jael, en los festivales más atractivos

Dentro de su trayectoria de apoyo a los eventos que se celebran en Santiago y A Coruña, Jael Joyería abre este verano una línea de colaboración con algunos de los principales festivales de música joven que se organizan en Galicia. O Son do Camiño, en junio, y el Morriña Fest, en julio, llevan el sello de la empresa.

Bizarrap, Leiva, Maluma, Aitana, Royal Blood, Kaiser Chiefs... algunos de los principales artistas del panorama internacional se reunieron entre los días 15 y 17 de junio en el Monte do Gozo compostelano para participar en O Son do Camiño, un festival para público diverso que ya se ha abierto hueco entre los principales eventos de este tipo que se celebran en Europa. El Morriña Fest le tomará el relevo los días 28 y 29 de julio, también con Bizarrap como cabeza de cartel y con Jason Derulo, Rels B, Nicky Jam y Two Door Cinema Club entre sus mayores atractivos.

Con este apoyo a dos de los principales festivales del verano gallego, Jael Joyería ahonda en la apertura a nuevos públicos, que conformarán su base de clientes del futuro. En este sentido trabajan también algunos de los patrocinios deportivos que ha afianzado la empresa en los últimos tiempos, como el que mantiene desde hace años con la Pantín Classic Surf Pro, la prueba decana del surf español y una de las más prestigiosas citas mundiales de este deporte en auge.

La apuesta por los canales digitales (manteniendo siempre la presencialidad en los puntos de venta de A Coruña y Santiago como principal referente) ha sido otra de las estrategias que ha seguido en los últimos tiempos Jael Joyería. La firma quiere estar donde su público está y, a la vez, seguir apoyando los principales eventos culturales y deportivos que se desarrollan en las ciudades en que tiene presencia.ᴥ

Abraham Cupeiro is not exactly a luthier: he builds instruments, yes, but only for himself and for use in his musical projects. In them he recreates sounds from the past, or from remote cultures, combining archaeological and ethnographic research with his training as an academic musician.

Cupeiro is a trumpet player by training and taught at the conservatories of A Coruña and Lugo before devoting himself full time to a dazzling and exhausting career: “Last year I played 90 concerts and spent 260 days away from home. I used to come to Lugo to do the laundry!”, he jokes. The shows he composes feature instruments whose sound and history transport the listener to other latitudes and other times.

This is the case of the most spectacular of his creations, the karnyx. This tall metal horn, crowned by the head of a fierce dragon, is an instrument from the Celtic Iron Age. It luthiers: they build music (pages 6-11) was basically known from historians' references (it was used, it is said, to terrify enemies in battle) and from partial remains. In fact, Cupeiro was inspired by a Roman coin. Galician traditional percussion is undergoing a great moment, “and long before the boom of Tanxugueiras and Eurovision”, says Xosé Tunhas. From his workshop in Portanxil (Ames, A Coruña), he makes tambourines, drums, bass drums, tarrañolas and drumsticks by hand. He does it in the classical way but introducing new elements with the help of technology.

A musician himself, he has been working professionally in this art for fifteen years. The traditional percussion sector “is fortunately not too industrialised. Products that are mass-produced are always of poor quality and, in reality, are no competition for us”. “In Galicia there has always been a lot of traditional playing and there are schools, groups, or simply lovers of it,” he explains.

Crafting a classical guitar is a painstaking job. “Just as much as the luthier's OCD (obsessive compulsive disorder),” jokes David Duyos. An Asturian, resident in Valladolid for almost two decades and who recently arrived in Compostela; Duyos makes instruments from scratch, made to measure and with a care that is hard to believe: approximately one guitar comes out of his workshop every month or month and a half.

“I like to make guitars thinking about who is going to play them”, he explains, “and not just to adapt them to that person’s tastes or to make them more comfortable”. There is something spiritual in the making of an instrument, he suggests, and many of the ones he makes are “a synthesis of the planet: they have Canadian cedar, African mahogany and ebony and Indian rosewood”. ᴥ

A couple of years ago, Diego González Rivas wrote in these same pages: “If you don't go to Africa, nobody operates, or they operate with very aggressive surgeries. Humanitarian work is the work that I find most rewarding. There are countries where I go and they pay me well, but I go to others because I want to”. In order to facilitate and expand this charitable work, a few weeks ago the doctor from A Coruña presented the foundation that bears his name.

Born in A Coruña in 1974, Diego González Rivas is one of the most prominent surgeons of the moment. In 2010 he developed a video surgery technique, called Uniportal VATS, which allows thoracic surgery to be performed through a single orifice in the patient's body. All the instruments necessary for the operation can be accessed through this orifice, which reduces pain, recovery time and trauma.

Since then, González Rivas has lived as if hanging from the ladder of an aeroplane. He has operated in more than 120 countries and has trained dozens of doctors in his technique, which is very popular in places like China. He is both a surgeon and a nomad by vocation: “I wanted to be a doctor even as a child: my mother says I wanted to make people laugh and heal them.”

The Diego González Rivas Foundation, launched on 20 April at the Santander Work Café in A Coruña, is the counterpart of a successful life in the best hospitals in the world. For years, this surgeon has regularly travelled to so-called Third World countries to operate free of charge on those in need. The most difficult part, he confessed in that interview with Joyas de Galicia, is the logistics of the project: “The technique I use requires specific instruments and technology. It is not like open surgery, which requires less logistics. For us it is an odyssey because we have to mobilise a lot of things, talk to companies to get them to do us the favour, ask for donations, charter material.... It takes months of administrative work”.

It is in this organisational aspect that the new Foundation wants to delve further. In August and September, González Rivas will be working (tirelessly and at full speed, as is usual for him) in Sierra Leone, Liberia and Tanzania. For this purpose, his organisation will take the material necessary to carry out the Uniportal VATS technique to these countries, material that will remain in the reference hospitals of those nations once the visit is over.

The Foundation's star project is to equip a mobile surgery unit that can travel around Africa carrying out this type of work.

This year the world is commemorating the 50th anniversary of Picasso's death with a multitude of activities. Between 1891 and 1895, the genius from Malaga spent a productive period in A Coruña, a city that has joined in the celebrations with a large exhibition at the Museum of Fine Arts. With much less hype, as he was not an artist of universal fame even though he deserved it, it is being remembered that 2023 also marks half a century since the death, in Vigo, of one of the greatest painters Galicia has ever produced: Urbano Lugrís González.

Lugrís, born in A Coruña on 28 January 1908 and died in the city of Vigo on 23 December 1973, is usually presented as the painter of the sea and the seabed. Self-taught (“boat didactic”, as he put it), he first excelled as a set designer before shining as an illustrator and painter of works of a markedly historical, liter- ary and symbolist nature. Among the recurring elements of his works and his world are mermaids, sea monsters and impossible architectures, but there is also room for more mundane clocks and watches.

La casa del marino (1940): In 1940, Urbano Lugrís wrote and illustrated a page for A.C.G., the monthly illustrated magazine of the Auto-Aero Club of Galicia, which was published in A Coruña. The piece is entitled La casa del marino (“The Sailor's House”), and it foreshadows a theme that was to become a classic in his production.

Reloj alado (1945): Lugrís's work in magazines and periodicals was as extensive in time as it was extraordinary. He drew his illustrations after reading the author's article and sometimes added the creation of a text chapter to this work.

Interior de pazo (1945): A grandfather clock, in this case a conventional one, is the central element in the composition of Interior de un pazo, a work he produced in 1945 and which now belongs to the ABANCA collection.

Habitación del viejo marinero (1946): belongs to the collection of the Museo Municipal de Vigo Quiñones de León, which bought it from the artist in 1946 for 5,000 pesetas. In an interview that Lugrís gave to the newspaper La noche in 1960, he describes it as his best painting.

Anticuario del puerto (1946): A masterpiece that refers to the cabinets of curiosities. It belongs to the ABANCA collection.

Reloj y marina (1962): The facet that has made Lugrís a popular painter in Galicia is that of decorator of public and private spaces: in A Coruña, Vigo, Malpica, Santiago, Madrid... ᴥ

They are not easy to see. Halfway up the A Quintana staircase, there are two metal vents that go unnoticed by most passers-by. But those who see them can't help but wonder: What could be under such a monumental staircase? Who built it? Is it possible to visit it?

The passageway exists, yes, but it only goes halfway across the square, more or less from its exit at the Cathedral to in front of Casa da Parra. It cannot be visited. Joyas de Galicia does so thanks to the permission kindly granted by the Cathedral itself, to verify that, indeed, from the vents you can see the lower part of A Quintana and the Conga building. The vents are much deeper than they appear from the outside, and lead to a corridor that is no longer in use. However, what the staircase conceals is a building that was never completed, but which, if it had been, would have changed the appearance of the church of the Apostle forever.

The Cathedral basically combines Romanesque and Baroque architecture. Everything would have changed if the ambitious project by archbishop Juan Arias had been carried out in the 13th century: the construction of a Gothic chancel that would occupy a large part of what is now the Plaza de A Quintana.

Arias' idea reflected the latest architectural trend that was being transported along the Way of St. James: lighter, taller buildings, with more openings and greater interior luminosity. By the mid-13th century, the rotundity of the Romanesque cathedral seemed out of fashion. Fortified and crenellated, it looked more like a castle than the jewel in the crown of one of the holiest cities in Christianity. The pilgrimages were consolidated and were more valid than ever and the Way carried new ideas that had to be embodied in its goal.

The project was gigantic. It consisted of enlarging the Romanesque chevet by making a more modern one with a multitude of chapels. And the truth is that work began around 1258, leaving a very important mark on the current geography of Compostela: to make room, the monastery of San Paio de Antealtares was demolished, moving it to its current location, on the other side of the square. The foundations of the new building were built, which were later discovered in archaeological work directed by Manuel Chamoso Lamas. However, in 1266 Arias died, and with him, his Gothic dream. ᴥ kandinski in the collection of the maría josé jove foundation (pages 14-15) leiro, in iron and wood (pages 24-25)

A work of maturity, created in difficult circumstances. Rampant, by Vasili Kandinski, is one of the most emblematic works in the art collection of the María José Jove Foundation in A Coruña. Its author painted it in exile, persecuted by the Nazis, in the final stretch of a life that was a turning point in the history of art.

Rampant is a creation from 1934. These were turbulent years for the whole world, and also for Kandinski, who probably exemplifies well the situation that hundreds of intellectuals all over Europe were going through. After ten years as a teacher at the Bauhaus, the fundamental school of architecture founded by Walter Gropius in Weimar, Kandinsky found himself on the street when the Nazis came to power in 1933. Months later, after his work was included in the new government's catalogue of “degenerate art”, he had to go into exile in France, where he was in contact with other artists such as Miró, Brancusi, Mondrian and Arp.

Settled in Neully, on the outskirts of Paris, this is one of the first works of that period. The influence of the Surrealists, whom he began to frequent, is slightly visible in this work, executed on paper with ink and watercolour. The latter material allowed Kandinski to graduate the colour and create semi-transparent masses. In Rampant geometrical elements, more typical of the disciplined Bauhaus school, are mixed with other organic elements, which the painter introduced into his work from this point onwards.

At the same time as he was producing creations such as these, Kandinski watched from a distance as his work was confiscated and criticised by the Nazis in Germany. Paintings by him formed part of the travelling exhibition on “degenerate art”, which toured several German cities, accompanied by works by Chagall, Picasso, Modigliani, De Chirico, Matisse, Klee, Monet, and others. Kandinski would not live to see Nazism defeated. He died in Neully in 1944, aged 78, after having obtained French citizenship.

Francisco Leiro is part of a group of Galician artists with a certain generational profile, who at the beginning of the 1980s gained notable international attention, coinciding with the renewed European trends of that time (the Italian Transavantgarde or the German “wild” Neo-expressionism painters) in a recognition of painting and sculpture from the self-affirmation of the spontaneous gesture and of the self as the subject that joins the world together. Although this group was initially brought together through a series of very open exhibitions under the title of Atlántica, which showed the Galician plastic renewal, some of them soon stood out as individual figures, including Leiro, whose work represented the fusion between tradition and modernity in Galicia in the public imagination.

From the beginning of his career, Leiro's work has been characterised by an approach to and analysis of forms and figures from the past, of episodes in the history of art, often themes linked to Galicia, with which he engages in a very intense dialogue. His gaze is constructed with humour, irony and paradox.

The CGAC collection holds several pieces by Leiro from different periods, among them Retablo Hannover (1999), which stands out for its rotundity and spectacular nature, as well as for the wealth of readings it proposes. The starting point is the dialogue established with the Baroque through the figure of the architect from Compostela, Simón Rodriguez (1679-1751), the greatest exponent of plate Baroque, contemporary of Casas Novoa's cathedral façade, and author of two of the most beautiful, surprising and disturbing altarpieces in Santiago, in which the altarpiece is more an architectural structure than a plane; columns and architraves advance perpendicularly towards the spectator and tend to envelop him. Leiro had already been inspired by Simón Rodríguez in a piece entitled precisely with the name of this architect.

Retablo Hannover which was originally commissioned for the Spanish pavilion at the Universal Exhibition in Hannover in 2000. ᴥ one portrait, two stories from a coruña (pages 28-29) a new jacobean altarpiece

The portrait we are discussing allows us to approach the history of two women from A Coruña; that of the painter Elena Olmos and that of the sitter, Herminia Rodríguez-Borrell Feijóo. It is one of the paintings that form part of the collection at the Museo de Belas Artes da Coruña, which was donated by the Borrell family.

The painter, Elena Olmos Mesa (18991983), was the daughter of the Argentinian consul in A Coruña, Manuel Olmos de Aguilera, and Elvira Mesa, a native of A Coruña. As a teenager, Elena travelled to Holland with her family and this allowed her to get to know the great masters of Dutch painting. She studied in Madrid between 1916 and 1919 and was taught by the painters Sotomayor and Manuel Benedito. The critics of the time emphasised her technical skill and the strength with which she revealed the character of the sitter. In 1926 she married Leandro Pita Romero, a Galician politician and jurist, a minister in the Republic, with whom she lived in Rome in 1935-36. When the Civil War broke out she emigrated with her husband to Buenos Aires, where she continued to paint.

The sitter is her friend Herminia Rodríguez-Borrell Feijóo (1897-1971). Elena Olmos faithfully captured her strong personality and from a realistic viewpoint shows her as full of life and beautiful in the early 1930s. Her everyday habits, such as wearing trousers, smoking and driving a car, which from today's perspective are anecdotal, make her one of the “modern” women of the period. Sent to London to study English, she met the Armenian Nubar Gulbenkian, son of the oil magnate Calouste Sarkis Gulbenkian, to whom she owes the creation of the Calouste Gulbenkian Foundation in Lisbon. Nubar and Herminia married in 1922 and they travelled around the main European capitals for several years. They divorced in 1928 and with all this baggage of experiences Herminia returned to Coruña and it was then that she bought the pazo of Sigrás (Cambre), where she died.

(pages 38-40) seoane's homage to the tower of hercules (pages 56-57)

A new period of splendour for pilgrimages began after the rediscovery of the remains of St. James the Apostle in the cathedral in 1879. Between 1889 and 1922, there were five particularly busy holy years.

In this context we find the last great pictorial commission made by the cathedral, the so-called Tríptico de Pentecostés ( Pentecost Triptych); the work of the painter from Compostela, Juan Luis López, created to preside over a new altar in the Sancti Spiritus chapel, as part of a neo-Gothic altarpiece designed by Ángel Bar, which was the work of the sculptor Francisco del Río.

It was undertaken between December 1919 and July 1920. The side panels were painted first, followed by the central panel. The whole set was to be completed for the celebration of St. James' Day in the Holy Year of 1920, the last year of Martín de Herrera's episcopate.

The theme chosen for the Triptych also had an important Jacobean character, although initially it may not have seemed so. As Juan Luis himself wrote on one of his receipts, the central panel depicts the Pentecost and serves to give the Triptych its name; but in it the figure of Saint James, located to Mary's right, stands out due to his proximity to the Virgin and is identified by the two scallop shells on his cloak. The two side panels are dedicated to two medieval "pilgrim saints": Saint Isabel of Portugal, who came to Compostela on two occasions, in 1326 and 1335; and Saint Francis, who tradition attributes to having visited the Tomb of St. James in 1214. Furthermore, both scenes are set in the surroundings of Compostela, with the Pórtico de la Gloria, the medieval city and the mythical Pico Sacro in the background.

Once the Triptych was finished, it had a brief but successful tour, being nominated for the First Medal at the National Exhibition of 1920. In the piece, Juan Luis brought together different influences ranging from the Italian primitives to the English Pre-Raphaelites, without losing sight of the regionalist nature that always accompanied him.

In 1943, after more than five years in exile, Luis Seoane feverishly executed the fifty or so drawings that would make up his Homenaje a la Torre de Hércules (Homage to the Tower of Hercules). The more than 10,000 kilometres that separate Buenos Aires, where he lives, from A Coruña, where he lived as a child, do not prevent him from capturing in fine strokes those everyday scenes that, under his pen, become mythological. A few years later, the Pierpont Morgan Library and the American Institute of Graphic Arts included this work among the best illustration books published between 1935 and 1945.

Homenaje a la Torre de Hércules, the first illustration of which accompanies these lines, was designed by Seoane at a time when excitement gave way to defeatism among those who hoped that the end of the Second World War would also mean the end of Franco's regime. The artist, born in Buenos Aires in 1910 but raised in A Coruña, Arca (O Pino) and Santiago, had fled Galicia in September 1936, after spending the months following the coup of 18 July in hiding.

With the passing of the years and the consolidation of Franco's regime, the idea of returning began to become a utopia.

This Galicia, somewhat remembered and imagined, is reflected in the drawings in the volume, published in 1944 in the Argentine capital by the publishing house Nova, promoted by Seoane himself. With a fine line and an enormous vocation for modernity in the choice of both typography and stroke, the artist draws everyday scenes and others that are not so everyday. The characters (almost all of them female) are presented with a sobriety and serenity reminiscent of classical myths. Intimate moments are portrayed (a nap on the beach, a girl washing her face and another doing her hair, a conversation over a shared bowl of cherries), others very public (the harvest, a market, a homeless man lying in the street). A character recreated by Filgueira Valverde also appears in several scenes: O Vigairo, an old sailor always covered in shells. ᴥ self-portrait of granell, a native of santiago de compostela born in a coruña (pages 72-73)

Granell was born in A Coruña in 1912, although he spent most of his childhood in Santiago. His first artistic vocation was not painting but music. A seasoned violinist, he began his studies in Compostela, later continuing them in Madrid from 1928 onwards. A member of the Partido Obrero de Unificación Marxista, in 1935 he came into contact with the surrealist movement, which was to mark his life, through the sociologist Pierre Naville. With the outbreak of the Civil War in 1936, Granell joined the Republican militias. Persecuted by both the victors and the communists (who did not take kindly to his Trotskyist militancy), in 1939 he went into exile, first to France and then to the Dominican Republic.

It was here, in 1944, that Granell painted the self-portrait that accompanies these lines. Some purely surrealist elements appear in it: the eye pierced by a safety pin, the hourglass... At the time, the painter was living with his future wife, Amparo, in Santo Domingo, then renamed Ciudad Trujillo in honour of the dictator who ruled the destinies of the Dominicans with an iron fist. The Galician writer became part of the country's avant-garde scene, collaborating with La Poesía Sorprendida , in which great names such as Juan Ramón Jiménez, Guillén and Salinas also took part.

Granell was by then a surrealist in his own right. In 1941 he had met and interviewed the undisputed leader of the movement, André Breton, and participated in group exhibitions at the Dominican National Gallery of Fine Arts with works strongly influenced by the movement.

Granell's stay in Santo Domingo did not last long. After refusing to sign a letter of support for Trujillo's regime, he moved to Guatemala, where he continued his activity in favour of surrealism, before escaping the Stalinist purges to Puerto Rico and the United States.

Jael Joyería destina el 20% de las ventas de esta colección a la Asociación de Ayuda a Niños Oncológicos de Galicia

En menos de un decenio, Sarto se ha convertido en la referencia en Compostela para quienes gustan de la ropa de calidad. Su responsable, José Luis Molares, abrió la primera tienda de la firma, centrada en la moda masculina, en la calle República Arxentina en 2015, después de haber trabajado en grandes almacenes y otras boutiques. En 2021 se le sumó otra tienda de ropa para hombre, en Xeneral Pardiñas. Y ahora, en la primavera de 2023, esta misma calle, en la milla de oro santiaguesa, Sarto ha inaugurado su establecimiento dedicado a la moda de mujer. Ocupa un emblemático y amplio local que se ha reformado para acoger las propuestas de estilo de Sarto. Como en el caso de sus hermanas destinadas al público masculino, se trata de un espacio multimarca en el que destacan las marcas exclusivas, en su mayor parte de diseño y fabricación italiana. Firmas diferentes y exclusivas, como Le Cruel, Bazar DeLuxe o Teté by Odette y apuestas arriesgadas conviven con un servicio de sastrería a medida, coordinado por el lucense Luis Areñas. La idea es proporcionar a las compostelanas una oferta que en este momento no estaba cubierta en la ciudad, con prendas exclusivas, de gran calidad, elegantes y a la vez atrevidas y con personalidad.

La atención esmerada y el conocimiento del cliente, que cuando va repite, son dos de las características clave de Sarto Moda. La empresa cuenta además con un canal de venta en línea a través de su página web, en la que se pueden encontrar desde prendas de temporada a ofertas en el apartado de outlet.

www.navionics.com/esp/apps/ navionics-boating