December 7, 2021

Neo-Mudejar is an artistic and architectural style that developed mainly in the Iberian Peninsula in the late 19th and early 20th centuries. It is framed within the orientalist currents of the prevailing historicist architecture in Europe at that time. [1] The new style was especially associated with constructions of a festive and leisure nature, such as smoking rooms, casinos, train stations, squares of bulls or saunas. In Spain the neo-Mudejar style was claimed as a national style, as it was based on a style found in Spain, Mudejar art, a style that is also found in other countries such as Italy or Portugal. Architects such as Emilio Rodríguez Ayuso or Agustín Ortiz de Villajos saw something uniquely Spanish in Mudejar art and began to design buildings using features of the old style, including abstract brick shapes and horseshoe arches. However, what historiography has traditionally considered as neo-Mudejar, are in many cases neo-Arabic style works (although they are not the same style), since they use Caliphate, Almohad and Nasrid elements, the only Mudejar aspect being the use of exposed brick. . [2] The Madrid bullring by Rodríguez Ayuso and Álvarez Capra from 1874 has often been considered as the beginning of the neo-Mudejar, which would be followed by other architects such as Enrique María Repullés y Vargas, Joaquín Rucoba, Augusto Font Carreras, José Espelius Anduaga, Felipe Arbazuza or Aníbal González. [1] Neo-Mudejar buildings



The Neo-Mudejar style had to compete with other styles also claimed as national styles, such as Neo-Gothic or Neo-Romanesque, both preferred by ecclesiastical authorities due to the profusion with which Romanesque and Gothic were used during the Middle Ages for the construction of emblematic religious works. Faced with these "Christian" styles, the neo-Mudejar Arabizing was not the one chosen by the majority of the Catholic Church, although a few churches in this style were built in Madrid, such as the Church of Santa Cristina (1906), that of San Matías. de Hortaleza (1877), the Church of La Paloma (1912), by Álvarez Capra, or the Church of San Fermín de los Navarros (1891) by Carlos Velasco and Eugenio Jiménez Correa. [1] Outside of Madrid there are the Church of San José de Pinto, made in 1891; the parish church of Cedillo (Cáceres) from 1894; the reform of the façade of the Cathedral of Teruel, carried out in 1909, the Church of San Benito and Santo Domingo de Castilleja de Guzmán, built in 1923, or the church of the town of El Temple, in the province of Huesca, projected in 1947 . [3]


The first example of the Neo-Mudejar style is the old Goya bullring (1874) in Madrid (which was where the Palacio de Deportes is now), the work of Emilio Rodríguez Ayuso and Lorenzo Álvarez Capra. The style was from then on almost mandatory in bullrings throughout Spain. Notable examples are: the Toledo bullring (1866), the Malagueta bullring in Malaga, the work of Joaquín Rucoba from 1876; that of El Bibio, in Gijón, completed in 1888 according to the design of Ignacio de Velasco; the Plaza de Zamora, the work of Martín Pastells y Papell; the bullring of Huelva (1902); the Arenas and Monumental squares in Barcelona, ​​the work of Ignasi Mas and Domingo Sugrañes; the Granada bullring (1928), by the architect Ángel Casas; that of Caudete, built by Juan Arellano and Francisco Albalat Navajas in 1910; the current Plaza de las Ventas in Madrid, considered the greatest exponent of bullfighting neo-Mudejar; or those of Cartagena, El Puerto de Santa María, Quintanar de la Orden, Oviedo, Santa Cruz de Tenerife, Almería, Almendralejo, Villanueva del Arzobispo, Villena, Teruel and Albacete. In Portu

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