Ex ungue leonem. Marble heads by the Master of Cabestany, Barcelona, Museu Nacional d’Art de Catalunya, 4 April – 28 September 2014.
The four marble heads displayed in Room 4 of the Museum are fragments from the doorway of Sant Pere de Rodes, carved in the second third of the twelfth century, a masterpiece attributed to the Romanesque sculptor the ‘Master of Cabestany’. His work has been found in several places in southern Europe, from Tuscany (Italy) to Navarre, although most of the examples conserved are to be found in northern Catalonia and Languedoc. The doorway they once belonged to was destroyed sometime between 1800 and 1825. The four heads are on loan from private collections, and from the museums of Girona and the Fitzwilliam, Cambridge.
Josef Albers/Joan Miró The Thrill of Seeing, Fundacion Joan y Pilar Miró, Palma de Mallorca, 23 MAY – 21 SEPTEMBER 2014.
Exhibition contrasting the abstract art of two twentieth-century artists, who though they never met, the co-curators (Directors of the artists’ respective foundations) believe shared an inclusive vision. The show integrates Miró’s paintings, drawings, and sculpture, all from the collection of the Fundacion Joan y Pilar Miró, with Albers’s paintings, prints, and glass work, all from the Albers Foundation in Connecticut, so as to reveal “astounding visual and spiritual similarities”. [Reviewed in the news section of Guardian 12/07/14 p.21]
A two-page tri-lingual colour-illustrated leaflet about the exhibition can be downloaded from the exhibition web page (English text: http://miro.palmademallorca.es/documentos/D_428.pdf)
Tan lejos, tan cerca: Documentalismo fotográfico en los años 70 (Madrid: Real Jardín Botánico – CSIC, 4 Jue – 27 July 2014). Images by leading documentary photographers of 1970s Spain. Works by Anna Turbau, Cristina García Rodero, Cristóbal Hara, Fernando Herráez, Koldo Chamorro, Ramón Zabalza show rural and small-town societies, their festivals and their traditions, including those of marginalised cultures.
photobooks: Spain 1905-1977 (Madrid: Museo Nacional Centro de Arte Reina Sofía, 28 May, 2014 – 5 January, 2015). Exhibition organised in collaboration with Acción Cultural Española (AC/E) and curated by Horacio Fernández.
Shows the history of the photobook in Spain, from the beginning of the 20th century to the mid-1970s. The selection is drawn from the Museo Reina Sofía collection, together with an assortment of complementary material.
Accompanied by a catalogue raisonné of the collection, jointly published by the Museo Reina Sofía, Acción Cultural Española (AC/E) and RM.
Treasures of the Tamayo Museum, Mexico City on Tour, Museum of Contemporary Art San Diego (La Jolla), 17 May – 31 August 2014.
Highlights from one of Mexico’s leading museums of modern and contemporary art, the Tamayo Museum which opened in 1981 to house the collections of Rufino Tamayo (1899-1991), of both his own art and works by contemporary artists from Mexico, Europe and USA.
The exhibition includes paintings by the artist, objects owned by him and works acquired since his death. Other Mexican artists exhibited include paintings by Francisco Toledo (born 1940) whose work influenced by Zapotec stone carvings and the Oaxacan landscape Tamayo championed.
Bilingual online captions to selected highlights from the exhibition can be found at http://www.mcasd.org/tours/treasures-of-tamayo.
Daniel Vázquez Díaz (1882-1969), Museo de Bellas Artes de Asturias, Oviedo, 17 June – 21 September.
40 portrait drawings of the artist’s contemporaries selected from the series Hombres de mi tiempo in the collection of the Madrid-based Fundación Mapfre. Alongside the drawings the Asturias museum is also showing a key painting Bañistas / Desnudos en la piscina‘ (1930-1935), by the artist, who was a leading figurative artist during the first half of the 20th century, but whose style changes dramatically after the Spanish Civil War.
Picasso: Paisajes de Barcelona, Museu Picasso, Barcelona, 29 May – 18 September. Exhibition focusing on local landscapes painted and drawn by Picasso mainly between 1895 and 1903 as he was developing his own personal style. He returned to paint the city once more in 1917 in a radically different manner. The works are shown beside archival photographs of the views. As the Ruiz Picasso family first settled in Barcelona close to the port, the earliest views (1895-99) are of the sea, its breakwaters, port facilities and nearby streets and factories. He later moved his attention to ceremonial and ancient Barcelona , focusing on the Romanesque and Gothic cloisters of its Cathedral and churches in the Ciutat Vella, and also developed skyline views as seen from his families rooftop terrace or azotea. In the early 20th century he increasingly developed views through windows, portals and doorways capturing, contrasting or merging the internal and external.