Monthly Archives: April 2015

V Alfonso E. Pérez Sánchez International Prize “The Art of the Baroque” 2015

2015-04-FocusAlbengoa
Alfonso E. Pérez Sánchez International Prize “The Art of the Baroque” 2015
The Focus-Abengoa Foundation is pleased to announce the forthcoming Alfonso E. Pérez Sánchez International Prize “The Art of the Baroque”. As a university professor and as director of the Prado Museum, Alfonso E. Pérez Sánchez (NVPR-OMNM) was an outstanding historian of Spanish and Italian Baroque Art.
The Foundation awards this prize in order to promote exceptional study and research into Spanish Baroque Art and its possible relationship with Europe and the Americas.
The jury will also consider works with a multidisciplinary or integrative focus.
Deadline: 30 September 2015
Further details: Please click here

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Goya Study Day, Courtauld Institute, Saturday, 2 May 2015

2015-04-Goya-CourtauldGOYA:  SATURDAY STUDY DAY
Goya: The Witches and Old Women Album – In Context
2 May 2015 10.30 – 16.30
Kenneth Clark Lecture Theatre, The Courtauld Institute of Art

The Courtauld Gallery’s exhibition reassembles all the known sheets from one of Goya’s eight celebrated albums of ‘private’ drawings.  These albums, each distinct in subject-matter, style and technique, were created relatively late in Goya’s life, after he had survived a near-fatal illness that left him profoundly deaf from his early fifties, but still drawing at the age of eighty-two. They have been described as journals that record, in virtuoso manner, Goya’s innermost reflections on the world around him and on human nature.

The exhibition curators, distinguished Goya-scholar Juliet Wilson-Bareau and Stephanie Buck, The Courtauld’s Curator of Drawings, and colleagues will shed light on this feat of international research and reconstruction, on the place of the album in Goya’s oeuvre, and on the themes of witchcraft and old age in art more widely.

Speakers are exhibition curators Dr Juliet Wilson-Bareau (independent scholar and curator) and Dr Stephanie Buck (Martin Halusa Curator of Drawings, The Courtauld Gallery); Kate Edmondson (Conservator of Works on Paper, The Courtauld Gallery); Peter Bower (forensic paper historian and paper analyst); and Professor Deanna Petherbridge and Gail Turner (independent scholars).

Provisional Programme
10.30 –11.00                 Registration and Coffee
11.00 – 11.05                Dr Anne Puetz (The Courtauld Institute of Art):
Introduction to the Study Day
11.05 – 11.50                Gail Turner: Goya – art and life
11.50 – 12.35                Dr Stephanie Buck, Kate Edmondson and Peter Bower: Album D’: A journey of discoveries
12.35 – 13.00                Q&A
13.00 – 14.15                Lunch
14.15 – 15.00                Professor Deanna Petherbridge: Malevolent or ridiculous old age: sources of Goya’s imageryower:
15.00 – 15.45                Dr Juliet Wilson-Bareau: Goya’s album drawings: a private/public world
15.45 – 16.00                Q&A
16.00 – 16.30                Tea      Close of the official programme – The exhibition can be visited until 18.00
Advance booking is necessary
£45 (concessions £40)
Includes free admission to the exhibition, with morning and afternoon tea and coffee
E: short.courses@courtauld.ac.uk t: 020 7848 2678

Tradition and Transition in the Spanish Avant-Garde. Conference, UMich, Ann Arbor, 10-11 April 2015

2015-04-UMichRLL

Tradition and Transition in the Spanish Avant-Garde
Conference, Department of Romance Languages and Literatures, University of Michigan, Ann Arbor, 10-11 April 2015.

Keynote:
Jordana Mendelson: “Up in Smoke: Paper, Publicity, and the Avant-Garde in Barcelona”
Angell Hall 3222, Friday, 10 April 2015, 6:00PM.

The conference is sponsored by the Department of Romance Languages and Literature, the Department of the History of Art, the Institute for the Humanities, the International Institute, the Museum Studies Program, the Dean’s Strategic Initiative Fund at the Rackham Graduate School, and the Spanish National Research Council (CSIC), with additional support from the Department of English and the University of Michigan Museum of Art.

For the full schedule, click here.

CFP: Revising the Hispanic Canon. Visibility and Cultural Capital at the Margins

2015-04-HispanicCanonCFP-wordle
CFP: Revising the Hispanic Canon. Visibility and Cultural Capital at the Margins

Deadline: 13 May 2015

In recent years, meta-critical studies such as Ideologies of Hispanism (2005), Spain Beyond Spain (2005), Reading Iberia (2007), Un hispanismo para el siglo XXI (2011) and Iberian Modalities (2013) have sought to uncover the ideological discourses underlying Hispanic Studies and trace its historical evolution in order to elucidate how the discipline might or ought to evolve, if it is to remain relevant in a context in which national, linguistic and disciplinary boundaries have become problematized. The present volume, co-edited by Stuart Davis and Maite Usoz de la Fuente, seeks to contribute to this ongoing debate by considering how the work of PhD students and early career researchers in Hispanic Studies reflects and contributes to the expansion and the blurring of disciplinary limits.
In a broad sense, the duty of every new generation of scholars in any arts and humanities discipline is to encourage a revision of the canon within that discipline and, in the process, to contribute to a redefinition of the discipline itself. This is an exciting enterprise, but it is not without its challenges and pitfalls. Amongst them is the question of how to attain visibility when working on a topic that is little known, or considered a niche area within one’s discipline, or how to position one’s work if undertaking inter- or multidisciplinary research that surpasses disciplinary boundaries. The aim of this book is to offer a useful overview of new research in Hispanic Studies by a selection of emerging scholars, and to reflect upon questions of canonicity, visibility and cultural capital, and the ways in which such notions span and contribute to shape our field of study.
Contributions to this volume are welcome from doctoral students and early career researchers (understood as those who have obtained their doctoral degree within the past seven years) whose work focuses on (but may not be limited to) the following areas:

  • Hispanism beyond Spain and Latin America: North Africa, the Philippines, and Guinea
  • Interdisciplinary crossroads: comparative and multidisciplinary approaches to Hispanic texts
  • The role of visual and popular culture within Hispanic Studies
  • Other languages and cultures (non-Castilian languages and cultures of Spain and Latin America)
  • Going against the grain: Paradigm-shifting revisions of the canon
  • New methodological approaches to canonical texts

If you want to contribute to this volume, please send an abstract of no more than 300 words to hispanic.canon@gmail.com by 13 May 2015, accompanied by a short biography including your name, institutional affiliation and areas of research (2-3 lines). Selected contributors will be contacted by 30 May 2015 and the deadline for submission of essays will be 31 December 2015.

Corpus of Romanesque Sculpture in Britain and Ireland: Annual Lecture, 2015 : Tessa Garton, 28 April 2015

2015-04-CrpusRsqeScGB-IrelandCorpus of Romanesque Sculpture in Britain and Ireland (CRSBI) Annual Lecture 2015
Tuesday 28 April 2015
17.30, Kenneth Clark Lecture Theatre, Courtauld Institute of Art
Tessa Garton (Professor Emerita, College of Charleston, South Carolina):
Evidence Set in Stone? Twelfth-century Sculptors and Workshop Practices in Northern Palencia, Spain
Open to all, free admission

The northern region of Palencia, close to the pilgrimage route to Santiago de Compostela, contains a remarkable number of well-preserved and richly carved Romanesque churches, concentrated in the region around Aguilar de Campoo, and close to quarries with excellent quality stone for sculpture. The repetition of similar designs at many different locations suggests a system of professional production by a workshop engaged on multiple commissions, and the mass-production of standard motifs. Signatures and inscriptions provide evidence of the increasingly professional status of sculptors; most remarkable is the portal at Revilla de Santullan, where Micaelis depicts himself next to the apostles and in the act of carving the tablecloth for the Last Supper. The discovery of marginal engravings on a group of sculptures recently removed from the church at Santa Maria de Piasca, in Cantabria, provides further insights into the working practices of the masons.

Tessa Garton studied History of Art at the University of East Anglia with Peter Lasko and Eric Fernie, and at The Courtauld Institute of Art with George Zarnecki, writing her PhD on Early Romanesque Sculpture in Apulia. She taught at the University of Aberdeen and at the College of Charleston, South Carolina, and has recently retired. Her major area of interest is Romanesque sculpture; she served as an investigator for the Corpus of Romanesque Sculpture in Ireland, and has studied Romanesque sculpture in Apulia, Scotland, Ireland, France and Spain. Her recent research has been focused on northern Spain, on the pilgrimage route to Santiago de Compostela and the region of northern Palencia.