스페인 팝아트는 1960년대 후반 프랑코 시대의 경제 성장과 소비문화 확산이라 는 사회적 변화 속에서 등장했다. 표면적으로는 근대화와 물질적 진보가 이루어지는 듯 보였지만, 정치적 억압과 검열, 사회적 불평등은 여전히 깊게 자리하고 있었다. 이러한 모순적 현실 속에서 스페인 팝아트는 대중적 이미지와 광고, 만화 등 친숙한 시각 언어를 활용하여 사회와 권력 구조를 비판하는 독특한 표현 방식으로 발전하였다. 화려하고 소비지향적인 이미지들은 적극적으로 차용하면서도 단순히 미국 팝/아트를 따라 하지 않고, 풍자와 반복, 재구성을 통해 프랑코 정권과 소비사회의 이면을 날카 롭게 드러냈다. 스페인 팝아트는 당시의 사회적, 정치적 모순을 시각적으로 표현하는 동시에, 자국 현실을 비판적으로 성찰하는 독자적 예술적 시도를 보여주었다.

This Study examines the emergence of Spanish Pop Art within the contradictory landscape of late Francoist Spain(1960-1975). While rapid industrialization, tourism fueled economic growth and a burgeoning consumer culture, political repressive, censorship, and authoritarian control remained deeply entrenched. This tension gave rise to an art movement that adopted the seductive visual language of mass media, advertising and popular imagery not to celebrate modernity - as in American Pop Art - but to expose the contradictions of a society caught between apparent progress and the harsh realities of dictatorship. Early critical collectives such as Estampa Popular rejected the statedsupported abstraction of the 1950s and employed affordable, widely accessible printmaking to depict social inequality and working-class struggles. Building on their example, groups like Equipo Crónica and Equipo Realidad reconfigured the imagery of advertising, comics, and art history into sharp parodies of Francoist propaganda and consumerist ideals. Their works combined irony and repetition to dismantle official narratives that promoted a folkloric and exotic national identity while masking political violence and inequality. Individual artists including Josep Renau and Joan Rabascall expanded this critique by confronting U.S. cultural hegemony and Cold War’s consumerist promises, juxtaposing symbols like Coca-cola bottles, atomic explosions, and Hollywood symbols to highlight the hidden ties between capitalism and militarism. At the same time, feminist artists such as Ana Peters, Isabel Oliver and Eulàlia Grau confronted the gendered dynamics of the new consumer society. Through photomontage, collage and ironic appropriation of advertising, they questioned the restrictive roles imposed on women and exposed the persistence of patriarchal values beneath the appearance of liberation. Spanish Pop Art thus transformed popular imagery into a potent vehicle of dissent. By borrowing the seductive aesthetics of consumer society these artists turned symbols of progress into sharp commentaries on oppression. Far from being a mere stylistic imitation of American Pop Art, the movement forged a uniquely Spanish perspective, on that combined humor, irony and social engagement to critique moderation under Francoist control.

Ⅰ. 서론
Ⅱ. 미국 문화 헤게모니에 대한 대응
Ⅲ. 프랑코 정권의 스페인 이미지 구축에 대한 비판
Ⅳ. 소비사회와 새로운 일상
Ⅴ. 결론
주제어(key Words)
참고문헌
국문초록
Abstract

• 벨라스코 고메즈 레이레(숙명여자대학교) | VELASCO GOMEZ LEIRE (Sookmyung Women’s University)