Juan Ramírez de Lucas

Juan Ramírez de Lucas (1917–2010)[1] was a Spanish writer and journalist, who, after his death in 2010, was revealed to have been the lover of Spanish poet and playwright Federico García Lorca.[2] It was for Ramírez that the poet wrote his last collection, Sonetos de amor oscuro (Sonnets of Dark Love), completed in 1936 shortly before his assassination by a Nationalist militia.[3]

Juan Ramírez de Lucas
Born1917 (1917)
Albacete, Spain
DiedJuly 20, 2010(2010-07-20) (aged 92–93)
Madrid, Spain
NationalitySpanish
OccupationWriter

Early life

Ramírez was born in 1917 in Albacete in the Spanish province of Castilla–La Mancha[1] into a "traditional provincial family" with ten children.[4] His father was a medical examiner and sent Ramírez to Madrid at the age of 18 to study civil administration. Ramírez also aspired to write.[1]

Federico García Lorca

The couple met in Madrid, during the Second Spanish Republic.[5] Ramírez, 19-years-old, was introduced to García Lorca, 38-years-old at the time, by theater director Pura Maórtua de Ucelay at the Club Teatral Anfistora.[1] The Anfistora was an avant-garde theater collaboration between García Lorca and Ucelay.[6] Ramírez performed in several productions Lorca staged at Anfistora, and the two fell in love during rehearsals for the play Así que pasen cinco años, which Lorca was directing.[7] Their relationship continued during the year leading up to the poet's death.[4] Tall and blond, he was nicknamed "el rubio de Albacete" (the blond from Albacete) by Lorca,[8] and Ramírez was the youth he called "aquel rubio de Albacete" in the poem below:[7]

Aquel rubio de Albacete
vino, madre, y me miró.
¡No lo puedo mirar yo!

Aquel rubio de los trigos
hijo de la verde aurora,
alto, sólo y sin amigos
pisó mi calle a deshora.
La noche se tiñe y dora
de un delicado fulgor
¡No lo puedo mirar yo!

Aquel lindo de cintura
sentí galán sin...
sembró por mi noche obscura
su amarillo jazminero
tanto me quiere y le quiero
que mis ojos se llevó.
¡No lo puedo mirar yo!

Aquel joven de la Mancha
vino, madre, y me miró.
¡No lo puedo mirar yo!

That blond from Albacete
came, mother, and looked at me.
I can't look at him!

That blond one with the wheat
son of the green aurora,
tall, alone and without friends
stepped on my street at an inconvenient time.
The night is stained and brown
with a delicate glow
I can't look at him!

That one cute at the waist
I felt dashing without...
sowed through my dark night
his yellow jasmine
he loves me so and I so love him
that my eyes are taken away.
I can't look at him!

That young man from la Mancha
came, Mother, and looked at me.
I can't look at him!

In the summer of 1936, understanding that his life was in danger, García Lorca determined to emigrate to Mexico. He and Ramírez planned to travel together, but Ramírez, being 19, needed his parents' permission to leave the country. They separated in July 1936 at Madrid's Atocha Station, Ramírez bound for this family's home in Albacete and García Lorca for Granada to say farewell to his family. Ramírez's family refused him permission, and, while in Granada, García Lorca was seized and shot by a Nationalist militia. Ramírez received a last letter from the poet on July 18, 1936, after García Lorca had been killed.[5]

Ramírez did not disclose his relationship with García Lorca until near his death, when he gave his sister a box of letters and mementoes that confirmed his relationship with the poet and identifying him as the subject of Sonetos de amor oscuro.[9]

Later career

An specialist in the Spanish Arte popular (folk art) movement, Ramírez de Lucas wrote reviews for such periodicals as Arquitectura in Madrid and penned architecture criticism for the newspapers ABC (Madrid) and Arte y Cemento (Bilbao).[10] After this death, Julia Sáez-Angulo, vice president of the Association of Art Critics, cited him as both a pioneer in architecture criticism and a great folk art expert.[9]

The 2012 novel Los amores oscuros by Manuel Francisco Reina is a fictionalized imagining of the poet’s relationship with Ramírez.[11]

London playwright Nicholas de Jongh retold García Lorca and Ramírez’s story in The Unquiet Grave of Garcia Lorca, which was directed by Hamish MacDougall in 2014. De Jongh cited the homophobia and hate against García Lorca and Ramírez as part of his motivation for developing the work, citing as examples the fascist nickname for García Lorca "el maricón de la pajarita" (the queer in the bowtie[12]) and that: "They loathed him because they believed, as one of them (Ramón Ruiz Alonso) said, Lorca 'had done more damage with his pen than many men did with their guns.'"[13][14]

Ramírez's relationship with García Lorca was the inspiration Lorca Madly in Love, a flamenco performance at Carnegie Hall in November 2015. The performance was choreographed and featured by David Morales and also featured Spanish flamenco dancer Miguel Poveda.[15]

See also

Bibliography
  • Manuel Francisco Reina, Los amores oscuros, 2012, Temas de Hoy, España

References
  1. Castilla, Amelia. "Aquel rubio de Albacete". 7 July 2012. Ediciones El País S.L. Retrieved 8 November 2020.
  2. Tremlett, Giles. "Name of Federico García Lorca's lover emerges after 70 years". 10 May 2012. Guardian Media Group. Retrieved 8 November 2020.
  3. Bosquet, Sarah. ""L'Amour sombre" de Lorca mis en lumière". Libération (15 May 2012). Altice. Retrieved 8 November 2020. Le grand amour à qui le poète Federico García Lorca destinait ses Sonnets de l’amour sombre (Sonetos del Amor Oscuro) n’est pas celui qu’on croyait. La preuve a été dénichée dans une boîte en bois que Juan Ramírez de Lucas, journaliste d’art, avait remise à sa sœur avant sa mort en 2010.
  4. Castilla, Amelia. "Lorca's last love letter". El País English (16 May 2012). Ediciones El País S.L. Retrieved 8 November 2020.
  5. Grosjean, Blandine. ""Ma douce croix et ma douleur noyée": l'amour obscur de Lorca". www.nouvelobs.com/. L'OBS. Retrieved 8 November 2020.
  6. O'Leary, Catherine (July 2017). "Staging the Revolution: The Nosotros Theatre Group and the teatro proletario of the Second Republic". Modern Language Review. 112 (3): 611–644. doi:10.5699/modelangrevi.112.3.0611. hdl:10023/14764. JSTOR 10.5699/modelangrevi.112.3.0611. Retrieved 8 November 2020.
  7. Maurer, Christopher (2019). Jardin Deshecho: Lorca y el amor (PDF) (First ed.). Granada: Centro Federico García Lorca. p. 190. ISBN 978-84-09-14081-7. Retrieved 8 November 2020.
  8. VM. "Mucho más que 'El rubio de albacete'". LaTribunadeAlbacete.es. La Tribuna de Albacete. Retrieved 8 November 2020.
  9. Castilla, Amelia. "El amor oscuro de García Lorca". El País (9 May 2012). Ediciones El País S.L. Retrieved 8 November 2020.
  10. "Copia archivada". Archived from the original on 28 August 2011. Retrieved 14 May 2012.
  11. Reina, Manuel Francisco (2012). Los amores oscuros (First ed.). Madrid: Grupo Planeta. ISBN 9788499981611. Retrieved 8 November 2020.
  12. Smith, Oliver Charles Edward (2016). "Les songes pleureurs de Poulenc: Lorca, a queer Jondo and le Surréalisme in the "Intermezzo" of Francis Poulenc's Sonate pour violon et piano". Cogent: Arts & Humanities. 3 (1): 16. doi:10.1080/23311983.2016.1187242. S2CID 55499172. Retrieved 8 November 2020.
  13. Serrano, Maria. "Éstos fueron los captores y asesinos de García Lorca". Público. Público. Retrieved 8 November 2020. Había hecho más daño con la pluma que otros con la pistola.
  14. De Jongh, Nicholas. "The secret of Lorca's lost lover: new play, The Unquiet Grave of Garcia Lorca, explores the poet's untimely death". www.standard.co.uk. Evening Standard Ltd. Retrieved 8 November 2020.
  15. Siebert, Brian. "Review: 'Lorca Madly in Love' Portrays a Forbidden Romance Through Flamenco". New York Times (26 November 2016). New York Times Company. Retrieved 8 November 2020.


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