Monthly Archives: August 2015

EXHIBITION Art in Naples, a Golden Age 20 June – 11 Oct 2015 Musée Fabre, Montepellier, France

The Musée Fabre is showing Art in Naples, a Golden Age from 20 June to 11 October 2015. This follows on from the highly successful Caravaggio exhibition held in 2012.

In the XVIIth century Naples – second to Paris – was the most populated city in Europe and nearly Paris’ equal as a centre of art and culture. It was in Naples, rather than in Rome, that the naturalistic forms, monochrome palette and sharply directed ‘cellar’ lighting invented by Caravaggio and introduced by him to the city by in 1606, evolved and developed, primarily in the work of Caracciolo, Stanzione and, above all, Ribera, who, with his immediate followers dominated Neapolitan art in the first half of the century. These artists, whose best paintings are of great, often tragic, intensity, coexisted with painters of highly-finished exquisite canvases, often on a small scale, such as Cavallino and Guarino, whose approach ultimately derived from an earlier, less intense and more voluptuous phase of Caravaggio’s work. But, in the second half of the century, painters such as Mattia Preti, Luca Giordano, and, in the genre of still-life, Giovanni Battista Recco, moved away from the extreme severity and concentration of the Caravaggesque tradition and gradually came to terms with the exuberance and amplitude of the Baroque with its sensual and fluid employment of colour and its grand patterns of movement, a development that culminated in the European-wide triumph of Solimena in the years around 1700.

The exhibition also illustrates the close connections between Neapolitan art and the city’s turbulent history, from the eruption of Vesuvius in 1631, through Masaniello’s revolt of 1647, to the devastating plague of 1656.

For more information about the exhibition and the Musée Fabre see:
Art in Naples a Golden Age – The Musée Fabre, Montpellier

musée fabre expo été naples
Musée Fabre
39 boulevard Bonne Nouvelle
34000 Montpellier
TEL: 00 33 4 67 14 83 00
Tram Line 1 Comédie or Corum
Tram Line 2 Corum

Opening times Tuesday to Sunday, 10am to 7pm
Closed Mondays. Open on July 14th and August 15th (Bank Holidays)
Entrance fee 10€   Concessionary fee 8€

Guided tours & times every day except Monday
In June, July & August at 11am & at 4pm
In September & October at 11am, 1pm & 4pm
Prices 13 €   With a Pass’Agglo/Pass’Métropole 10,50€   Concessionary rate 9,50€

expo naples fabre 2015
© Jusepe de Ribera, Le Pied Bot, 1642, huile sur toile, 164 x 93,5 cm, Paris, musée du Louvre, Photo © RMN-Grand Palais / Stéphane Maréchalle
expo naples 2015 musée fabre
© Bernardo Cavallino, Judith, vers 1650, huile sur toile, 101 x 94 cm, Stockholm, Nationalmuseum, Photo © Nationalmuseum, Stockholm

CFP: American Society for Hispanic Art Historical Studies

American Society for Hispanic Art Historical Studies
Call for Papers, CAA, 2017

Pending the official call papers, 2017, from CAA, ASHAHS will then support the proposal that best advances our programming and complements the outstanding sessions of recent years.

This call invites proposals related to all periods in Iberian and Ibero-American art history and particularly welcomes those topics fostering cross-cultural and interdisciplinary connections. Prospective session Chairs may wish to consult last year’s CAA guidelines before submitting a session proposal abstract and CV to me no later than Monday, September 7, 2015. Please keep in mind the CAA restriction on submissions from individuals who have chaired sessions in the previous two years.

As always, while we evaluate proposals from prospective chairs on their scholarly strengths, all other factors being equal, priority will be given to current ASHAHS members who have paid dues for this calendar year.

We look forward to reading your submissions and in the meantime, please send any questions to Kelly Watt




Exhibition: Collecting the Arts of Mexico (New York)

Collecting the Arts of Mexico

Metropolitan Museum of Art, New York
Exhibition: July 17, 2015–August 7, 2016

Includes five recently acquired eighteenth-century paintings on copper by the Mexican artist Nicolás Enríquez for a Spanish patron.

Exhibition: Masterworks of Spanish Colonial Art from Phoenix Art Museum’s Collection


Masterworks of Spanish Colonial Art from Phoenix Art Museum’s Collection
Exhibition: 5 September 2015 – 28 February 2016

Symposium: Wednesday, 30 September 2015, Phoenix Art Museum (free):
Speakers on Spanish Colonial art include Jeanette Favrot Peterson, Sharon Fredrick, Jaime Lara, and Angélica J. Afanador-Pujol.

Exhibition: Made in the Americas: The New World Discovers Asia (Boston, Winterthur)

Made in the Americas: The New World Discovers Asia
Boston, Museum of Fine Arts
18 August 2015 – 15 February 2016

Moves to

Winterthur Museum, Wilmington, Delaware, USA, 26 March 2016 – 8 January 2017

Survey exhibition of 94 items drawn from across the Americas from Canada to Peru all of which show influence of Chinese, Indian and Far Eastern imagery or incorporate their techniques into their own applied arts, such as eighteenth-century Mexican lacquer-work furniture and seventeenth-century Peruvian colonial embroidery.
Accompanying catalogue by Dennis Carr, with contributions by Gauvin Alexander Bailey, Timothy Brook, Mitchell Codding, Karina H. Corrigan, and Donna Pierce.

Review, by Eric Zafran, Burlington Magazine, December 2015, pp.885-6.


Focus-Abengoa Foundation: Online Collections


The Focus-Abengoa Foundation launches a new tool to digitally disseminate its art collections devoted to the Baroque.

In recent years, the assets of the Focus-Abengoa Foundation have increased notably with the creation of the Centro Velázquez in 2008 and the receipt of the legacy of Professor Alfonso E. Pérez Sánchez in 2011. In order to adapt to the new technologies and disseminate its art collections online, since 2012 the Foundation has been working on an action plan that will allow it to manage its art collections more easily and effectively, and thus to ease access to its resources for researchers and anyone interested in them.

Thanks to its new multimedia programme, it is now possible to access much of the Foundation’s artistic collections with a detailed description and cataloguing which substantially improves knowledge of these collections at the highest level. The Focus-Abengoa Foundation’s ultimate goal is to promote the advancement of knowledge, to revitalise the debate on the Baroque period and ultimately to support the growth of society.

The collections available online are:

–       Room of Engravings
Made up of 327 prints from the 16th to 20th centuries, this is a collection specialised in the iconography of the city of Seville which dates back to 1982. It is a unique collection of its kind, as well as a reference tool for any scholar interested in the history of Seville. It is organised by four broad chronological sections: prints from the Baroque period, prints from the Enlightenment, Romantic and Costumbrist prints and finally contemporary prints.

–       Centro Velázquez
Created after the Focus-Abengoa Foundation’s 2007 acquisition of the painting by Diego Velázquez (1599-1660) Saint Rufina, one of the purposes of the centre is to recreate the historical and artistic universe in which the Sevillian genius lived from his early days in the city until his establishment in the Court as the painter to the king in 1624. The permanent collection of the Centro Velázquez is made up of 15 works that from now on will be accessible via an online catalogue that provides detailed information on the provenance, bibliography and exhibitions of the works, in addition to medium-resolution photographs.

–       Artistic heritage of the Hospital de los Venerables
The headquarters of the Focus-Abengoa Foundation, after it signed an agreement with the Archbishopric of Seville, is the Hospital de los Venerables, one of the most impressive complex of Sevillian Baroque art and a prime historical benchmark in Spain’s Golden Age, with works by artists like Bartolomé Esteban Murillo, Juan de Valdés Leal and Pedro Roldán. The inventory contains more than 400 works of art which encompass a broad timespan of five centuries, from the 16th to the 20th.



CfP: New Work on Spanish Illuminated Manuscripts in Honor of John William (Kalamazoo 2016)


51st International Congress on Medieval Studies, Western Michigan University, Kalamazoo, 12-15 May 2016

Models and Copies, Masters and Pupils: New Work on Spanish Illuminated Manuscripts in Honor of John Williams (1928-2015),

Organized by David Raizman, Therese Martin, and Julie A. Harris

Session sponsored by the International Center of Medieval Art

In the colophon to the 960 Bible from León, Spain, the scribe Florentius, dressed in clerical garb, raises a bubbling toast to his “most cherished pupil, chosen by me.” The illuminator Sanctius responds in kind to his “Master,” lifting his cup and joining in praise to Christ for their completion of this magnificent book. On folio 12 of the same manuscript, however, in a grand display filling the entire page, it is Sanctius alone who asks the reader to remember him for his individual efforts. The two figures on the bible’s omega page thus serve as a metaphor for this session, which centers on copies that depart from their models and pupils who do not always tread directly in the footsteps of their masters. Our point of departure is John Williams’s inimitable work in the field of illuminated manuscripts, particularly the Beatus Commentaries on the Apocalypse, which has inspired scholars beyond the bounds of Spanish medieval studies.

Williams broke away from his early training which held that an unprecedented image must have been based on a lost model. He came to recognize originality in medieval works of art and to highlight the previously unperceived agency of illuminators from the early Middle Ages. For this session, therefore, we seek submissions from junior or senior scholars who have questioned traditionally-held assumptions of art historical scholarship, particularly concerning illuminations that do not consistently copy their models. We are interested in the choice to deviate from an archetype, especially the ways in which such decisions give rise to provocative new questions about intentionality and audience, likeness and divergence, and scholarly innovations that lead to paradigm shifts.

Organized by three former pupils of John Williams whose own work has taken tacks their master would never have pursued—Jewish manuscripts, women as makers of medieval art, and modern design—this session on Spanish illuminated manuscripts, by both up-and-coming and established scholars, will act as the counterpart to Williams’ latest groundbreaking work: a feature-length documentary on the Beatus manuscripts, which will have a Friday-night screening at WMU. Featuring extensive commentary on the Beatus tradition, in the film John Williams guides the viewers through the development of his thinking on this monastic phenomenon, bringing it up to date with recent discoveries. Beatus: The Spanish Apocalypse was directed and produced by Scottish filmmaker Murray Grigor and Iranian-American cinematographer Hamid Shams (BBP Films, MUSE Films and Television). Grigor and Shams will attend the Kalamazoo screening and answer questions afterwards.

Further, the session and film will coincide with the presentation of William’s final book, Visions of the End in Medieval Spain: Tradition and Context of the Beatus Commentary on the Apocalypse, with a Census of Illustrated Manuscripts and Study of the Geneva Beatus (Amsterdam University Press, 2016). With the sponsorship of the International Center of Medieval Art, this session in celebration of John Williams will carry his legacy into the future by stimulating debate and continuing his practice of challenging the discipline.

Deadline: Please send a 200-word abstract, two-page CV, and completed Participant Information Form by 15 September to:

Julie A. Harris (Spertus Institute for Jewish Learning and Leadership, Martin (CSIC, Madrid,
David Raizman (Drexel University, <> )

Submissions that are not selected will be forwarded to the Medieval Institute to be considered for inclusion in the general sessions.

NB: Membership in ICMA is required of all speakers in this sponsored session.