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The present text focuses on two books about art from the United States written by critic and historian Vicente Aguilera Cerni in 1955 and 1957, respectively. Through them, and the historical circumstances surrounding them, we analyze how U.S .art was interpreted during the Franco regime, and the role it played in Spanish art circles after its “discovery.” Aguilera Cerni’s books were written in a period of Spanish history running between accord and embrace, a phrase associated with political relations between Spain and the United States in the 1950s. In that context, “accord” refers to economic and political accords signed by the governments of Spain and the United States in 1953. The subsequent “embrace” took place between Franco and President Eisenhower in 1959. While Aguilera Cerni’s theoretical legacy is now recognized, it has yet to be sufficiently studied. The present text analyzes one of his leastknown and most innovative contributions to art history: his open and progressive presentation to the Spanish public of U.S. artistic creations practically unknown in Spain at that time. Those works had never been studied here and very few of the studies by foreign authors had yet been translated.El tema del presente texto se centra en los dos libros que escribió el crítico e historiador Vicente Aguilera Cerni en 1955 y 1957 sobre el arte de los Estados Unidos de América. A través de ellos y de las circunstancias históricas que los rodearon, analizaremos su interpretación y la manera en que este descubrimiento del arte norteamericano se insertó en el ambiente artístico de la dictadura franquista. Los libros de Aguilera Cerni fueron escritos en un periodo de la historia española comprendido entre el acuerdo y el abrazo; el “acuerdo” económico y militar suscrito por los gobiernos de España y Estados Unidos en 1953, y el "abrazo" que se produjo entre Franco y el presidente Eisenhower en 1959. Si bien el legado teórico de Aguilera Cerni es reconocido en la actualidad, ha sido todavía insuficientemente estudiado. Este trabajo se propone analizar uno de los aspectos menos conocidos de su aportación a la historia del arte, que posee un carácter innovador al presentar al público español, con una perspectiva abierta y progresista, unas creaciones artísticas casi desconocidas entonces y de las que no había estudios realizados en nuestro país, siendo también escasas las traducciones de textos de autores internacionales

Ímpetu y sueño del arte norteamericano en los escritos de Aguilera Cerni