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= Versión corregida por otro grupo = = The Fallas Museum =

The Fallas Museum of  Valencia has been based, since 1971, in the ancient monastery of the Mission House  of Saint Vicent de Paul, that was finished in 1831. For this reason, it continues preserving part of the hallway structure and old prison cells. Afterwards, it was used in many ways, as a prison, as a guardhouse and as a warehouse. The Fallas Museum was restored and renewed at the beginning of 1990, then it was reopened in 1995. In 2016, the Fallas Museum was homologated as the official Museum of the Generalidad Valenciana, and it was restructured again in terms of museological and museographic approach. One of the innovations of this restructuration was the creation of the “Josep Alarte” temporary exhibitions room, dedicated to the anthological exhibitions of Fallero artists.

History
The Fallas is a popular festival which was already celebrated in the middle of the 18th century when in the streets of Valencia, informal committees of neighbourhoods erected ephemeral catafalques in which a satirical scene with ninots or figures was represented. Everything was made of wood, fabrics and/or cardboard and the story of the falla was told in a few verses. In order to welcome spring, on St. Joseph’s eve the falla was burned, together with pyrotechnics and big collective joy.

Since the beginning of the 20th century, the fallas became more complex, monumental and artistic, both in their technical composition and in the construction of ninots. Meanwhile, the Fallas festival, increased the number of festivities and rituals, while the committees were becoming bigger, more stable and dynamic. The Fallas soon became an expression of the Valencian identity and an important tourist attraction, and they started to be burned on the night of St. Joseph’s day.

The history of the fallas infantiles (children's fallas, smaller and without satirical themes) dates back, at least, to the end of the 19th century, and they were made by the children of every neighbourhood or street. Over time, professional fallero artists started making them, so their artistic and technic quality improved, but as a consequence children’s ninots disappeared in 1963.

Because of the progressive artistic quality of the fallas, the appearance of the awards for the best and the need for the professional fallero artist specialized in the making of fallas, in the 1920s appeared a popular custom of “saving” ninots from the fire. In 1934, the so-called El indulto del fuego (The Pardon of the Fire) proposal, presented by a fallero artist Regino Mas, became official. Due to the proposal, the Exhibition of the ninots was made, to which the fallero commissions would take their best ninots, among which the visitors would choose by popular vote the pardoned ninot of that year. This is the origin of the present Fallas Museum, which began to be configured as a kind of folk museum in the thirties, but only consolidated as such at the beginning of the 1970s.

Fallero Artists
In the beginning, the Fallas were made by neighbours, with the occasional help of professionals such as carpenters, painters and decorators. But the strengthening of the artistic fallas created the Fallero artists, craftsmen specialized in graphic design and Fallas construction, with their workshops, techniques and styles. They started competing to obtain the best prizes or the pardoned ninots. They also started co-working, firstly in the Fallero Artists association and after that, in the Fallero Artists Artesan Committee.

Materials of the Pardoned Ninots

 * Wax
 * The bodies of the ninots of the original fallas (enormous figures made of papier-mache, cardboard, wood or plaster) had a wooden or recoated tow-covered wireframe, covered with fabric or old clothes. The feet and hands were made with old socks and gloves stuffed with oakum. The wax technique was used for the heads. From a clay figurine, a plaster mould cut into pieces was obtained, later these pieces were filled with melted wax, which was reinforced by layers of gauze. The head was obtained from presenting the liquid from the alabaster mineral/rock in order to create a film in its contour and to strongly bestow it. Finally, it was painted with oil wax.


 * Cardboard
 * With the consolidation of artistic and monumental fallas in the 30s of the 20th century, the standardized confection of cardboard ninots started to be established, consisting of adding the head and arms to a manikin made from cardboard which was then dressed up. In 1932, the artist Joan Huerta presented the integrated model of ninots after the falles, a technique that was very quickly encouraged in the building of the fallas.


 * The cardboard technique is part of clay modelling the figures from which it makes a negative mould for a plaster cast which is split into two parts that are lined up with sheets of cardboard soaked in paste. After the two halves of cardboard are dry, they are then assembled. Then, the figures are cut and remodelled with several layers of paste or glue, sanded and finally painted with oil wax.


 * Polyester
 * It has been used since 1970. This material follows the same phases of paper manufacturing but using one or two polyester layers in the cast mold and reinforcing it with canvas-like fiberglass. Polyester dries very fast and, when all the parts are together, they are covered with polyester and fiberglass. They are finally sanded off and painted.


 * White cork
 * Since its introduction in 1980, it facilitates the live creation of ninots. It's a conglomerate of foils of different thicknesses which allows to obtain many textures and it can be sculpted only with an electric arc. The pieces may need to be reinforced by some paper and covered by panet (a particular dough), before being sanded off and painted, or they could be painted using a gun and finished putting some patterns on the paper. The modern introduction of digital design and printing made it easier to expand and to standardize the shapes and the falls made of white cork.

Fallas Museum Collections
The Fallas Museum contains the pardoned ninots collection (since 1934) and the children's pardoned ninots collection (since 1963). It also includes the winning posters and the finalist ones which announce the Fallas (since 1929), paintings of the Falleras Mayores of València (since 1995) and the collection of historical flagships of the falleras commissions of València.

"The ninots from the 1930s portray everyday scenes of traditional figures, pursuing a recreation of the Valencian folklore. Added to these, in 1940 there are portraits of craftsmen, popular street guys and some references to film actors. At the same time, reliable and virtuous depictions were provided, the aim of which was to develop a feeling of empathy with the public." "Since 1955, to pardon a portrait is forbidden in order to strengthen a more comical and caricatured line of the pardoned ninots. Realistic social-themed figures predominated in a time of deprivation, while female representations became more eroticized. And also a few characters from some fantastic world more likely of a modern imaginary collective decide to join." "In 1960, there is a combination of naturalism, with a kind and tender theme, and funny scenes, with caricatured figures. More current themes and themes linked to change (migration, industrialization, consumerism, etc.) show up, due to a fast upgrading society. During 1970, caricatures with an easy sense of humour prevailed and most of them with no political discourse on it, oddly enough considering major changes that the country was going through those times." "In 1980 started the tendency to depict genre scenes of traditional trades which were handled in a very apologetic and nostalgic way but exempt from slyness and caricature. Some references of the political situation of those years were introduced, as well as a Valencian identity issue and some social problems of the everyday life in the city." From 1990, with some isolated exceptions of some grotesque portraits or scenes, the majority of the pardons consist of very touching scenes. They get people’s attention by showing sentimental scenes with old people and kids or appealing to old family valued, evoking tradition and good feelings. Some emblematic figures of the local culture are also pardoned, transformed into real, emotional, Valencian icons.
 * Collection of the ninots indultats


 * Children’s ninots


 * In the collection of children's ninots, the appeal to local tradition is combined with the influence of the mass culture, especially the Disney factory. Among the children’s ninots are the protagonists of the stories of traditional popular culture, together with television or film characters, adding Valencian references and more or less temperamental falleras. The groups also show the worlds of children's fantasy along with historical and mythological motifs, and the most varied expressions of tenderness.


 * Portraits of the Falleras Mayores of València


 * The Fallera Mayor of València is an iconic figure of the Fallas festival, which appears for the first time in 1931 and later gets consolidated with a set of festivity rituals serving her glorification. Her honorary reign, which lasts a year, makes her the main feminine symbol of the fallero world and gives her a spetial veneration.


 * Collection of the Fallas posters


 * The posters announcing the Fallas are published every year to present the festival in the world, promoting its attractions and most significant elements. The first poster, by Josep Segrelles, dates from 1929 and since then it has been made an extensive and selective collection of works by great Valencian poster artists, of various styles and trends, such as Vicent Canet, Rafael Raga, Mnauel Monleón, Rafael Contreras Juesas or Vicente Lorenzo, among others.


 * Collection of the fallero emblems


 * Heraldic and iconographic expression of the image which each fallero commission wants to transmit of itself. They express the typical idiosyncrasies of each commission. Falleras commissions generate a gigantic associative framework that makes possible the intergenerational transmission of the Fallas.

History
The Falles are a popular festival which was celebrated already in the middle of the 18th century, when in the streets of Valencia, informal committees of neighborhoods erected ephemeral catafalques in which a satirical scene with ninots or figures was represented. Everything was made of wood, fabrics and/or cardboard and the story of the falla was told in few verses. In order to welcome spring, on St. Joseph’s eve the falla was burned, together with pyrotechnics and big collective joy. Since the beginning of the 20th century, the falles became more complex, monumental and artistic, both in their technical composition and in the construction of ninots. Meanwhile, the Falles festival, increased the number of festivities and rituals, while the committees were becoming bigger, more stable and dynamic. The Falles soon became an expression of the Valencian identity and an important tourist attraction, and they started to be burned on the night of St. Joseph’s day. The history of the fallas infantil (children's falles, smaller and without satirical themes) dates back, at least, to the end of the 19th century, and they were made by the children of every neighborhood or street. Over time, professional fallero artists started making them, so their artistic and technic quality improved, but as a consequence the ninots infantiles disappeared in 1963. Because of the progressive artistic quality of the falles, the appearance of the awards for the best and the need for the professional fallero artist specialized in the making of falles, in the 1920s appeared a popular custom of “saving” ninots from fire. In 1934, the so-called "El indulto del fuego" (The Pardon of the Fire) proposal, presented by a fallero artist Regino Mas, became official. Due to the proposal, the Exhibition of the Ninots was made, to which the fallero commissions would take their best ninots, among which the visitors would choose by popular vote the pardoned ninot of that year. This is the origin of the present Fallero Museum, which begins to be configured as a kind of folk museum in the thirties, but only consolidated as such at the beginning of the 1970s.

Fallero Artists
At the beginning, the Falles were made by neighbors, with the occasional help of professionals such as carpenters, painters and decorators. But the strengthening of the artistic Falles created the Fallero artists, craftsmen specialized in graphic design and in Falles construction, with their own workshops, techniques and styles. They started competing in order to obtain the best prizes or the pardoned ninots. They also started co-working, firstly in the Fallero Artists association and after that, in the Fallero Artists Artesan Committee.

Materials of the Pardoned Ninots

 * Wax
 * The bodies of the ninots of the original falles (enormous statues/figures made of papier-mache, cardboard, wood or plaster) had a wooden or recoated tow-covered wireframe, covered with fabric or old clothes. The feet and hands were made with old socks and gloves stuffed with oakum. The wax technique was used for the heads. As early as mud sculptures in plaster were moulded into pieces filled with melted wax reinforced by layers of gas. The head was obtained from presenting the liquid from the alabaster mineral/rock in order to create a film in its contour and to strongly bestow it. Finally, it was painted with oil wax.


 * Cardboard
 * With the consolidation of artistic and monumental falles in the 30s of the 20th century, standardized confection of cardboard ninots started to be established, consisting of adding the head and arms to a manikin made from cardboard which was then dressed up. In 1932, the artist Joan Huerta presented the integrated model of ninots after the falles, a technique that was very quickly encouraged in the building of the falles.


 * The cardboard technique is part of clay modelling the figures from which it makes a negative mould for a plaster cast is split into two parts that are lined up with sheets of cardboard soaked in paste. After the two halves of cardboard are dry, they are then assembled together. Then, the figures are cut and remodelled with several layers of paste or glue, sanded and finally painted with oil wax.


 * Polyester
 * It has been used since 1970. This material follows the same phases of paper manufacturing but using one or two polyester layers in the cast mold and reinforcing it with canvas-like fiberglass. Polyester dries very fast and, when all the parts are together, they are covered with polyester and fiberglass. They are finally sanded off and painted.


 * White cork
 * Since its introduction in 1980, it facilitates the live creation of ninots. It's a conglomerate of foils of different thicknesses which allows to obtain many textures and it can be sculpted only by an electric arc. The pieces may need to be reinforced by some paper and covered by panet (a particular dough), before being sanded off and painted, or they could be painted using a gun and finished putting some patterns on the paper. The modern introduction of digital design and printing made it easier to expand and to standardize the shapes and the falls made of white cork.

Falles Museum Collections
The Falles Museum contains the pardoned ninots collection (since 1934) and the infant pardoned ninots collection (since 1963). It also includes the winning posters and the finalist ones which announce the Falles (since 1929), paintings of the Falleras Mayores of València (since 1995) and the collection of historical flagships of the falleras commissions of València.

"The ninots from the 1930s portray everyday scenes of traditional figures, pursuing a recreation of the Valencian folklore. Added to these, in 1940 there are portraits of craftsmen, popular street guys and some references to film actors. At the same time, reliable and virtuous depictions were provided, the aim of which was to develop a feeling of empathy with the public." "Since 1955, to pardon a portrait is forbidden in order to strengthen a more comical and caricatured line of the pardoned ninots. Realistic social-themed figures predominated in a time of deprivation, while female representations became more eroticized. And also a few characters from some fantastic world more likely of a modern imaginary collective decide to join." "In 1960, there is a combination of naturalism, with a kind and tender theme, and funny scenes, with caricatured figures. More current themes and themes linked to change (migration, industrialization, consumerism, etc.) show up, due to a fast upgrading society. During 1970, caricatures with an easy sense of humour prevailed and most of them with no political discourse on it, oddly enough considering major changes that the country was going through those times." "In 1980 started the tendency to depict genre scenes of traditional trades which were handled in a very apologetic and nostalgic way but exempt from slyness and caricature. Some references of the political situation of those years were introduced, as well as a Valencian identity issue and some social problems of the everyday life in the city." From 1990, with some isolated exceptions of some grotesque portraits or scenes, the majority of the pardons consist of very touching scenes. They get people’s attention by showing sentimental scenes with old people and kids or appealing to old family valued, evoking tradition and good feelings. Some emblematic figures of the local culture are also pardoned, transformed into real, emotional, Valencian icons.
 * Collection of the ninots indultats


 * Children’s ninots


 * In the collection of children's ninots, the appeal to local tradition is combined with the influence of the mass culture, especially the Disney factory. Among the children’s ninots are the protagonists of the stories of traditional popular culture, together with television or film characters, adding Valencian references and more or less temperamental falleras. The groups also show the worlds of children's fantasy along with historical and mythological motifs, and the most varied expressions of tenderness.


 * Portraits of the greatest falleras of Valencia


 * The greatest fallera of Valencia is an iconic figure of the Falles festival, which appears for the first time in 1931 and later get consolidated with a set of festivity rituals serving her glorification. Her honorary reign, which lasts a year, makes her the main feminine symbol of the fallero world and gives her a spetial veneration.


 * Collection of the Falles posters


 * The posters announcing the Falles are published every year to present the festival in the world, promoting its attractions and most significant elements. The first poster, by Josep Segrelles, dates from 1929 and since then has been made an extensive and selective collection of works by great Valencian poster artists, of various styles and trends, such as Vicent Canet, Rafael Raga, Mnauel Monleón, Rafael Contreras Juesas or Vicente Lorenzo, among others.


 * Collection of the fallero emblems


 * Heraldic and iconographic expression of the image which each fallero commission wants to transmit of itself. They express the typical idiosyncrasies of each commission. Faller commissions generate a gigantic associative framework that makes possible the intergenerational transmission of the Falles.

History
The Fallas is a popular festival which was already celebrated in the middle of the 18th century when in the streets of Valencia, informal committees of neighbourhoods erected ephemeral catafalques in which a satirical scene with ninots or figures was represented. Everything was made of wood, fabrics and/or cardboard and the story of the falla was told in a few verses. In order to welcome spring, on St. Joseph’s eve the falla was burned, together with pyrotechnics and big collective joy.

Since the beginning of the 20th century, the fallas became more complex, monumental and artistic, both in their technical composition and in the construction of ninots. Meanwhile, the Fallas festival, increased the number of festivities and rituals, while the committees were becoming bigger, more stable and dynamic. The Fallas soon became an expression of the Valencian identity and an important tourist attraction, and they started to be burned on the night of St. Joseph’s day.

The history of the fallas infantiles (children's fallas, smaller and without satirical themes) dates back, at least, to the end of the 19th century, and they were made by the children of every neighbourhood or street. Over time, professional fallero artists started making them, so their artistic and technic quality improved, but as a consequence children’s ninots disappeared in 1963.

Because of the progressive artistic quality of the fallas, the appearance of the awards for the best and the need for the professional fallero artist specialized in the making of fallas, in the 1920s appeared a popular custom of “saving” ninots from the fire. In 1934, the so-called El indulto del fuego (The Pardon of the Fire) proposal, presented by a fallero artist Regino Mas, became official. Due to the proposal, the Exhibition of the ninots was made, to which the fallero commissions would take their best ninots, among which the visitors would choose by popular vote the pardoned ninot of that year. This is the origin of the present Fallas Museum, which began to be configured as a kind of folk museum in the thirties, but only consolidated as such at the beginning of the 1970s.

Fallero Artists
In the beginning, the Fallas were made by neighbors, with the occasional help of professionals such as carpenters, painters and decorators. But the strengthening of the artistic fallas created the Fallero artists, craftsmen specialized in graphic design and Fallas construction, with their own workshops, techniques and styles. They started competing to obtain the best prizes or the pardoned ninots. They also started co-working, firstly in the Fallero Artists association and after that, in the Fallero Artists Artesan Committee.

Materials of the Pardoned Ninots

 * Wax


 * The bodies of the ninots of the original fallas (enormous figures made of papier-mache, cardboard, wood or plaster) had a wooden or recoated tow-covered wireframe, covered with fabric or old clothes. The feet and hands were made with old socks and gloves stuffed with oakum. The wax technique was used for the heads. From a clay figurine, a plaster mould cut into pieces was obtained, later these pieces were filled with melted wax, which was reinforced by layers of gauze. The head was obtained from presenting the liquid from the alabaster mineral/rock in order to create a film in its contour and to strongly bestow it. Finally, it was painted with oil wax.


 * Cardboard


 * With the consolidation of artistic and monumental fallas in the 30s of the 20th century, the standardized confection of cardboard ninots started to be established, consisting of adding the head and arms to a manikin made from cardboard which was then dressed up. In 1932, the artist Joan Huerta presented the integrated model of ninots after the falles, a technique that was very quickly encouraged in the building of the fallas.


 * The cardboard technique is part of clay modelling the figures from which it makes a negative mould for a plaster cast which is split into two parts that are lined up with sheets of cardboard soaked in paste. After the two halves of cardboard are dry, they are then assembled. Then, the figures are cut and remodelled with several layers of paste or glue, sanded and finally painted with oil wax.


 * Polyester


 * It has been used since 1970. This material follows the same phases of paper manufacturing but using one or two polyester layers in the cast mold and reinforcing it with canvas-like fiberglass. Polyester dries very fast and, when all the parts are together, they are covered with polyester and fiberglass. They are finally sanded off and painted.


 * White cork


 * Since its introduction in 1980, it facilitates the live creation of ninots. It's a conglomerate of foils of different thicknesses which allows to obtain many textures and it can be sculpted only with an electric arc. The pieces may need to be reinforced by some paper and covered by panet (a particular dough), before being sanded off and painted, or they could be painted using a gun and finished putting some patterns on the paper. The modern introduction of digital design and printing made it easier to expand and to standardize the shapes and the falls made of white cork.

Fallas Museum Collections
The Fallas Museum contains the pardoned ninots collection (since 1934) and the children's pardoned ninots collection (since 1963). It also includes the winning posters and the finalist ones which announce the Fallas (since 1929), paintings of the Falleras Mayores of València (since 1995) and the collection of historical flagships of the falleras commissions of València.

"The ninots from the 1930s portray everyday scenes of traditional figures, pursuing a recreation of the Valencian folklore. Added to these, in 1940 there are portraits of craftsmen, popular street guys and some references to film actors. At the same time, reliable and virtuous depictions were provided, the aim of which was to develop a feeling of empathy with the public." "Since 1955, to pardon a portrait is forbidden in order to strengthen a more comical and caricatured line of the pardoned ninots. Realistic social-themed figures predominated in a time of deprivation, while female representations became more eroticized. And also a few characters from some fantastic world more likely of a modern imaginary collective decide to join." "In 1960, there is a combination of naturalism, with a kind and tender theme, and funny scenes, with caricatured figures. More current themes and themes linked to change (migration, industrialization, consumerism, etc.) show up, due to a fast upgrading society. During 1970, caricatures with an easy sense of humour prevailed and most of them with no political discourse on it, oddly enough considering major changes that the country was going through those times." "In 1980 started the tendency to depict genre scenes of traditional trades which were handled in a very apologetic and nostalgic way but exempt from slyness and caricature. Some references of the political situation of those years were introduced, as well as a Valencian identity issue and some social problems of the everyday life in the city." From 1990, with some isolated exceptions of some grotesque portraits or scenes, the majority of the pardons consist of very touching scenes. They get people’s attention by showing sentimental scenes with old people and kids or appealing to old family valued, evoking tradition and good feelings. Some emblematic figures of the local culture are also pardoned, transformed into real, emotional, Valencian icons.
 * Collection of the ninots indultats


 * Children’s ninots


 * In the collection of children's ninots, the appeal to local tradition is combined with the influence of the mass culture, especially the Disney factory. Among the children’s ninots are the protagonists of the stories of traditional popular culture, together with television or film characters, adding Valencian references and more or less temperamental falleras. The groups also show the worlds of children's fantasy along with historical and mythological motifs, and the most varied expressions of tenderness.


 * Portraits of the Falleras Mayores of València


 * The Fallera Mayor of València is an iconic figure of the Fallas festival, which appears for the first time in 1931 and later gets consolidated with a set of festivity rituals serving her glorification. Her honorary reign, which lasts a year, makes her the main feminine symbol of the fallero world and gives her a spetial veneration.


 * Collection of the Fallas posters


 * The posters announcing the Fallas are published every year to present the festival in the world, promoting its attractions and most significant elements. The first poster, by Josep Segrelles, dates from 1929 and since then it has been made an extensive and selective collection of works by great Valencian poster artists, of various styles and trends, such as Vicent Canet, Rafael Raga, Mnauel Monleón, Rafael Contreras Juesas or Vicente Lorenzo, among others.


 * Collection of the fallero emblems


 * Heraldic and iconographic expression of the image which each fallero commission wants to transmit of itself. They express the typical idiosyncrasies of each commission. Falleras commissions generate a gigantic associative framework that makes possible the intergenerational transmission of the Fallas.