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Copyright of Siglo Diecenueve: Literatura Hispánica is the property of Universitas Castellae and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Siglo Diecenueve: Literatura Hispánica is the property of Universitas Castellae and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arte y Ciudad is the property of Arte y Ciudad and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Espacio, Tiempo y Forma: Serie V, Historia Contemporánea is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Siglo Diecenueve: Literatura Hispánica is the property of Universitas Castellae and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the mid-nineteenth century synesthesia promoted some experiments dealing with the merging of the senses. Painting, always inspired by music, discovered new forms of expression. In the 1860s the artist James McNeill Whistler, started to use certain colours in a bid to refine his work, giving musical titles to his paintings. He created a composition he called the \"nocturne\", a word previously applied to music, thereby presenting a new interpretation of night as an atmospheric, fantastical and delicate vision of the modern city. Whistler gave consideration to both poetic quality as a means of evoking a state of mind in the darkness of the night and the reluctance of the composition to conform to narrative content. He saw the genre as a specifically urban phenomenon in which new the forms of industry and the metropolis came into play along with modern gas and electrical lighting. The concept of the nocturne was developed in Spain by several artists including Meifren and Dario de Regoyos, and modernist writers such as Rubén Darío, Juan Ramón Jiménez and José Asunción Silva also produced literary nocturnes. The synesthesia-inspired ideas found their way back to music and were reworked by Debussy and Manuel de Falla. [ABSTRACT FROM AUTHOR]