WordPress.com is excited to announce our newest offering: a course just for beginning bloggers where you’ll learn everything you need to know about blogging from the most trusted experts in the industry. We have helped millions of blogs get up and running, we know what works, and we want you to to know everything we know. This course provides all the fundamental skills and inspiration you need to get your blog started, an interactive community forum, and content updated annually.
Ibero-American Art, Identity and Resistance session
This panel aims to examine works by Ibero-American artists from the colonial period to contemporary times that debate migration and people’s movements across geographies. We seek to debate how artists interpret a new reality with constrained people movement in a pandemic. We seek contributions from a wide range of disciplines that engage with artistic practices in an Ibero-American context, including painting, performance, multimedia, art installation, and virtual reality (VR). We encourage submissions that debate how Ibero-American artists portray in their work the political and social aspects of cultural transfers resulting from people’s migration. We seek to discuss issues affecting minority populations and cultural transfers discourses in the context of immigration. We seek to debate how these works by Ibero-American artists demand from their makers a reconfiguration of thought and practices in current realities. We explore the importance of maintaining the Latin American historical memory and raising questions about preserving Latinxs identity and diversity. How politics influenced the Latin America art scene? How does the cultural flow happen in a new geographical location? How can arts promote cultural identity? How do artists negotiate their migrant identity in new geographies? How can artistic practices be reimagined in a new context in which we have limited physical interactions with others?
We invite 300-word abstracts of the proposed papers to be sent along with a brief biography (150 words maximum)
Deadline: 16 May 2021
Submissions must include:
the name of the applicant
the applicant’s email address
the applicant’s institutional affiliation and rank
title of proposal
a proposal (300 words maximum)
a brief biography (150 words maximum)
Submissions must be submitted via the Call for Papers form (click to open)
More information at https://uaac-aauc.com/conference/
History of Art, University of Edinburgh is looking for a Teaching Fellow (0.7 FTE) in History of Art, specifically the History of Spanish and French art, c.1600-1900 to start on 31 May 2021, fixed term for 27 months.
Application deadline: 20/04/2021, 17:00
If you’re unable to attend these exhibitions in person, enjoy the museums’ online content while we wait for museums to open more widely!
In advance of tomorrow’s final lecture in the ARTES/ Zurbarán Centre Online Seminar Series, please find the recording of Madeleine Haddon’s talk, ‘The Cuban Maja: La Mulata In The Work Of Victor Patricio Landaluze’, delivered on March 24th, 2021.
This talk is part of a series of 12 research seminars, many of which will also be recorded and available on the ARTES site. Please click here for more information on the seminar series.
Please join us for the final talk in the series tomorrow, March 31st, 6-7pm. The talk will be delivered by Laura Fernández-González (University Of Lincoln), and is titled ‘Conventual Possessions In The Iberian World: Inventories In Comparative Perspective’.
The series is free and open to all with an interest in the visual arts. Booking is essential. Please email the Zurbarán Centre (Zurbaran.firstname.lastname@example.org) to register and to receive a zoom link. Please note registration closes 24 hours before the seminar.
Deadline of Application: April 7, 2021
ICDAD has announced grants of the amount of up to 2,000 euros for spring 2021. All individual and institutional members of ICDAD are welcome to apply. Collaborations with ICOM national or regional groups, with other ICOM international committees, or other partners are allowed and encouraged.
The proposed projects should fit into the following categories of activity:
- conferences, trainings and meetings
- publications and research activities
- activities for young members
- actions encouraging exchange with emerging countries
- cooperation with other ICOM committees and/or Regional Alliances
Please find the application form below:
Faculty of History, Department of History of Art, Littlegate House, St Ebbe’s St, Oxford
The Department of History of Art is seeking a highly motivated and inspirational person to join a thriving academic community of art historians and bring exciting perspectives to the teaching and study of the History of Art at Oxford. This is a joint appointment: the person appointed to the Associate Professorship will also be appointed to a Tutorial Fellowship at St Peter’s College and will be a member and trustee of its Governing Body. In time, the post holder may be appointed to a lectureship at a further college by agreement between the Faculty, St Peter’s College and that college (more details in ‘Duties’, below).
They seek applicants whose scholarship focuses on the seventeenth and/or eighteenth centuries. We are particularly interested in candidates with a global outlook who can bring innovation to the way art history is conceived and practiced. A goal of the search is to increase the diversity of the teaching in our Department, and we therefore welcome applicants who can offer frames of reference that are historically under-represented in the discipline of art history. We particularly encourage applications from women and people of colour. The successful applicant will join an academic community that places the highest value on rigorous inquiry and encourages a range of perspectives, experiences, and ideas to inform and stimulate intellectual challenge, engagement, and exchange.
Please click here for more information about tonight’s Glendenning Lecture
Booking is essential. Please email the Zurbarán Centre (Zurbaran.email@example.com) to register and to receive a zoom link.
Claudie Ressort, who died in Paris on 9th February 2021 at the age of eighty-seven, was for many years in charge of Spanish Paintings in the Louvre Museum. During her career spent entirely in that institution, she worked endlessly to defend the cause of Spanish Art and the place it should have in such a museum, beyond the exceptional masterpieces of Spain’s most renowned artists.
After her studies at the École du Louvre and a few years in the Educational Service of the museum, Claudie moved in 1969 to the Department of Paintings where she worked first both with Michel Laclotte, the head of Department, mainly on early renaissance painting, and with Jeannine Baticle (1920-2014) then chief curator of Spanish Paintings. She discreetly but very efficiently assisted Baticle in her series of important exhibitions – Goya (with A.B. De Vries, Orangerie des Tuileries, Paris; Mauristhuis, The Hague, 1970), La Galerie espagnole de Louis-Philippe (Louvre, 1981), Zurbarán (Paris, Grand Palais; New York, Metropolitan Museum, 1987-1988). From their close collaboration on another exhibition, then quite pioneering, Eugenio Lucas et les satellites de Goya (Lille and Castres museums, 1972) for which she established most of the challenging catalogue, she kept an interest in nineteenth-century Spanish painting that she liked to collect. Her first “solo exhibition”, Mariano Fortuny et ses amis français (Castres, 1974) that commemorated the centenary of the painter’s death also confronted a field then totally unclear.
In 1983, she took full responsibility for a seemingly modest exhibition, Murillo dans les musées français in the Louvre series “dossiers du département des peintures”. The catalog, one of the first to seriously tackle Murillo’s provenances, is still a mine of references today with its in-depth study of the masterpieces preserved in France and of the French taste for Murillo since the eighteenth century. She further deepened our knowledge of the exceptional collection of Murillo’s drawings held in the Louvre Cabinet des Dessins in Spanish Drawings: Masters of the 16th and 17th Centuries exhibition catalogue (Louvre, 1991, with Lizzie Boubli and Alfonso Pérez Sánchez).
Claudie’s preferred area of research was the Spanish painting of the 14th and 15th centuries, notably Catalan and Valencian works with their many contacts with Italy, but also those from Castille and Aragon. At the time of her death, she was working on the history of the Altarpiece of St George in the Victoria and Albert Museum, trying to resolve the enigma of its arrival in France around 1864. Her interest in the researches of the Louvre Research Laboratory and her exceptional ability to work in collaboration resulted in more than a dozen of important articles among them several written with Mathieu Hériard-Dubreuil on Valencian painting (1978, 1979 and 1994). Her death will be keenly felt among the specialists of this period who greatly respected her work and judgments.
A committed curator, Claudie was always looking for works to be acquired by the Louvre Museum or the Musée Goya in Castres. Jean-Louis Augé, who has just retired from his long curatorship in the latter museum, paid tribute to the help she gave him in his active acquisition policy, among them Herrera the elder’s Multiplication of loaves and a panel by Juan Rexach as well as in writing the catalogue raisonné of Castres paintings and sculptures of the 14th and 15th centuries (Cahiers du Musée Goya, n° 3, 2000). Once she took over the responsibility for Spanish Paintings after Jeannine Baticle’s retirement in 1988, she tried, in a difficult context, to obtain new paintings for the Louvre. She managed to acquire a Pieta by Morales, the splendid panel of Juan de Borgoña of The Virgin, Saint John, two holy women and St Dominique of Guzmán and three panels by the Maestro de Alcobacer. She was also always determined to study these new acquisitions as well as to help colleagues from “musées de province” with their Spanish works. She knew all these museums very well and started enthusiastically, some years ago, to contribute to a new project of inventorying the Spanish works kept in French public collections (RETIB) travelling to Burgundy, Franche-Comté or Aquitaine.
Claudie Ressort, was extremely attached to the scholarly tradition of museums, and keen to consummate her professional career by producing the catalogue raisonné of Spanish and Portuguese paintings at the Louvre, in a department that, apart from another curator, largely ignored this kind of task. The Musée du Louvre, Département des peintures, catalogue, Écoles espagnole et portugaise, Paris, Réunion des Musées nationaux 2002, to which she kindly associated me, is, with her 1982 catalogue of Murillo dans les musées français, her greatest legacy to the museum where she spent all her working life.
Almost ten years ago Claudie, still indefatigable, undertook the enormous task – and associated me again in this enterprise –of inventorying Spanish works that had passed through France between 1800 and 1914, and of studying their collectors. Her starting point was really to pay homage to the work of the bibliographer and bookseller Louis Soullié (1860-1940) whose manuscript of his never published Relevé détaillé des tableaux et dessins de l’École espagnole ayant passé dans les ventes de collection depuis 1801 is in the Library of the Prado museum. Claudie was able to complete most of her chapters and hopefully the finished work will be online in 2022.
Many scholars of Spanish art, Spaniards, British, American etc, older or even still quite young, will remember Claudie’s wonderful generosity and warm kindness: she was always ready to help them in their work, to guide them in the complicated network of libraries and archives, to share her immense knowledge of Spain but also, and these may be the most precious memories, to welcome them, as real friends, in her Parisian flat or her charming country house in the Chevreuse valley.
Obituary and Bibliography written by Veronique Gerard-Powell.
This work-in-progress talk will present some new findings on the iconography and provenance of a series of cuttings from a richly illuminated choir book. I argue that the parent manuscript, a Gradual, was probably created in the late fifteenth century for the Observant Hieronymites of San Isidoro del Campo in Santiponce, near Seville. As used by this Hieronymite community, and later pasted into an album of cuttings by William Stirling Maxwell after 1849, I explore the continued production of meaning of these cuttings and their digital remediation.
Dr Matthew Westerby is Robert H. Smith Postdoctoral Research Associate for Digital Projects at the Center for Advanced Study in the Visual Arts (CASVA), National Gallery of Art, Washington DC.
The event will take place on Zoom. Please register here to join:
When: Mar 23, 2021 05:00 PM London
After registering, you will receive a confirmation email containing information about joining the meeting.