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    "textoCompleto" => "<span class="elsevierStyleSections"><p id="par0005" class="elsevierStylePara elsevierViewall">Whenever we talk of the Olavide Museum and its wax models&#44; the first person we remember is Jos&#233; Enrique Zofio D&#225;vila &#40;1835&#8211;1915&#41;&#44; who created 80&#37; of the models still in existence&#46; The second we remember is Jos&#233; Barta Bernardota &#40;1875&#8211;1955&#41;&#44; who produced nearly all the other figures we have&#46; The last of the sculptors&#44; Rafael L&#243;pez &#193;lvarez &#40;1898&#8211;1987&#41;&#44; worked on few of the moulages&#46; His main importance lay in cataloging and packing the collection before it was lost&#46;<a class="elsevierStyleCrossRef" href="#bib0005"><span class="elsevierStyleSup">1</span></a></p><p id="par0010" class="elsevierStylePara elsevierViewall">Rafael L&#243;pez &#193;lvarez &#40;<a class="elsevierStyleCrossRef" href="#fig0005">Fig&#46; 1</a>&#41; was born on September 20&#44; 1898&#44; in Madrid&#46; We know about his life in part thanks to information provided by his great nephew&#44; who helped the museum gather information&#46; Although we know he was born a legitimate child of named parents &#8212; the museum holds his birth certificate &#8212; we also have among our holdings a diploma issued by Madrid&#8217;s children&#8217;s hospice<a class="elsevierStyleCrossRef" href="#fn0010"><span class="elsevierStyleSup">&#8224;</span></a> certifying that his skill in creating models was excellent&#46; The diploma was dated July 12&#44; 1918&#44; when he was 20 years old&#44; around the time he began to work at the Olavide Museum&#46; Jos&#233; Barta was already the director then&#44; and L&#243;pez &#193;lvarez&#8217;s arrival might have coincided with the final years of Enrique Zofio&#8217;s work&#46; In the 1940s&#44; after Jos&#233; Barta&#8217;s retirement&#44; L&#243;pez &#193;lvarez took over as head of the Olavide Museum&#44; which was then located in Hospital San Juan de Dios on Calle de Dr Esquerdo&#46; The museum was in evident decline by that time and was only visited by students and a few groups interested in culture&#46;</p><elsevierMultimedia ident="fig0005"></elsevierMultimedia><p id="par0015" class="elsevierStylePara elsevierViewall">One of L&#243;pez &#193;lvarez&#8217;s duties during the Spanish Civil War was showing the figures to members of the militias so that they could see the damage caused by venereal diseases&#46; He was a picturesque character&#44; who was described in various 1978 newspaper interviews as &#8220;rational&#44; republican&#44; and an admirer of Ferrer Gu&#224;rdia&#44;&#8221;<a class="elsevierStyleCrossRef" href="#bib0010"><span class="elsevierStyleSup">2</span></a> the late 19th-century anarchist and educator who was executed by firing squad in 1903&#46; L&#243;pez &#193;lvarez recounted stories about the museum&#44; and his interviewers even named him as the creator of some of the figures&#46; One anecdote he told concerned the model of a child &#8212; a girl or a boy &#8212; with tinea favosa&#46; A man who had made his fortune in Spain&#8217;s former American colonies had made attempts to purchase it&#44; claiming that the moulage represented him when he was a patient in Hospital San Juan de Dios&#46;<a class="elsevierStyleCrossRef" href="#bib0015"><span class="elsevierStyleSup">3</span></a> However&#44; on finding the case history for this patient in the museum&#8217;s archives&#44; we saw it was done in 1881&#44; well before the man&#8217;s birth in 1888&#46;<a class="elsevierStyleCrossRef" href="#bib0020"><span class="elsevierStyleSup">4</span></a> Furthermore&#44; the patient in the model was a girl&#46;</p><p id="par0020" class="elsevierStylePara elsevierViewall">According to L&#243;pez &#193;lvarez&#8217;s relatives&#44; he was a painter of some skill&#44; especially adept at portraits of women&#46; His family donated a series of his oil paintings and water colors to the museum&#44; where they remain in our archives&#46; In one of the previously cited interviews&#44;<a class="elsevierStyleCrossRef" href="#bib0010"><span class="elsevierStyleSup">2</span></a> he also described posters he had designed for campaigns to prevent venereal diseases&#46; One of them had even been proscribed as immoral during the dictatorship of Primo de Rivera&#46; Two original copies of his posters on the subjects of syphilis and gonorrhea &#40;<a class="elsevierStyleCrossRef" href="#fig0010">Fig&#46; 2</a>&#41; have been acquired by the museum and are now on display&#44; along with posters by Ramon Casas i Carb&#243; &#40;1886&#8211;1932&#41;&#46; They are of historical interest&#44; illustrating the moralistic approach to these diseases at the time they were printed&#46;</p><elsevierMultimedia ident="fig0010"></elsevierMultimedia><p id="par0025" class="elsevierStylePara elsevierViewall">L&#243;pez &#193;lvarez lost his sight after an operation for glaucoma in 1972&#44; but we have further knowledge of him in 1978&#44; through an article in the magazine <span class="elsevierStyleItalic">Qu&#233;</span>&#44; which mentions his work in the Olavide Museum&#46;<a class="elsevierStyleCrossRef" href="#bib0010"><span class="elsevierStyleSup">2</span></a></p><p id="par0030" class="elsevierStylePara elsevierViewall">He suffered economic difficulties in the final years of his life&#44; according to his family&#44; who recalled that he was assigned a place in a residence thanks to his friendship with Joaqu&#237;n Leguina&#44; president of the autonomous community of Madrid&#46; He never actually went there to live&#44; however&#46; His paintings were given to the community of Madrid and are presently stored in the Reina Sof&#237;a National Museum of Art according to our source&#46;</p><p id="par0035" class="elsevierStylePara elsevierViewall">L&#243;pez &#193;lvarez&#44; who was married to Isabel Rodr&#237;guez Valero&#44; died on July 31&#44; 1987&#44; and was laid to rest in Madrid&#8217;s Almudena cemetery on August 1 of that year&#46; His great contribution was cataloging and boxing the museum&#8217;s collection of wax models toward the end of 1966&#44;<a class="elsevierStyleCrossRef" href="#bib0015"><span class="elsevierStyleSup">3</span></a> just before Hospital San Juan de Dios was closed and razed&#44; to be replaced by the current Hospital Gregorio Mara&#241;&#243;n &#40;formerly known as the Residencia Francisco Franco&#41;&#46;</p><p id="par0040" class="elsevierStylePara elsevierViewall">We believe that although L&#243;pez &#193;lvarez did not sculpt many figures and he had a certain tendency to tell tall tales&#44; he kept us from losing one of the finest existing collections of wax moulages&#46; As a result&#44; the Olavide Museum can place them at the service of both dermatologists and the community thanks to the inestimable help of the Spanish Academy of Dermatology and Venereology &#40;AEDV&#41;&#46;</p></span>"
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Letter to the Editor
Rafael López Álvarez: The Olavide Museum’s Last Wax Sculptor
Rafael López Álvarez. El último cero-escultor del Museo Olavide
L. Conde-Salazar
Corresponding author
plme43@yahoo.es

Corresponding author.
Museo Olavide. Fundación Piel Sana de la AEDV, Madrid, Spain
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    "textoCompleto" => "<span class="elsevierStyleSections"><p id="par0005" class="elsevierStylePara elsevierViewall">Whenever we talk of the Olavide Museum and its wax models&#44; the first person we remember is Jos&#233; Enrique Zofio D&#225;vila &#40;1835&#8211;1915&#41;&#44; who created 80&#37; of the models still in existence&#46; The second we remember is Jos&#233; Barta Bernardota &#40;1875&#8211;1955&#41;&#44; who produced nearly all the other figures we have&#46; The last of the sculptors&#44; Rafael L&#243;pez &#193;lvarez &#40;1898&#8211;1987&#41;&#44; worked on few of the moulages&#46; His main importance lay in cataloging and packing the collection before it was lost&#46;<a class="elsevierStyleCrossRef" href="#bib0005"><span class="elsevierStyleSup">1</span></a></p><p id="par0010" class="elsevierStylePara elsevierViewall">Rafael L&#243;pez &#193;lvarez &#40;<a class="elsevierStyleCrossRef" href="#fig0005">Fig&#46; 1</a>&#41; was born on September 20&#44; 1898&#44; in Madrid&#46; We know about his life in part thanks to information provided by his great nephew&#44; who helped the museum gather information&#46; Although we know he was born a legitimate child of named parents &#8212; the museum holds his birth certificate &#8212; we also have among our holdings a diploma issued by Madrid&#8217;s children&#8217;s hospice<a class="elsevierStyleCrossRef" href="#fn0010"><span class="elsevierStyleSup">&#8224;</span></a> certifying that his skill in creating models was excellent&#46; The diploma was dated July 12&#44; 1918&#44; when he was 20 years old&#44; around the time he began to work at the Olavide Museum&#46; Jos&#233; Barta was already the director then&#44; and L&#243;pez &#193;lvarez&#8217;s arrival might have coincided with the final years of Enrique Zofio&#8217;s work&#46; In the 1940s&#44; after Jos&#233; Barta&#8217;s retirement&#44; L&#243;pez &#193;lvarez took over as head of the Olavide Museum&#44; which was then located in Hospital San Juan de Dios on Calle de Dr Esquerdo&#46; The museum was in evident decline by that time and was only visited by students and a few groups interested in culture&#46;</p><elsevierMultimedia ident="fig0005"></elsevierMultimedia><p id="par0015" class="elsevierStylePara elsevierViewall">One of L&#243;pez &#193;lvarez&#8217;s duties during the Spanish Civil War was showing the figures to members of the militias so that they could see the damage caused by venereal diseases&#46; He was a picturesque character&#44; who was described in various 1978 newspaper interviews as &#8220;rational&#44; republican&#44; and an admirer of Ferrer Gu&#224;rdia&#44;&#8221;<a class="elsevierStyleCrossRef" href="#bib0010"><span class="elsevierStyleSup">2</span></a> the late 19th-century anarchist and educator who was executed by firing squad in 1903&#46; L&#243;pez &#193;lvarez recounted stories about the museum&#44; and his interviewers even named him as the creator of some of the figures&#46; One anecdote he told concerned the model of a child &#8212; a girl or a boy &#8212; with tinea favosa&#46; A man who had made his fortune in Spain&#8217;s former American colonies had made attempts to purchase it&#44; claiming that the moulage represented him when he was a patient in Hospital San Juan de Dios&#46;<a class="elsevierStyleCrossRef" href="#bib0015"><span class="elsevierStyleSup">3</span></a> However&#44; on finding the case history for this patient in the museum&#8217;s archives&#44; we saw it was done in 1881&#44; well before the man&#8217;s birth in 1888&#46;<a class="elsevierStyleCrossRef" href="#bib0020"><span class="elsevierStyleSup">4</span></a> Furthermore&#44; the patient in the model was a girl&#46;</p><p id="par0020" class="elsevierStylePara elsevierViewall">According to L&#243;pez &#193;lvarez&#8217;s relatives&#44; he was a painter of some skill&#44; especially adept at portraits of women&#46; His family donated a series of his oil paintings and water colors to the museum&#44; where they remain in our archives&#46; In one of the previously cited interviews&#44;<a class="elsevierStyleCrossRef" href="#bib0010"><span class="elsevierStyleSup">2</span></a> he also described posters he had designed for campaigns to prevent venereal diseases&#46; One of them had even been proscribed as immoral during the dictatorship of Primo de Rivera&#46; Two original copies of his posters on the subjects of syphilis and gonorrhea &#40;<a class="elsevierStyleCrossRef" href="#fig0010">Fig&#46; 2</a>&#41; have been acquired by the museum and are now on display&#44; along with posters by Ramon Casas i Carb&#243; &#40;1886&#8211;1932&#41;&#46; They are of historical interest&#44; illustrating the moralistic approach to these diseases at the time they were printed&#46;</p><elsevierMultimedia ident="fig0010"></elsevierMultimedia><p id="par0025" class="elsevierStylePara elsevierViewall">L&#243;pez &#193;lvarez lost his sight after an operation for glaucoma in 1972&#44; but we have further knowledge of him in 1978&#44; through an article in the magazine <span class="elsevierStyleItalic">Qu&#233;</span>&#44; which mentions his work in the Olavide Museum&#46;<a class="elsevierStyleCrossRef" href="#bib0010"><span class="elsevierStyleSup">2</span></a></p><p id="par0030" class="elsevierStylePara elsevierViewall">He suffered economic difficulties in the final years of his life&#44; according to his family&#44; who recalled that he was assigned a place in a residence thanks to his friendship with Joaqu&#237;n Leguina&#44; president of the autonomous community of Madrid&#46; He never actually went there to live&#44; however&#46; His paintings were given to the community of Madrid and are presently stored in the Reina Sof&#237;a National Museum of Art according to our source&#46;</p><p id="par0035" class="elsevierStylePara elsevierViewall">L&#243;pez &#193;lvarez&#44; who was married to Isabel Rodr&#237;guez Valero&#44; died on July 31&#44; 1987&#44; and was laid to rest in Madrid&#8217;s Almudena cemetery on August 1 of that year&#46; His great contribution was cataloging and boxing the museum&#8217;s collection of wax models toward the end of 1966&#44;<a class="elsevierStyleCrossRef" href="#bib0015"><span class="elsevierStyleSup">3</span></a> just before Hospital San Juan de Dios was closed and razed&#44; to be replaced by the current Hospital Gregorio Mara&#241;&#243;n &#40;formerly known as the Residencia Francisco Franco&#41;&#46;</p><p id="par0040" class="elsevierStylePara elsevierViewall">We believe that although L&#243;pez &#193;lvarez did not sculpt many figures and he had a certain tendency to tell tall tales&#44; he kept us from losing one of the finest existing collections of wax moulages&#46; As a result&#44; the Olavide Museum can place them at the service of both dermatologists and the community thanks to the inestimable help of the Spanish Academy of Dermatology and Venereology &#40;AEDV&#41;&#46;</p></span>"
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Article information
ISSN: 15782190
Original language: English
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Idiomas
Actas Dermo-Sifiliográficas
es en

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