Spain Is (Still) Different addresses both theoretical perspectives on the study of tourism in Spain and specific cases of the cultural impact of travel and tourism on Spanish culture in the late eighteenth to early twenty-first centuries. With contributions from experts in leisure and culture studies, literature, film, and art historians from Spain, the UK, and the U.S., this innovative multi-disciplinary volume introduces readers to methodological and practical issues concerning the cultural function of tourism in Spain. The main body of contributions comes from the area of cultural studies. In the introduction, Afinoguenova and Marti-Olivella provide a comprehensive overview of the problematic of tourism in Spain and of diverse approaches to the study of tourism in its relation to Spanish culture. Unlike other collections on tourism studies, this book is aimed to bridge the gap between the social sciences and the humanities. It is structured to provide an example of how experts in different fields can use each other's work in order to achieve a multi-faceted understanding of the phenomenon of tourism and its implications."

The art and culture of Spain significantly influenced many of America's most renowned 19th- and 20th-century artists. Mary Cassatt visited the country early in her career and first garnered the attention of the French Impressionists with her paintings of Spanish themes. William Merritt Chase, fascinated with Spanish art, traveled to Madrid and its environs to paint landscapes and study at the Prado. And Robert Henri not only drew on the country's culture and traditions as a personal muse but repeatedly brought his art students to Spain as part of their training. Featuring works by all of these artists, as well as others such as John Singer Sargent and Thomas Eakins, this handsome volume reveals the important and varied ways that Spain inspired a century of American artists. Distributed for the Milwaukee Art Museum and the Chrysler Museum of Art Exhibition Schedule: Chrysler Museum of Art, Norfolk, VA (February 12-May 16, 2021) Milwaukee Art Museum (June 11-October 3, 2021)

The Prado takes an unconventional look at Spain's most iconic art museum. Focusing on the Prado as a space of urban leisure, Eugenia Afinoguenova highlights the political history of the museum's relation to the monarchy, the church, and the liberal nation-state, as well as its role as an extension of Madrid's social center, the Prado Promenade. Rather than assume that visitors agreed about how to interpret the museum, Afinoguenova approaches the history of the Prado as a debate about culture and leisure. Just like those crossing the museum's threshold, who did not always trace a firm line between what they could see or do inside the building and outside on the Paseo del Prado, the participants in this debate-journalists, politicians, museum directors, art critics-considered museum-going to be part of a broader discussion concerning citizenship and voting rights, the rise of Madrid to the status of a modern capital, and the growing gap between town and country. Based on extensive archival research on the museum's displays and policies as well as the attitudes of visitors and city-dwellers, The Prado unfolds the museum's many political and propagandistic roles and examines its complicated history as a monument to the tension between culture and leisure. Art historians and scholars of museum studies and visual and leisure culture will find this foundational study of the Prado invaluable.