1 OLIVE OIL IN SPANISH CULTURE Corfu, 05/2013.I.E.S Mirador del Genil, Iznájar, Córdoba

2 WHAT WE WANT TO EXPLAIN INDEX To show the path of olive oil in Spain, to familiarize ourselves with the background of civilizations in which we drink. To comment upon how the olive tree and the olive have become a source of inspiration for art throughout the centuries. To propose a small trip to these sources of olive oil culture in our country.

3 1. THE PATH OF OLIVE OIL 5. SPAIN: (ANDALUSIA) : 4th CENTURY B.C. 3. GREECE 2. EGYPT. 2000 B.C. Cultivation of the olive tree. Cosmetic purposes. 2. EGYPT. 2000 B.C. Cultivation of the olive tree. Cosmetic purposes. ORIGIN: SYRIA, LEBANON, ISRAEL (PHOENICIANS ): from 5th century B.C. to beginning of 3rd century B.C. ORIGIN: SYRIA, LEBANON, ISRAEL (PHOENICIANS ): from 5th century B.C. to beginning of 3rd century B.C. 4. ITALY Middle OF THE 2nd MILENNIUM B.C. through the conquest of Crete. ITALY. 7th CENTURY B.C. The Greeks brought the oil production to Italy.. ITALY. 7th CENTURY B.C. The Greeks brought the oil production to Italy.. Creta FRANCE

4 OLIVE OIL IN SPAIN AND ANDALUSIA SPAIN ANDALUSIA EUROPE IZNÁJAR It produces 40% of the olive oil and 20% of the table olives in the world.. Andalusia represents the third part of the European olive.

5 The word “Córdoba” means “oil mill,” which speaks of its quality olives and olive oil. Their products were already famous since Roman times. In the time of Al-Andalus, the techniques of cultivation and of olive oil extraction both expanded and improved. During the 15 th and 17 th centuries, the expansion and geographic distribution of olive groves were consolidated, whose largest plantation is located in the center of Andalusia (Jaen, Cordova, and Seville). SURFACE OF OLIVE GROVES IN ANDALUSIA A million, five-hundred thousand hectares 60% of the Spanish olive area 30% of the European surface, which is distributed throughout the provinces of Andalusia  Andalusian dominance in world production of olive oil comes from the time of the Roman Empire in Hispania.  In Roman times, la Bética (Andalusia) was the principal producing province of olive oil during the centuries of splendor of the Roman Empire.  Andalusian dominance in world production of olive oil comes from the time of the Roman Empire in Hispania.  In Roman times, la Bética (Andalusia) was the principal producing province of olive oil during the centuries of splendor of the Roman Empire.

6 OLIVE OIL PRODUCTION IN ANDALUSIA It is 24% production in the value of Andalusian culture. MAIN PRODUCTION COUNTRIES (YEAR 2003) Posit ion Country Production (in tones) Grown area (in hectares) Productivit y (q/ha) — World 17.317.0898.597.06420,1 1 Spain 6.160.1002.400.00025,7 2 Italy 3.149.8301.140.68527,6 3 Argentina 1.300.0002.065.00031,4 4 France 1.800.0001.594.00030,3 5 Siria 998.988498.98120,0 6 Greece 500.0001.500.0003,3 7 Morocco 470.000550.0008,5 8 Egypt 318.33949.88815,67 9 Chile 300.000178.00016,9 10 Portugal 280.000430.0006,5 11 Libanon 275.000250.0006,5 DESTINY 82% TO EU (A 59,9% TO ITALY) REST: PORTUGAL, FRANCE, UNITED KINGDOM. OIL IMPORT From the Spanish 650 000 tones ANDALUSIA HAS A 70% OF THE EXPORT

7 A large number of poets, painters, sculptors and photographers charmed by the images afforded by nature, have taken this inspiration to sing the beauty of the olive tree, a hundred-year-old tree whose trunk seems to twist poetically. Olive tree II. Vicenta Meneses Olive tree II. Vicenta Meneses 2. OLIVE CULTURE IN SPANISH ART

8 PAINTING AND OLIVE OIL

9 ANCIENT WORLD He used olive tree cuttings to face his twelve labors; to kill the Nemean lion used a wild olive tree stake. THE OLIVE TREE IS RELATED TO THE FIGURE OF HERCULES (ROMAN ADAPTATION OF THE GREEK HERACLES). HERCULES AND THE NEMEAN LION. Roman mosaic of the first half of the 3rd century from Valencia. (National Archeological Museum). HERCULES AND THE NEMEAN LION. Roman mosaic of the first half of the 3rd century from Valencia. (National Archeological Museum).

10 MIDDLE AGES (5TH – 15TH CENTURIES) Arrival of the dove with an olive branch in its beak. Illustration of the Blessed Zamora (late 10 th C.) Recreates the end of the Flood, with the arrival of the dove that Noah sent with an olive branch in its beak, indicating that the lands were now dry.

11 Immaculate Juan de Juanes. 15 th C. Valencia. (Museum San Pío V) In Christian art, the Virgin Mary is depicted in olive trees or attributes thereof.

12 GOLDEN CENTURY (16TH-17TH CENTURY) Hercules diverted the river Alpheus with olive tree trunks. Francisco de Zurbarán (17 th century). Its representations are away from the realism of Velázquez; chiaroscuro technique..

13 Olive trees, olives, olive oil. Objects and equipment related thereto are enshrined in numerous paintings, like this by Velázquez, "Old Woman Cooking Eggs," first production of the Seville painter (1618. Edinburgh. National Gallery).

14 Doménikos Theotokópoulos, ( Δο μ ήνικος Θεοτοκό π ουλος ), Candía, 1541 – Toledo, 1614, known as “The Greek.” Prayer of Jesus in the garden of olive trees represents the prayer of Jesus in the garden of the olive trees, where he is comforted by the angel. Museum of Art (Toledo).

15 NEOCLASSICISM(XVIII) In Spain, during Easter, it is customary to parade thrones with religious images, generally biblical, carried by men. Prayer of Jesus in the Green Garden (SCULPTURE) It represents Jesus’ pray in a green garden with olive trees Salzillo, 1754. Salzillo Museum.Murcia.

16 Joaquín Sorolla: Joaquín Sorolla: Olive Tree Sketch TWENTIETH CEN CENTURY

17 DOVES OF PEACE

18 J. L. Capuletti (deceased in 1996): The Window, nude of a woman through a window that opens to a landscape with olive trees.

19 Godofredo Ortega Muñoz Reflected different landscapes, corresponding to different regions in which the olive tree, as the only species, or accompanied by others, fills the canvas. Godofredo Ortega Muñoz Reflected different landscapes, corresponding to different regions in which the olive tree, as the only species, or accompanied by others, fills the canvas. Miguel Cantón Checa: View of Quesada (Jaen) Miguel Cantón Checa: View of Quesada (Jaen)

20 Antonio Solórzano Recolecta I, II, III y IV

21 SALVADOR DALÍ

22 Well-known are the Jaen olive groves painted Zabaleta: Garden de Quesada (1948) Olive harvesters. 1959 Zabaleta.

23 The oil lamp. Joan Miró

24 LITERATURE, MUSIC, AND OLIVE OIL

25 EL OLIVO EN LA LITERATURA ESPAÑOLA: lírica popular del siglo XV GARCÍA LORCA includes a zéjel (his own form of Spanish-Arabic musical art) with minor retouching in print, to update the crude Moorish text. (Anonymous, COLLECTION OF GARCIA LORCA). Carmen Linares

26 THE OLIVE TREE IN SPANISH LITERATURE: popular poetry in the XV century Tres morillas me enamoran en Jaén Axa, Fátima y Marién Tres morillas tan garridas iban a coger olivas y hallábanlas cogidas en Jaén, Axa, Fátima y Marién y hallábanlas cogidas y tornaban desmaídas y las colores perdidas en Jaén Tres morillas me enamoran en Jaén Axa, Fátima y Marién Tres morillas tan garridas iban a coger olivas y hallábanlas cogidas en Jaén, Axa, Fátima y Marién y hallábanlas cogidas y tornaban desmaídas y las colores perdidas en Jaén Three morels I fall in love in Jaen Axa, Fatima and Marien Three morels as footholds would pick olives and they were found picked In Jaén, Axa, Fatima and Marien and they were found picked and returned gaunt and lost colors in Jaen

27 EL OLIVO EN LA LITERATURA ESPAÑOLA La niña del bello rostro. Está cogiendo aceituna. El viento galán de torres, la prende por la cintura (Federico García Lorca "Arbolé, Arbolé“) Córdoba. Lejana y sola. Jaca negra, luna grande y aceituna en mi alforja. Aunque sepan los caminos, yo nunca llegaré a Córdoba Federico García Lorca "Canción del Jinete" La niña del bello rostro. Está cogiendo aceituna. El viento galán de torres, la prende por la cintura (Federico García Lorca "Arbolé, Arbolé“) Córdoba. Lejana y sola. Jaca negra, luna grande y aceituna en mi alforja. Aunque sepan los caminos, yo nunca llegaré a Córdoba Federico García Lorca "Canción del Jinete" The girl with the beautiful face. Is picking olives. The heartthrob wind towers, grabs her around the waist. (Federico García Lorca "Groves, Groves“). Cordoba. Distant and alone. Black pony, big moon. and olives in my saddlebag. Even if they know the roads, I will never arrive in Cordoba. Federico García Lorca "Song of the Horseman".

28 EL OLIVO EN LA LITERATURA ESPAÑOLA: Miguel Hernández Andaluces de Jaén, aceituneros altivos, decidme en el alma: ¿quién, quién levantó los olivos? No los levantó la nada ni el dinero, ni el señor, sino la tierra callada, el trabajo y el sudor. Unidos al agua pura y a los planetas unidos, los tres dieron la hermosura de los troncos retorcidos. Andaluces de Jaén, aceituneros altivos, decidme en el alma: ¿quién, quién levantó los olivos? No los levantó la nada ni el dinero, ni el señor, sino la tierra callada, el trabajo y el sudor. Unidos al agua pura y a los planetas unidos, los tres dieron la hermosura de los troncos retorcidos. Andalusians of Jaen, haughty harvesters, tell me in the soul: who, who raised the olives? Nothing raised them, neither money, nor the man, except the silent land, labor and sweat. United to the pure water and the planets together, the three gave the beauty of the twisted trunks.

29 It is the official anthem of the Province of Jaén, whose lyrics were composed by the poet Miguel Hernández during the Spanish Civil War. It is played by the famous Andalusian group, Jarcha.

30 ARCHITECTURE AND OLIVE OIL

31 GÜELL PARK (BARCELONA) GAUDÍ   Gardens and architectural elements located in Barcelona, inspired by the organic forms of nature.   Undulating forms exist, like rivers of lava, and covered walkways with columns that have forms of trees, stalactites, and geometric shapes.   Throughout the park there are Mediterranean plants, including olive trees.

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33 SCULPTURE AND OLIVE OIL

34 “SCULPTURE OF AN OLIVE TREE” Silverio Rivas, 2010. Vigo “SCULPTURE OF AN OLIVE TREE” Silverio Rivas, 2010. Vigo (Galicia, Spain), in steel. “OLIBONDOAK BADU BIHOTZIK” Gotzon Etxeberria. Sculptures with olive tree wood.

35 Emilio Mariño. Conceptual sculpture and abstraction in olive tree wood. “YOUTHSCRATCHING HIS HEAD”. Emilio Mariño. Conceptual sculpture and abstraction in olive tree wood. “THE OLIVE TREE” Julio Gómez Gallego

36 BACKGROUND MUSIC: 1. Joaquín Rodrigo, Concierto de Aranjuez: Adagio. Interpreter: Paco de Lucía. 2. Tárrega, Recuerdos de la Alhambra. Interpreter: Andrés Segovia. 3. Tres morillas. Interpreter: Carmen Linares. 4. Andaluces de Jaén (Himno oficial de Jaén). Interpreter: Jarcha. 5. India Martínez, Nana del caballo grande, versión musical del poema de García Lorca, incluido en la obra teatral Bodas de sangre. Thank you for your attention