Juan Ramón Jiménez

Juan Ramón Jiménez
Born	Juan Ramón Jiménez Mantecón (1881-12-23)December 23, 1881 Moguer (Huelva) (Spain)
Died	May 29, 1958(1958-05-29) (aged 76) San Juan (Puerto Rico)
Resting place	Moguer (Huelva)
Education	IES La Rábida, Huelva
Occupations	Writer and poet
Spouse	Zenobia Camprubí (1916–1956)
Writing career
Notable awards	Nobel Prize in Literature (1956) Gold Medal of the city of Moguer 1956 Favorite Son of the city of Moguer 1956
Movements	Modernismo and pure poetry
Signature

Juan Ramón Jiménez Mantecón (Moguer, Huelva, December 23, 1881 – San Juan de Puerto Rico, May 29, 1958) was a Spanish poet.

Juan Ramón Jiménez won the Nobel Prize in Literature in 1956 for his body of work, among which the lyrical prose work Platero y yo stands out.

Biography

Birthplace of Juan Ramón Jiménez in Moguer.

Juan Ramón Jiménez was born on December 23, 1881, at number two, Calle de la Ribera, in the Huelva town of Moguer. He was the son of Víctor Jiménez (a native of Nestares, La Rioja, a widower with a daughter named Ignacia from a first marriage to Emilia Velarde, a relative of the writer José Velarde) and Purificación Mantecón López-Parejo, who were successfully engaged in the wine trade. In 1887 his parents moved to an old house on Calle Nueva, and he attended primary and elementary school at the San José School of Primary and Secondary Education.

In 1891 he passed the Primary Education examination with outstanding marks at the Instituto "La Rábida" in Huelva. In 1896 he moved to Seville to become a painter, believing that to be his vocation. There he frequented the library of the Ateneo of Seville. He wrote his first works in prose and verse. He began to contribute to newspapers and magazines in Seville and Huelva. He began studying Law, imposed on him by his father, at the University of Seville, although he abandoned it in 1899. In 1899 he studied for the Bachillerato at the Colegio de San Luis Gonzaga in Puerto de Santa María, and obtained the degree of Bachiller en Artes.

In 1900 he moved to Madrid and published his first two books, Ninfeas and Almas de violeta. The death of his father that same year and the family's ruin, confirmed when he and his family lost their entire estate, seized after the Supreme Court ruled in favor of the Banco de Bilbao, caused him deep distress, intensely felt because of his hyperesthetic, somewhat neurotic and nefelibata ("cloud-walking") character (the adjective with which Rubén Darío defined him), and in 1901 he was admitted with depression to a sanatorium in Bordeaux, later returning to Madrid, to the Sanatorio del Rosario.

Portrait of Juan Ramón Jiménez around 1900.

His first love was the idealized Blanca Hernández Pinzón, the "white sweetheart" of his verses, but the poet soon became a true Don Juan; the 104 poems of his Libros de amor (1911–1912) record affairs with single women, married women, an American woman who was the mother of a daughter, the wife of the psychiatrist who treated his depression after his father's death "and yes, even nuns," as his editor, José Antonio Expósito, proclaimed in 2007.

In 1902 he took part in founding the literary magazine Helios. He also left the Sanatorio del Rosario and moved to the private home of Doctor Luis Simarro. In 1903 he published Arias tristes and the following year he published Jardines lejanos.

In 1905 he returned to his hometown because of the financial problems his family was going through, living in the house on Calle Aceña. This period coincides with his stage of greatest literary output, which includes, in the Segunda Antología Poética (whose printing was completed in 1922), the books in verse: Pastorales (1903–1905); Olvidanzas (1906–1907); Baladas de primavera (1907); Elegías (1907–1908); La soledad sonora (1908); Poemas májicos y dolientes (1909); Arte menor (1909); Poemas agrestes (1910–1911); Laberinto (1910–1911); Melancolía (1910–1911); Poemas impersonales (1911); Libros de amor (1911–1912); Domingos (Apartamiento: 1) (1911–1912); El corazón en la mano (Apartamiento: 2) (1911–1912); Bonanza (Apartamiento: y 3) (1911–1912); La frente pensativa (1911–1912); Pureza (1912); El silencio de oro (1911–1913) and Idilios (1912–1913), all written during his stay in the house.

In Madrid, thanks to Gregorio Martínez Sierra and María Lejárraga, in 1903 he met an elegant and cultured American woman, Luisa Grimm (1878–1960), married to the wealthy Spaniard Antonio Muriedas Manrique de Lara, who had business interests in Mexico. Juan Ramón Jiménez fell in love with Luisa Grimm, even hinted at the possibility of marriage, which the American rejected, and maintained a copious correspondence with her between 1907 and 1915. Grimm, a great lover of poetry, introduced Jiménez to many lyrical texts written in English, especially by authors of Romanticism, who were then little known in Spain. In 1912, with the help of the institucionista Alberto Jiménez Fraud, Jiménez began translating Shelley's Hymn to Intellectual Beauty, which he published in 1915.

Marriage to Zenobia Camprubí

Wedding portrait of Juan Ramón Jiménez and Zenobia Camprubí (March 2, 1916, New York).

He met Zenobia Camprubí Aymar in 1913 and fell deeply in love, although the courtship was difficult. In 1914 he was appointed director of the Publications of the Residencia de Estudiantes by his friend Jiménez Fraud, and for this publisher he translated Romain Rolland's Life of Beethoven. He made several trips to France and then to the United States, where in 1916 he married Zenobia Camprubí Aymar. This event and his rediscovery of the sea would be decisive in his work, leading him to write Diario de un poeta recién casado. This work marks the boundary between his sensitive stage and his intellectual stage. From this moment on he created a pure poetry with a highly intellectual lyricism. He also collaborated with his wife in the long process of translating twenty-two works by the Indian poet Rabindranath Tagore. During this period, specifically in 1916, he was appointed literary director of new editions of Editorial Calleja, and the collection "Obras de Juan Ramón Jiménez" was created, in which Estío (1916), Sonetos espirituales (1917), the complete edition of Platero y yo (1917) and Diario de un poeta recién casado (1917) appeared. In addition, his wife Zenobia Camprubí was commissioned to translate fifteen stories; in return, Juan Ramón dedicated his Diario de un poeta recién casado to Rafael Calleja, and Jiménez was given the task of establishing relations with American publishers also devoted to children's literature and pedagogy when he left for New York on his honeymoon; afterwards relations deteriorated when the publisher failed to meet various commitments.

No. 38 Calle de Padilla in Madrid, where Zenobia Camprubí and Juan Ramón lived between 1929 and 1936. The building was designed as a palace-house by the architect Bernardo Giner de los Ríos.

In 1918 he led movements of poetic renewal, achieving great influence on the Generation of '27. From 1921 to 1927 he published part of his prose work in magazines, and from 1925 to 1935 he published his Cuadernos, which contain most of his writings. In 1930, at a concert, he was introduced to the sculptor and writer Margarita Gil Roësset, a friend of Zenobia, who fell in love with the poet; he rejected her and, after two years of desperate attempts to win his love, she committed suicide in 1932; the event deeply affected Juan Ramón, who dedicated a portrait sketch to her in his Españoles de tres mundos. From 1931 onward, the poet's wife suffered the first symptoms of a cancer that would end her life.

Civil War and exile

In 1936, the year that marks in his work the transition from the intellectual stage to the sufficient or true stage, the Civil War broke out, and he resolutely supported the Republic, taking in several orphaned children in one of his houses. However, he felt unsafe in Madrid, since the socialist daily Claridad launched a campaign against intellectuals, and it was Manuel Azaña who helped the couple leave the capital through diplomatic channels. He settled in Washington as cultural attaché. In 1937 he moved to Cuba to give three lectures; in 1938 his Falangist nephew, Juan Ramón Jiménez Bayo, died on the Teruel front, which left Juan Ramón utterly devastated. According to Zenobia, "The grief left Juan Ramón absolutely sterile for almost a year and a half." The poet wrote of him in his autobiography Vida:

I know well that he had, with the ideas he believed best, a clean ideal, with no blood in it but his own. And this generous blood left him bloodless, drained of it, at the site of his ideal. And he sank into the earth to make it better. If his death, and others like his, do not make us better, of what miserable substance are we made?

In 1939 the rebels ransacked the couple's apartment on Calle Padilla in Madrid and stole the books, manuscripts and belongings of the poet and his wife. Between 1939 and 1942 they lived in Miami, Florida, where he composed the Romances de Coral Gables; in 1940 he was hospitalized for a few months at the University Hospital of Miami for depression, from which he emerged with plans for two ambitious poems: Espacio and Tiempo; he would only complete the first, the summit of 20th-century Spanish lyric poetry. In 1942 they moved to Washington, and between 1944 and 1946 Zenobia and Juan Ramón were hired to teach as professors at the University of Maryland. In 1946 the poet was hospitalized for another eight months because of a new depressive episode; in 1947 they bought a house in Riverdale near a clinic, and between August and November 1948 they traveled to Argentina and Uruguay by sea, where they were given a triumphant reception; Juan Ramón delivered several lectures in both countries. In 1950 the couple returned to Puerto Rico to teach at the Río Piedras Campus, seat of the University of Puerto Rico.

In 1956 the Swedish Academy awarded him the Nobel Prize in Literature. Three days later, his wife died in San Juan. He never recovered from this loss and remained in Puerto Rico while Jaime Benítez, rector of the Río Piedras Campus, accepted the prize on his behalf. Juan Ramón Jiménez died two years later, in the same clinic where his wife had died.

His remains were taken to Spain, and on June 5, 1958, the funeral chapel was set up in Moguer (Huelva), where they arrived from Puerto Rico; they were buried a day later in the cemetery of his hometown.

His poetry

Portrayed by Juan de Echevarría (1918)

Although by age he belongs to Novecentismo or the Generation of '14, he maintained a close relationship with the preceding generations (Modernismo, which influenced his first stage) and the following one (the Generation of '27, which he supported at least in its early works—he later attacked them—and for which he was one of the main models, as well as a reference for some of the avant-garde authors). He seeks to know the truth and in this way to attain eternity. Exactness, for him, is beauty. Poetry is a source of knowledge, a means of grasping things.

Juan Ramón Jiménez writes a pantheistic, exact and precise poetry. His poetry evolves in such a way that three periods can be distinguished. The first ends when the second begins in 1916. He wrote the Diario de un poeta recién casado, originally called Diario de un poeta y el mar, in which he recounts his honeymoon trip to the United States.

The themes are love, the reality of things... Another of his successes was Poemas májicos y dolientes, an extravagant title that highlights Juan Ramón's personal way of writing, as he always wrote "j" instead of "g" before "e, i". His native Moguer was a point of reference throughout his work, a source of inspiration and an element of nostalgia.

I will carry you, Moguer, to all places and to all times; through me, my poor town, in spite of the profiteers, you will be immortal.

I have told you, Platero, that the soul of Moguer is wine, haven't I? No; the soul of Moguer is bread. Moguer is just like a loaf of wheat bread, white inside like the crumb, and golden all around—oh, brown sun!—like the soft crust.

Stages of his work

File:Lectura del poeta español Juan Ramon Jimenez.oggCritics usually divide his poetic career into three stages: sensitive, intellectual, and sufficient or true.

The sensitive stage (1898–1916)

This stage is in turn subdivided into two sub-stages; the first runs until 1908; the second, until 1916. The first is marked by the influence of Bécquer, Symbolism and a Modernismo of subdued forms, assonant rhyme, short verse lines (arte menor) and intimate music. In it, descriptions of landscape predominate as a reflection of the poet's soul, a landscape that is neither natural nor the fruit of walks like that of Machado, but subject to the stillness of an inner garden, to the intimacy of an order. Vague feelings, melancholy, music and faded color, memories and amorous daydreams predominate. It is an emotive and sentimental poetry in which the poet's sensitivity shines through a perfect formal structure. To this stage belong Rimas (1902)—a title echoing the Becquerian ones—, Arias tristes (1903), Jardines lejanos (1904), and Elegías (1907).

Statue of Platero at the J.R.J. House Museum in Moguer.

The second period is cast in the form of long verse lines (arte mayor: hendecasyllables and alexandrines), consonant rhyme, and classical stanza forms (sonnets, serventesios); it shows a stronger Modernista imprint, that of French Symbolism (Charles Baudelaire, Paul Verlaine) and of Anglo-French Decadentism (fundamentally Walter Pater). A book written between 1910 and 1911, Libros de amor, with carnal and erotic poetry, has recently been discovered. The poet reaches perfect Parnassian heights, especially in the sonnets; to this sub-stage belong La Soledad Sonora (1911), Pastorales (1911), Laberinto (1913), Platero y yo (elegía andaluza) (1914) and Estío (1916), among others. Toward the end of this stage the poet begins to feel weary of the sensory trappings of Modernismo and develops concerns related to time and the possession of an eternal beauty.

Platero y yo, dated by its author to 1914, became the poet's most popular work, written in splendid prose that gently leads the reader through a carefully crafted tableau of poetic images, taking us from the introduction of this little donkey:

Platero is small, hairy, soft; so soft on the outside that one would say he is all cotton, that he has no bones. Only the jet mirrors of his eyes are hard, like two beetles of black glass.

to his death and, of course, the little donkey's ascension to the heaven... of Moguer: "Platero, you see us, don't you?", we ask, following the words of Juan Ramón Jiménez.

Estío (1916) marks the shift toward Juan Ramón Jiménez's second stage. The poet moves away from Modernismo in search of a greater refinement of the word. The nostalgic, evoked and dreamed atmospheres disappear in favor of a more concrete reality.

The intellectual stage (1916–1936)

Portrait of Juan Ramón Jiménez, painted by Joaquín Sorolla.

His first trip to America and his contact with poetry in English (Yeats, William Blake, Emily Dickinson, Shelley) through his friend Luisa Grimm and his wife Zenobia profoundly marked this second stage (1916–1936), which he himself named the Intellectual Period and which links him to the literary current of Novecentismo or the Generation of 1914. A fundamental event takes place: the discovery of the sea as a transcendent motif. The sea symbolizes life, solitude, joy, the eternal present time. A spiritual evolution also begins that leads him to seek transcendence.

In his desire to save himself in the face of death, he strove to attain eternity, and he could achieve this only through beauty and poetic refinement. He therefore suppressed all the musicality, the poetic plots, and the earlier external and ornamental showiness in order to delve into the profound, the beautiful, the pure, the essential: inner poetry, of which the poem is barely a residue. Notable works of this period are Diario de un poeta recién casado (1916), Primera antología poética (1917), Eternidades (1918), Piedra y cielo (1919), Poesía (1917–23) and Belleza (1917–23).

With Estío (1916) he tried out the use of free verse, and he finally introduced it into Hispanic literature with a book composed entirely in this meter, Diario de un poeta recién casado, later retitled (in 1948) Diario de poeta y mar (to include his wife's second surname, Aymar); with it this new stage in Juan Ramón Jiménez's work begins. It is a poetry without anecdote, without the "trappings of Modernismo," a stylized and refined poetry, in which the poet admires everything he contemplates. This collection of poems arose as a fruit of his trip to America. It is the first book written entirely in free verse and without rhyme in Spanish: together with León Felipe, he introduced this new metrical form into Spanish poetry. In the Diario, Juan Ramón experiments with themes and forms, and opens a new poetic current that would be exploited by some members of the Generation of '27.

In Piedra y cielo (1919) the central theme is now poetic creation itself: poetry as an activity, the poem as an artistic object and the poet as god-creator of a new universe. Thus a new thematic line opens that Juan Ramón Jiménez would never abandon: the search for poetic sublimation and the creative intensification of a pure, schematic poetry.

La Estación total (1923–36) gathers the last poems written in Spain. On August 22, 1936, Juan Ramón Jiménez went into exile.

Monument dedicated to Juan Ramón Jiménez in the Plaza del Cabildo of Moguer.

The sufficient or true stage (1937–1958)

Everything written during his American exile belongs to the sufficient or true stage. Juan Ramón Jiménez remains withdrawn into himself in search of beauty and perfection, though not so much as to keep him from preparing an extensive book in favor of the Spanish Republic, Guerra en España, which he never saw published. His longing for transcendence leads him to a certain mysticism and to identifying God and beauty as one, in what in 1954 he called "religion through consciousness." His poetic language is transformed into a kind of idiolect populated with multiple neologisms (ultratierra, deseante...). After a period of relative silence, he published Animal de fondo (1949), Tercera antología poética (1957), En el otro costado (1936–42) and Dios deseado y deseante (1948–49).

In Animal de fondo the poet seeks God "without rest or tedium." But this god is not a divinity external to the poet; rather, he is found within him and in his work ("your essence is in me, like my form"; "in the world that I have created through you and for you"). The god he refers to is the cause and end of beauty.

Dios deseado y deseante (1948–49) represents the culmination of Animal de fondo. The poet even comes to identify himself with the god he has sought so long. A god who exists inside and outside him, a god who is desired and desiring.

Juan Ramón Jiménez conscientiously revised his work throughout his life. The collection Leyenda (1896–1956), published posthumously by Antonio Sánchez Romeralo in 1978, and in a corrected edition by María Estela Arretche in 2006 (Madrid: Visor), gathers the author's complete poetic work as he wished it to be published. In 2001 the Zamora poetry group Lucerna had published, with the family's permission, four unpublished poems titled La frente pensativa, introduced by José Luis Puerto.

Works

First edition (1914) of Platero y yo.

Original editions

• Ninfeas, 1900, Madrid.
• Almas de violeta, 1900, Madrid.
• Rimas, 1902, Madrid.
• Arias tristes, 1903
• Jardines lejanos, 1904
• Elejías puras, 1908
• Elejías intermedias, 1909
• Las hojas verdes, 1909
• Poemas mágicos y dolientes, 1909
• Elejías lamentables, 1910
• Baladas de primavera, 1910
• La soledad sonora, 1911
• Pastorales, 1911
• Melancolía, 1912
• Laberinto, 1913
• Platero y yo (abridged edition), 1914
• Estío, 1916
• Sonetos espirituales, 1917
• Diario de un poeta recién casado, 1917
• Platero y yo (complete edition), 1917
• Eternidades, 1918
• Piedra y cielo, 1919
• Segunda antología poética, 1922
• Poesía, 1923
• Belleza, 1923
• Canción, 1935
• Voces de mi copla, 1945
• La estación total, 1946
• Romances de Coral Gables, 1948
• Animal de fondo, 1949
• Una colina meridiana, 1950 (1st edition in Spain: Huerga & Fierro editores, 2002). Prologue and preliminary study by Alfonso Alegre Heitzmann.
• La frente pensativa (1911-1912) [cuatro poemas inéditos], introduction by José Luis Puerto, Zamora: Lucerna, 2001.

Recent editions

• Cuadernos, F. Garfias, Madrid, Taurus, 1960
• Diario de un poeta recién casado, A. Sánchez Barbudo, Barcelona, Labor, 1970
• En el otro costado, Aurora de Albornoz, Madrid, Ediciones Júcar, 1974
• Leyenda (1896-1956), ed. by Antonio Sánchez Romeralo, Madrid, Cupsa Editorial, 1978.
• Animal de fondo, A. Crespo, Madrid, Taurus, 1981
• Antología en prosa, A. Crespo, Madrid, Taurus, 1981
• Arias tristes, A. de Albornoz, Madrid, Taurus, 1981
• Poesía. Edición del Centenario, 20 vols., Madrid, Taurus, 1982
• Elegías, F. Garfias, Madrid, Taurus, 1982
• Espacio, A. de Albornoz, Madrid, Taurus, 1982
• Eternidades, V. García de la Concha, Madrid, Taurus, 1982
• La realidad invisible, A. Sánchez Romeralo, Londra, Taurus, 1983
• Antología poética, A. Crespo, Barcelona, Seix Barral, 1985
• Guerra de España, A. Crespo, Barcelona, Seix Barral, 1985
• Selección de poemas, G. Azam, Madrid, Castalia, 1987
• Ideología, A. Sánchez Romeralo, Barcelona, Anthropos, 1990
• Platero y yo, M. P. Predmore, Madrid, Espasa-Calpe, 1992
• Cartas. Antología, F. Garfias, Madrid, Espasa-Calpe, 1992
• Antología poética, J. Blasco, Madrid, Cátedra, 1993
• Lírica de una Atlántida (En el otro costado, Una colina meridiana, Dios deseado y deseante, De ríos que se van), A. Alegre Heitzmann, Galaxia Gutenberg, 1999.
• Segunda antología poética (1898-1918), J. Urrutia, Madrid, Espasa-Calpe, 1993
• Libros de Madrid, AS. Robayna, JLL. Bretones, F. Utrera, Madrid, HMR, 2001
• Con la Rosa del mundo, Barcelona, La Poesía, señor hidalgo, 2002
• La frente pensativa 1911-1912. Unpublished book, Orense, Linteo Poesía, 2009 (Critical edition, introduction and notes by José Antonio Expósito Hernández).
• Dios deseado y deseante (Animal de fondo), J. Llansó, Madrid, Akal, 2009
• Idilios, 98 poems (38 unpublished); prologue by Antonio Colinas, introduction, edition and study by Rocío Fernández Berrocal; La Isla de Siltolá, 2013

On the "j" and the "s"

For Juan Ramón Jiménez, spelling should be simplified, adapted and made to resemble speech, something he put into practice, contravening the linguistic norm, in all his writings from his work Poesías escojidas of 1949 onward.

In this way he eliminated the "g"s when they had the sound already represented by the "j" (the voiceless velar fricative phoneme /x/), just as he did with the "x"s and the "s"s, and other letters he considered useless. Jiménez esplicaba (explained) it as follows:

I am asked to explain why I write with a "j" the words with "ge," "gi"; why I suppress the "b," the "p," etc., in words such as "oscuro," "setiembre," etc., why I use "s" instead of "x" in words such as "excelentísimo," etc. First, out of love for simplicity, for simplification in this case, out of hatred for the useless. Then, because I believe one should write as one speaks, and never, in any case, speak as one writes. Finally, out of antipathy toward the pedantic.

He also remarked:

In my second big house in Moguer there was a beautiful Diccionario de Autoridades of the Spanish Academy, in two large volumes (publisher, date, etc.), which was a treasure to me. In it I inevitably found everything, and better than in any other book; everything concise and sufficient. It was a model of an encyclopedia. From childhood I grew used to reading with "j" and "s"…

My father also had among his books, inherited from his brother Eustaquio, who died young in France, an edition of Larra (Paris, etc.) which I took for myself from the age of fifteen. And in it the same spelling was used as in the dictionary.

It seemed so natural to me, that spelling suited the prosody of Moguer so well, that I did not hesitate to accept it as correct. At first I did not use it in my books because I did not have the authority to impose it on the printing houses. The foremen ignored me or protested indignantly. Sometimes I had to withdraw books of mine from such and such a printer. But I grew so accustomed to it that afterwards the other way became impossible and almost unpleasant for me.

Legacy

B.I.C. of the Places linked to Juan Ramón Jiménez

• Text of Decree 17/2015, of January 20, B.I.C. "Places linked to Juan Ramón Jiménez"

House on Calle Aceña where he lived between 1905 and 1913.

On January 20, 2015, the places linked to Juan Ramón Jiménez were entered in the General Catalog of the Andalusian Historical Heritage as a Bien de Interés Cultural (B.I.C.). The declaration as a historic site lists the following elements: the Zenobia and Juan Ramón House Museum, the Juan Ramón Jiménez Birthplace, the Juan Ramón Jiménez House on Calle Aceña, the site and house of Fuentepiña, the cemetery where the remains of Juan Ramón and Zenobia rest and the adjoining hermitage of San Sebastián, and the movable property of the collection of the Zenobia and Juan Ramón Jiménez House Museum.

The decree justifies the declaration as follows:

He established with his hometown an ideal bond that lasted throughout his whole existence: "My life was leaps, revolution, permanent shipwreck. Moguer, Puerto de Santa María, Moguer, Seville, Moguer, Madrid, Moguer, France, Madrid, Moguer, Madrid, America, Madrid, America...". In Moguer, Juan Ramón achieved a perfect symbiosis of work and nature. That "white marvel," as he called it, that everyday world which for the poet was "magical," was a permanent source of inspiration. The legacy of Juan Ramón Jiménez is present in his town, in the places and landscapes of Moguer; in his literary work, extensive and rich in nuances: Almas de violeta, Ninfeas, Platero y yo, Olvidanzas, Baladas de primavera, La soledad sonora, Poemas mágicos y dolientes, Pastorales, Melancolía, Poemas agrestes, Historias, etc. Underlying all of it is the ideal the poet pursues, the image of Moguer. His work "confirms the decisive influence that the native environment had in channeling Juan Ramón's poetry." Juan Ramón's work cannot be understood without descending into the space and time of Moguer, his most cherished legacy. Juan Ramón Jiménez has bequeathed to posterity, for the enjoyment of his poetic universe, the places that were related to his life, the referents of his evocations, which are signified and literarily connoted in his work by affective, experiential, identity-related, distinctive, affective and symbolic ties. The references to the real spaces and characters that formed part of the local scene at the end of the 19th century and the beginning of the 20th were admirably evoked by the poet in many of his elegies, with a mixture of historical rigor and storytelling imagination.

Juan Ramón Jiménez Foundation

Main article: Juan Ramón Jiménez Foundation

J.R.J. House Museum, seat of the Foundation.

This institution is an administrative consortium formed by the Provincial Deputation of Huelva, the Town Council of Moguer and the Ministry of Culture of the Junta de Andalucía. Its seat is the Zenobia and Juan Ramón House Museum. The Juan Ramón Jiménez Foundation was created on May 7, 1987, in order to manage and look after the "Zenobia and Juan Ramón" House Museum, promote and publish studies on the life and work of the author, and safeguard the poet's originals, documents, residences and library. It oversees the Center for Juanramonian Studies which, among other functions, catalogs the Foundation's own holdings and the studies devoted to the poet, provides materials and grants for the study of his work, and organizes symposia, meetings and courses on Juan Ramón Jiménez and Zenobia Camprubí.

Among the Juanramonian commemorations organized annually by the Juan Ramón Jiménez Foundation are the awarding of the Juan Ramón Jiménez Hispanic American Poetry Prize and the annual poetry meeting Voces del extremo, sponsored by the Foundation since 1999 and organized by the Moguer poet and essayist Antonio Orihuela. These meetings fall within the poetic movement known as poetry of conscience, new social poetry or political poetry.

Among the honors granted by the foundation are the so-called Perejil de plata (Silver Parsley), for spreading knowledge of the work of the Moguer Nobel laureate, and the distinction of Honorary Member of the Foundation.

Portraits of Juan Ramón Jiménez

The oldest drawing of J. R. J.'s figure is by Ricardo Baroja; he was later portrayed in oils by Emilio Sala, Joaquín Sorolla and Manuel Cruz Fernández; Daniel Vázquez Díaz drew him twice and painted him once in oils. Tireless in his vanity, in his maturity he was portrayed in oils again by Joaquín Sorolla, and afterwards by Juan de Echevarría and Juan Bonafé (1927). In his final years he was drawn by Władysław Jahl and Esteban Vicente.

Bibliography

• Albornoz, A. de: "Juan Ramón Jiménez" (Madrid, 1981)
• Barrero González, Enrique (literary editor); Villa Crespillo, Francisca (compilation of texts), Homenaje a la "Velada en honor a Juan Ramón Jiménez", celebrada en el Ateneo de Sevilla en marzo de 1912, Seville, Ateneo de Sevilla, 2009, 291 pp. ISBN 978-84-613-5740-6
• Blasco, F. J. "La Poética de Juan Ramón Jiménez. Desarrollo, contexto y sistema" (Salamanca, 1982)
• Campoamor González, Antonio. "Bibliografía general de Juan Ramón Jiménez" (Madrid, 1982)
• Campoamor González, Antonio. "Juan Ramón Jiménez, nueva biografía." Published by the Junta de Andalucía. (Seville, 2001)
• Campoamor González, Antonio. "Vida y poesía de Juan Ramón Jiménez" (Madrid, 1976)
• Díez-Canedo, Enrique: "Juan Ramón Jiménez en su obra" (Mexico, 1944)
• Font, Mª T. "«Espacio»: autobiografía lírica de Juan Ramón Jiménez" (Madrid, 1973)
• García García, Manuel: Juan Ramón Jiménez: Elejías Andaluzas I: Platero y yo. Madrid, Visor, Edición del Centenario, 2007
• González Ródenas, Soledad: Juan Ramón Jiménez a través de su biblioteca: lecturas y traducciones en lengua francesa e inglesa (1881-1936). Universidad de Sevilla, 2005
• Guerrero Ruiz, J. "Juan Ramón de viva voz" (Madrid, 1961)
• Gullón, R. "Conversaciones con Juan Ramón Jiménez" (Madrid, 1958)
• Juliá, M. "El universo de Juan Ramón Jiménez" (Madrid, 1989)
• Morán Rodríguez, C. Juan Ramón Jiménez y la poesía argentina y uruguaya en el año 48. Historia de una antología nunca publicada (Madrid, Visor, 2014).
• Olson, P.R. "Circle of Paradox: Time and Essence in the Poetry of Juan Ramón Jiménez" (Baltimore, 1967)
• Palau de Nemes, Graciela. "Vida y obra de Juan Ramón Jiménez" (Madrid, 1976)
• Paratore, C., Il primo Juan Ramón Jiménez. Varianti d'autore e sviluppo dei testi (Rome, 2014).
• Pau, A. Juan Ramón Jiménez. El poeta en el jardín (Madrid, 1999).
• Paz, Mateo de. Juan Ramón Jiménez el poeta, literary biography intended for children (Madrid, El Rompecabezas, 2007).
• Predmore, M. P. "La obra en prosa de Juan Ramón Jiménez" (Madrid, 1966)
• Pujante, D. "De lo literario a lo poético en Juan Ramón Jiménez" (Murcia, 1988).
• Salgado, M. A. "El arte polifacético de las caricaturas líricas juanramonianas" (Madrid, 1968)
• Silvera Guillén, Francisco. Copérnico y Juan Ramón Jiménez. Crisis de un paradigma, Vigo, Editorial Academia del Hispanismo, 2008.
• Vidal, C. Checas de Madrid (Barcelona, Belacqva, 2003, p. 179).
• D. Lecler, «Du visible à l’invisible dans Platero y yo et Don Quichotte», in Juan Ramón Jiménez Tiempo de creación (1913-1917), coordinated by Daniel Lecler and Belén Hernández Marzal, Publications numériques de l'ERIAC, « Travaux et documents hispaniques », no. 8, 201.

External links

• Works by Juan Ramón Jiménez on Wikilivres (public domain in Canada)
• Website of the Juan Ramón Jiménez Foundation
• Juan Ramón Jiménez at the Centro Virtual Cervantes
• Digitized works by Juan Ramón Jiménez in the Biblioteca Digital Hispánica of the National Library of Spain
• Moving images of the writer in 1929 at the Residencia de Estudiantes with his niece Natalia Jiménez de Cossío
• Page dedicated to Juan Ramón Jiménez at the Miguel de Cervantes Virtual Library.
• La musa inventada de Juan Ramón