Copied by the Sun: The First Photographically Illustrated Book on Art

2016-10-copied-by-the-sun-a4-posterStirling Maxwell Centre
University of Glasgow

Hilary Macartney (University of Glasgow), with Jim Tate (National Museums of Scotland) and Brian Liddy (Bodleian Library)

Copied by the Sun: The First Photographically Illustrated Book on Art

Illustrated talk, book launch and display of collection highlights

University of Glasgow Library Special Collections, Henry Heaney Room

Thursday 27 October 2018

In 1848, the Scottish scholar Sir William Stirling Maxwell created the world’s first photographically illustrated book on art by adding a volume of Talbotype (or calotype) illustrations to his pioneering book on Spanish art Annals of the Artists of Spain. The photographs, by William Henry Fox Talbot’s assistant Nicolaas Henneman, faded soon after. Nevertheless, this ground-breaking volume pointed the way towards the use of photography in the study of art. This talk launches the publication of a two-volume facsimile and critical edition of the digitally reconstructed photographs. On display will be the related calotype negative (1847) by D O Hill and Robert Adamson of Velázquez’s Surrender of Breda, a highlight of the recent Stirling Maxwell exhibition at the Prado Museum, Madrid, and other items from the Photographic and Stirling Maxwell Collections in the University of Glasgow Special Collections.

Copied by the Sun will be available for cash sale at the special price of £67.00.

Publication details (source: WorldCat):

Title: Copied by the sun: Talbotype illustrations to the Annals of the artists of Spain by Sir William Stirling Maxwell: studies and catalogue raisonné /
Author(s): Macartney, Hilary.
Matilla, José Manuel. 
Corp Author(s): Museo del Prado
Publication: Madrid: Museo Nacional del Prado
Year: 2016
Description: 2 volumes (365 numbered pages, 140 unnumbered pages) : color illustrations ; 24 cm.
Language: English
Standard No: ISBN: 9788415245551; 8415245556

Wallace Collection: Xavier Bray & a Musical Celebration of Spain

ECHOES FESTIVAL ‘Through Gilded Trellises’: A Celebration of Spain

Friday, 11 November 2016, 7.00pm
The Wallace Collection
Hertford House
The Wallace Collection welcomes its new Director and Spanish painting specialist Dr Xavier Bray with a special evening concert, ‘Through Gilded Trellises’: a Celebration of Spain, featuring award-winning soprano Natalya Romaniw and acclaimed tenor Luis Gomes. Inspired by the Collection’s impressive assemblage of Spanish Old Master paintings, the concert will highlight music by Turina, Mompou and Granados in addition to Spanish-inspired music by celebrated European composers such as Debussy and Scarlatti. The intimate concert will be held in the Collection’s Great Gallery, surrounded by some of art history’s most recognizable Old Master paintings, including Velázquez’ The Lady with a Fan and Rubens’ The Rainbow Landscape.

The evening will also feature an ‘in conversation’ discussion between Dr Bray and pianist Iain Burnside, where they will consider the wider impact of Spanish painters and composers on European culture.

2016-10-listing-pic-wallace-collectionNatalya Romaniw soprano | Luis Gomes tenor | Iain Burnside pianist

Click HERE for more information.



ARTES private visit to the V&A’s Opus Anglicanum exhibition, 9am, Weds 14 December


The Toledo Cope (detail), copyright Toledo, Tesoro de la Catedral, Museo de Tapices y Textiles de la Catedral


The stunning exhibition of medieval English embroidery at the Victoria & Albert Museum includes several pieces long held in Spanish treasuries, including two wonderful copes from Toledo and Daroca. Curator Glyn Davies has kindly offered to take ARTES members on a private visit to the exhibition on Wednesday 14th December at 9am (ie before the exhibition opens to the public at 10am). Tom Nickson (ARTES Vice-Chair) will also speak briefly about how these English embroideries came to Spain, and their fate thereafter.


This event is open to ARTES members only. To join us (£35/£20) see details here. Members can confirm a place by emailing, and should arrive at the V&A’s Secretariat Gate by 8.50am (NB, latecomers cannot be admitted).

‘Goyescas’: Music in the Time of Goya

2016-10-goyescas-listing-pic-frame-logoECHOES FESTIVAL

‘Goyescas’: Music in the Time of Goya
José Menor & The Latin Classical Chamber Orchestra

Wednesday, 2 November 2016, 7.00pm
St John’s Smith Square
Smith Square

Join Spanish virtuoso pianist José Menor and The Latin Classical Chamber Orchestra on an exhilarating musical journey to 18th-century Spain as they mark the 2016 centenary of the great Spanish composer  Enrique Granados (1867-1916) with a  multi-media programme inspired by the life and times of Granados’ greatest muse, the Spanish painter Francisco de Goya (1746-1828).

Click HERE for more information.
Click HERE to watch a video.
Click HERE to listen to an audio clip.

Wifredo Lam at Tate Modern

2016-09-wifredolamWifredo Lam
Tate Modern
14 September 2016 –  8 January 2017

Click here for events associated with the exhibition.

Artist biography

Wifredo Lam born 1902 [- 1982]

Surrealist painter born in Sagua la Grande, Cuba, of a Chinese father and a mother of mixed African, Indian and European origin. Studied at the Academy of San Alejandro in Havana 1920-3, then went in 1924 to Madrid where he worked in the studio of Fernando Alvarez de Sotomayor, the Director of the Prado, and also in the evenings at the Free Academy. Left Spain in 1938 after taking part in the defence of Madrid, and moved to Paris. First one-man exhibition in Paris at the Galerie Pierre Loeb 1939. Friendship with Picasso, who enthusiastically encouraged him, and with Breton and the Surrealists. Became interested in African sculpture. Fled in 1941 to Martinique with Breton, Masson and Lévi-Strauss, then returned to Cuba where his work was influenced by savage rituals and the tropical jungle. Visited Haiti in 1945 and 1946 and discovered the Voodoo cult; later in 1946 met Gorky and Duchamp in New York and returned to Paris. 1947-52 in Cuba, New York and Paris; left Cuba in 1952 to live in Paris. Since 1960 has also worked regularly at Albisola Marina, Italy. Awarded the Guggenheim and Marzotto Prizes 1964-5. Lives in Paris and Albisola Marina.

Published in:
Ronald Alley, Catalogue of the Tate Gallery’s Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, pp.404-5


CfP: St Louis University, 2017


Lineage, Loyalty, and Legitimacy in Iberia and North Africa (600­-1600)
Saint Louis, 19-21 June 2017)

The Center of Medieval and Renaissance Studies at Saint Louis University in conjunction with the Medieval Iberia and North Africa Group at the University of Chicago invite abstracts for an upcoming conference, “Lineage, Loyalty, and Legitimacy in Iberia and North Africa (600­1600),” to be held at the SLU campus on June 19­-21, 2017 during the 5th Annual Symposium of Medieval and Renaissance Studies.

The aim of this sub-conference is to build on recent scholarship which has sought to move beyond notions of “the state” as a mode of inquiry in Iberian and North African studies, and to promote instead a more holistic, interdisciplinary approach to the study of the politics, cultural production, and religious practices of these regions. Toward that end, this conference will bring together scholars from a range of disciplines in order to facilitate conversations about the relationships between politics, historiography, art, literature, and religion in medieval and early modern Iberia and North Africa.

Preliminary guiding questions for proposals include:
● How were kinship and patronage networks forged and negotiated, dismantled and maintained?
● What (in)formal bonds and socio­religious rituals demonstrated (dis)loyalty, whether within families or between political actors?
● How were institutions formed and maintained?
● How were concepts of (il)legitimacy produced, critiqued, and perpetuated during this period?
● What role did art, architecture and material culture play in the construction of notions of legitimacy and authenticity?
● How did the transmission or co­production of knowledge and culture across religious boundaries contribute to medieval and early modern genealogies of knowledge? How did these processes bolster or discredit claims to epistemological legitimacy?

These questions are meant to be interpreted broadly, and applicants are invited to submit brief proposals for papers addressing the conference’s title themes. Possible topics include but are not limited to: royal and noble families; inheritance and succession; marriage; dynastic politics and genealogical narratives; oaths and fealty; jurisprudence and theology; intellectual traditions and networks; textual and artistic production, especially the “co­production” of culture across social, ethnic, and religious boundaries; document authenticity and forgery; administrative precedent and innovation.

We encourage submissions for 20­ minute papers from a range of disciplines including: history, religious studies, literary studies, anthropology, archaeology, manuscript studies, and art history. The hope is that this conference will provide a forum for discussion and collaboration between scholars. Graduate students, post­doctoral researchers, and early­ career faculty are particularly encouraged to apply.

Please submit a brief CV along with an abstract of roughly 300 words to Edward Holt ( by December 15. Direct any questions or concerns to Edward Holt or Mohamad Ballan (

Conference: X Jornadas Complutenses de Arte Medieval (Madrid)


En Busc@ Del Saber: Espacios y Redes del Conocimiento en el Mediterráneo Medieval

Departamento de Historia del Arte Universidad Complutense, Madrid
2 – 4 November 2016

1. “El Espejo de príncipes: paideia, uirtus y adab”, centrada en las distintas formas de espacios seculares del conocimiento.
2. “La ciencia y su práctica”, dedicada a las redes y lugares donde se desarrolló y practicó la ciencia medieval.
3. “El libro y sus espacios”, orientada tanto a la producción medieval de libros como a los espacios de producción y disfrute de la obra escrita.
4. “Maestros, sabios y benefactores” visibiliza la relación de los patronos con los productores y gestores del conocimiento, valorando las sinergias generadas entre todos los agentes implicados en el desarrollo del saber.