stable structures that could pro-
mote acquisition, research, and promotion of
photographic collections; and a mere handful of
institutions store a representative sample of the
history of photography in Spain.Photography in Portugal
Towards the end of nineteenth century, Portuguese
society took an interest in photography, and in
August of 1899 the first issue ofPhoto-Velo-Club
was published in Oporto, an illustrated magazine
devoted to photography, painting, and bicycling.
Soon after, on December 31, the first exhibition of
amateur photographers was opened in the Geogra-
phical Society in Lisbon, organized by Comte de
Tomar, Eduardo Coelho, and Camilo A. dos Santos
with 52 participants. Professional photographers
criticized the easy social success of this exhibition in
the magazineEcho Photographico,laterArte Foto-
grafica. Nevertheless, such exhibitions continued,
and the participation extended to women, such as
MariadaConceic ̧ao Lemos Magalha ̃es in the 1910
L’Ilustrac ̧aoexhibition, together with Alfonso Lopes
Vieira, Julio Worm, Alfredo Black, and Dr. Annibal
Bettencourt. In June 1913, after the commercializa-
tion of the autochrome, the Portuguese Photo-
graphic Society organized the first exhibition of
color photographs in Portugal.SPAIN AND PORTUGAL, PHOTOGRAPHY IN