Female artists and the feminine image in Alfar, an avant-garde magazine published in A Coruña (19221926)

La revista de vanguardia Alfar, dirigida en La Coruña por Julio J. Casal entre 1923 y 1926, realizó una inusual proyección de la creación femenina, difundiendo la obra de poetas, novelistas, compositoras, pintoras y escultoras, en un número irrisorio, pero proporcionalmente superior al de la mayoría de las publicaciones de su tiempo y estilo. Este artículo presenta a las seis artistas plásticas que pasaron por sus páginas: Norah Borges, Sonia Delaunay, Angelina Beloff, Aida Uribe, Laura Olmos y Laura Rodig. Las sitúa en los dos momentos estéticos de la revista: el ultraísmo inicial y el llamado “retorno al orden” o nuevo clasicismo, a partir de 1924. Y analiza su acogida en relación a las ideas sobre la mujer y sobre la creatividad femenina, propias de la vanguardia española de la época.The avant-garde journal Alfar, which was edited in A Coruña by Julio J. Casal between 1923 and 1926, contributed to the visibility of female creativity to an extent quite rare at the time, by devoting some of its pages to the work of female poets, novelists, composers, painters and sculptors. Although it focused on only a few female artists, their number was proportionally much higher than in other publications of the same period and style. This paper presents the six visual artists that appeared in its pages: Norah Borges, Sonia Delaunay, Angelina Beloff, Aida Uribe, Elena Olmos and Laura Rodig. It situates them within the journal’s two aesthetic phases: its initial Ultraist phase and the “return to order” or new classicism, from 1924. The paper also analyses how the artists were received in terms of the ideas that the Spanish avant-garde of the time held about women and female creativity