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The cultural objectives put forth in the statutes of the Patronato Municipal Huerta de San Vicente included the express aims of conservation of the Huerta de San Vicente and the dissemination of the work of Federico García Lorca, therefore entailing the organization of all those cultural activities that may surround or bear an impact on the optimal achievement of these goals. For this reason there has been no substantial expansion of the collection, which is practically unchanged since the inauguration of the Huerta de San Vicente as a House-Museum on 10 May, 1995.

The artistic and documental legacy of Federico García Lorca, sufficiently acknowledged, established and catalogued, has been largely gathered from the collections of diverse institutions, most notably the Federico García Lorca Foundation, with the understanding that the Huerta de San Vicente would be more effective as a center for the representation and diffusion of the works of Federico García Lorca, and the corresponding organization of cultural activities, than for the acquisition of works.


main works of art on display in the Huerta de San Vicente    

There is no certification that these works decorated the house during the period 1926-1936, except for the Boticelli reproduction. However, all of them have some connection with Federico García Lorca, either as works of his own, or gifts from some of those artists whom he dealt with socially. These pictures and drawings are not necessarily originals in the sense that they did not actually decorate the house at that time, nor do they illustrate any specific event in the poet´s life at the Huerta. Still, they can be seen as texts that speak to us of multiple aspects of the life and work of Lorca: his relationship with Manuel de Falla and the puppet shows of 1923, the friendship with Rafael Alberti stemming from the Residencia de Estudiantes, his dealings with Rafael Barradas and the artists from the group of Barcelona, the relationship with Salvador Dalí, his travels and adventures with the theatrical company La Barraca, and correlations with the popular culture of that epoch.

 

Deserving mention in addition to these items are a series of family photographs, oil paintings of conventional scenes and etchings from the 16th, 17th and 18th centuries, along with original documents such as the bachelor degree of García Lorca or the teaching degree of Vicenta Lorca.


Fernando Teixidor
Copy of the poster of la Barraca (ca. 1960)
Anónimo
Dolorosa o Virgen de los siete puñales (ca. 1925)
Santiago Ontañón
Federico hablando con Mariana Pineda (s/f)
Rafael Alberti
Estampa del sur (1924)
Federico García Lorca
Figurín Barbero (1932)
Figurín Estudiante (1932)
Figurín Leonarda (1932)
Figurín Pancracio (1932)
Casa con huerto (1923-25)
Retrato y alegoría de Mauricio Bacarisse (ca. 1928)
Hermenegildo Lanz
Curtain for El misterio de los Reyes Magos (1923)
Curtain forLa niña que riega la albahaca y el príncipe preguntón (1923)
Curtain for Los dos habladores (1923)
Salvador Dalí
Mujer marinera que fuma en pipa (ca. 1924)
Rafael Barradas
Sans. Luz negra de los pistoleros (1927)
Manuel Ángeles Ortiz
Picture of Francisco García Lorca (1919)
Gregorio Toledo
Picture of Federico García Lorca (1932)
Antonio Rodríguez Luna
Los desastres de la guerra (1942)
Antonia Martín
Bodegón (s/f)
Picture of Isabel García Lorca (ca. 1930)
Francisco Ramírez
Iglesia de San Bartolomé (1933)
Frans Hogenberg
Georg Braun
Joris Hoefnagel
Collection Civitates Orbis Terrarum - Antequera (1572-1617)
Collection Civitates Orbis Terrarum - Alhama (1572-1617)
Collection Civitates Orbis Terrarum - Granada (1572-1617)
Collection Civitates Orbis Terrarum - Veger, Vélez Málaga (1572-1617)
Collection Civitates Orbis Terrarum - Gades ab occidvis insulae partibus (1572-1617)
 
Etching Alhambra (s/f)

 


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