In 1926, the Lyceum Club Femenino opened its doors in Madrid as the primary venue for cultural meeting and discussion for the women of that era. Ernestina de Champourcin was actively involved in its literary section, through which she helped promote the participation of other women. The photographs and publications show how these women forged friendships and collaborated in the training of a space of their own.

Although they remained forgotten for a long time, in recent years there has been a proliferation of programs of study and works by reference letter on the Lyceum Club Femenino and the role of women in the Generation of ’27. Through these pages, the history of a space for meeting, training , and participation in cultural life is brought to light, and the careers of women writers, artists, and thinkers who contributed to the renewal of Spanish culture are highlighted.

Juan Ramón Jiménez was one of the leading figures among the “Poets of ’27” during the 1920s, a period in which the concept of “pure poetry”—crucial to much of the new Spanish poetry—took shape. The General file t of the University of Navarra holds documents that attest to his close intellectual and staff relationship with Ernestina de Champourcin.

Ernestina de Champourcin built her " training " through reading, constant curiosity, and the study of the classics. This display case features her " degree scroll " high school diploma and some books that reflect her interests throughout her life.

The poetry collections, reviews, articles, and poems published in magazines and compiled here allow us to trace Ernestina de Champourcin’s early steps in the literary life of her time. From her first book, *En silencio* (1926), to *Cántico inútil* (1936), her poetry garnered increasing critical attention. Ernestina de Champourcin kept these copies and reviews in her “ file ”staff.

Ernestina de Champourcin lost much of her file staff when she went into exile. She kept a few letters, such as the invitation she sent to Cernuda to give a recital at the Lyceum Club, the letter in which Antonio Machado thanked her for sending him *Cántico inútil*, and her correspondence with Dulce María Loynaz (award Miguel de Cervantes in 1992). Despite the distance, he managed to maintain a correspondence that allowed him to bridge the gaps of exile. Examples of this include the letter from Azorín (1964) and the Christmas card from Vicente Aleixandre (1970).

Ernestina de Champourcin had managed to carve out a reputation for herself as a literary critic thanks to her “Escaparates,” in which she highlighted the best poets of her time. As a result, many sent her works dedicated to her. The display case also features the interview that *La Gaceta Literaria* devoted to Ernestina de Champourcin, which aroused Federico García Lorca’s envy. Taken together, these items reveal a writer who not only developed her own poetic voice but also actively participated in the literary discourse of the 1920s and 1930s.

The original drafts offer a glimpse into Ernestina de Champourcin’s writing process at the very moment of its creation. Corrections, cross-outs, replaced words, and rewritten verses reveal how the poet searches for and refines her expression until she finds the right form final.

Carmen Conde (1907–1996) made history in Spanish cultural life when, in 1978, she became the first woman to be elected to the Royal Spanish Academy. Her relationship with Ernestina began in 1927 and continued for decades through an extensive correspondence. In addition to letters and photographs, this exhibition features several copies of works by Carmen Conde written before the Civil War that Ernestina de Champourcin preserved in her library staff.

At the Liceo Femenino, Ernestina met other female poets with whom she shared a dedication to poetry and a concern for the place women should be able to occupy in the society of their time. A good sample of the hope and optimism that fueled her projects is the correspondence she maintained with Concha Méndez around 1929. In her letters to Ernestina, Concha Méndez (1898–1986) conveys her adventurous spirit. These letters reflect her travels, the sea, and her plans for the future, all viewed through an open and confident lens.

Josefina de la Torre (1907–2002) was one of the female voices associated with the poetic renewal of the Generation of ’27. She was included, along with Ernestina de Champourcin, in Gerardo Diego’s 1934 anthology. In 1977, Champourcin remembered her in her essay “ article : ‘Algunos olvidos injustos’” (Some Unjust Omissions), in which she denounced the exclusion of female authors from the Generation of ’27 in literary history following the Civil War.

“The Generation of ’27 actually came together on the occasion of Góngora’s centennial in 1927 and was presented as a unified group to the reading public in the anthology selected by Gerardo Diego” (Villar)
“There were twelve poets and four women, but Spanish machismo was still rampant as usual; there was a huge outcry, and Gerardo only managed to include Josefina de la Torre and me. The other poets didn’t mind that two women were included in the * group*” (Champourcin)

The Generation of ’27 brought together women who were active in a wide variety of creative and intellectual fields. Alongside the poets were novelists, playwrights, essayists, translators, and philosophers who actively participated in the cultural renewal of their time. María Teresa León, Rosa Chacel, Luisa Carnés, and María Zambrano are among these figures, united by a shared desire to explore new forms of expression and thought.

The Generation of ’27 was not merely a literary movement. Its leading figures shared a common atmosphere of artistic renewal in which poetry, painting, film, and music were closely intertwined and the boundaries between the various arts became more permeable. Figures such as Maruja Mallo, Luis Buñuel, Salvador Dalí, and the composers of the so-called Musical Generation of ’27 were part of this avant-garde scene and maintained ties with the writers of their time.