ARTES offers a number of prizes and scholarships, which all have the same deadline of 15th February 2016. Click the links below to find further details:
Juan Facundo Riaño Essay Prize: sponsored by the Embassy of Spain in London, this prize is awarded to the best essay on any aspect of Hispanic visual culture.
ARTES Coll & Cortés Scholarships, in association with the British-Spanish Society. These scholarships are sponsored by art dealers Coll & Cortés, and are aimed at students and researchers working on Hispanic art before 1800
- Travel Scholarships: Scholarships of up to £1000 are offered to BA, MA and PhD students to travel to Spain, Portugal or Latin America
- PhD Scholarships for students in the UK and Ireland: one scholarship of £3000 is available each year to PhD students based at universities in the UK and Ireland
- Scholarships for doctoral or post-doctoral students in Spain, Portugal or Latin America who wish to study in the UK or Ireland: one scholarship of £3000 is available to non-UK students who wish to travel to the UK or Ireland for the purposes of study.
Photographs by Robert Descharnes (1926-2014).
Dalí Museum, St. Petersburg, Florida
On view until Spring 2016
The photographer made the acquaintance of the Surrealist artist in 1950, while they were both traveling to the United States.
12 Nov 2015 – 6 Dec 2015
Retrospective of the films of Luis Buñuel (1900–1983), celebrating his genius, irreverence and unique poetic style. The season features panel discussions and Q&As with speakers including eminent collaborator Jean-Claude Carrière, grandson Diego Buñuel, and leading academics such as Maria Delgado, Jo Evans, Peter Evans and Rob Stone.
I was the recipient of the generosity of the ARTES Coll & Cortés Travel Scholarship both in 2014 and in 2015, which contributed significantly to the advancement of my PhD research. Both grants were used to support periods of field research in Catalonia, specifically four months in Spring-Summer 2014 and one month in the Summer of 2015.
My PhD research focuses on the reconstruction of the lost Romanesque cathedral of Tortosa, a small town in Southern Catalonia. The Romanesque structure was built in the second half of the twelfth century and later demolished between 1428 and 1703 for the construction of the extant Gothic building. Besides the reconstruction of the lost building, my aim is to shed some light on the connections between Tortosa and the other ecclesiastical buildings of the area, including other Southern Catalan cathedrals and small-scale churches. This is especially important since Tortosa was the first cathedral erected in the region after the Christian conquest of 1148.
Due to the nature of my research, field work is of extreme importance for the study of
archaeological remains in Tortosa, the consultation of local archives, and the analysis of the architectural evidence of the surrounding region for the elaboration of comparisons with contemporary ecclesiastical buildings.
The main achievement of my 2014 stay concerned the reconstruction of the design of the lost cathedral. Earlier analyses had allowed me to develop a number of hypotheses on the original plan of the building, but the lack of solid physical evidence was creating a number of difficulties. Luckily my presence in Catalonia allowed me to learn of a Georadar survey of the Gothic church conducted by a team from the Architecture Faculty of the University Rovira i Virgili in Reus. I was able to meet the research team and work with them on the topic, finally receiving a concrete validation and refinement of my theories.
Another valuable goal reached thanks to the scholarship was the analysis of the architectural context of Southern Catalonia. During both my 2014 and 2015 stays I was able to embark on a number of visits to sites spread across the region, surveying the major cathedrals of Tarragona and Lleida as well as the numerous smaller churches, such as San Salvador de Horta de Sant Joan, Sant Joan dels Ventalles of Ulldecona, and Santa Maria de Agramunt. These visits allowed me to reinforce one of the principal propositions of my research, namely the role of the Romanesque cathedral of Tortosa in shaping the architectural milieu of the region. I hope this argument will not only shed light on the development of Romanesque in Catalonia but also be a case study of the typical drivers behind the creation of a new artistic model.
On top of the two achievements described above, the ARTES Coll & Cortés Travel Scholarship allowed me to refine endless other aspects of my research and meet and interact with local scholars. I am therefore extremely grateful to the ARTES Coll & Cortés Travel Scholarship for making all this possible.
AAH2016 Annual Conference and Bookfair
University of Edinburgh
7 – 9 April 2016
ORIENTALISM & SPAIN IN THE 19TH & 20TH CENTURIES
Claudia Hopkins, University of Edinburgh, email@example.com
Anna McSweeney, SOAS, University of London, firstname.lastname@example.org
Spain represents a unique and fertile context in which to explore attitudes to the art and culture of the Islamic world. Spain was routinely ‘orientalised’ by northern European cultures in the 19th century, as foreign visitors indulged in oriental reveries when reflecting on Spain’s Islamic past (711–1492) and admiring its ‘Moorish’ remains at the Alhambra palace in Granada, the mosque/cathedral in Cordoba, or the Giralda in Seville. For the Spaniard, however, this Islamic heritage raised potentially disorientating questions about cultural roots and national identity. Spanish attitudes to the Islamic past were further complicated by Spain’s ambivalent relations with the Islamic present in Morocco, ranging from war and conflict (1859–60) to Franco’s recruitment of Moroccans at the start of the Spanish Civil War.
This session builds on recent research by historians of art, literature and culture, whose work has revealed that the European discourse on the Islamic world is much more polyphonic than traditional postcolonial theory assumed. The session invites papers that examine 19th- and 20-century visual responses to Spain’s Islamic past and Spain’s nearest ‘Orient’, Morocco, by both Spanish and non-Spanish artists across all media (architecture, fine art, illustrated books, photography, film, fashion etc.). How did artists translate Spain’s Islamic world into visual formats? How was such imagery produced, viewed, and marketed? What were the artistic, ideological, political, and social positions on which visual responses were grounded? How important were they in the formation of broader attitudes to the Islamic world?
Email paper propsals to the session convenor(s) by 9 November 2015. Download a Paper Proposal Guidelines
ARTES is delighted to announce that Jorge Coll and Nicolas Cortés of Coll & Cortés (London & Madrid) have become partners with Konrad Bernheimer of Colnaghi.
Coll & Cortés have very generously sponsored the ARTES scholarship and bursary awards since their inception in 2012 and we wish them every success in their new venture.
Nicolas Cortés & Jorge Coll
The new firm will continue to trade as Colnaghi with Konrad Bernheimer remaining as Chairman, while Coll & Cortés will continue to operate in Madrid. Early next year Colnaghi will move from their current premises in Old Bond Street to a new, larger, custom-built gallery in James’s and there will be an inaugural exhibition at TEFAF Maastricht in March 2016, followed later in the year by one at their new premises. Colnaghi’s extensive library and archives, currently stored at Windmill Hill on the Waddesdon Estate in Buckinghamshire, will also move to the new 26 Bury Street building.
Coll & Cortés
Coll & Cortés was founded in 2005 by Jorge Coll and Nicolás Cortés. Launched with a gallery on Calle Justiniano in Madrid, the business expanded at the end of 2012 by opening a gallery in London’s Mayfair. Since their inception Coll & Cortés has aimed to source and sell the best examples of European paintings and sculptures, as well as arts from the Spanish-speaking world. Coll & Cortés has presented a number of exhibitions and publications focused on areas of art history that may have been overlooked, but which are rich in quality and cultural significance. Their first two exhibitions, Masters of Baroque (2005) and The Time of Painting (2007), were scholarly surveys of painting in Spain from the 16th to the 19th centuries. Their following exhibition in 2009 addressed polychrome wood sculpture and was timed to coincide with The Sacred Made Real, a seminal exhibition on the same subject held at The National Gallery in London. The Mystery of Faith presented a turning point both in the recognition of the Coll & Cortés gallery but also in the appeal – both aesthetic and commercial – of Spanish polychrome wood sculpture. Their fourth project was dedicated to the arts of the Spanish-speaking world in all its forms, from painting to sculpture, tapestries to furniture, silver to ivories. This survey was aimed not only at promoting individual works of art but also at gathering and publishing the most recent scholarly research on this highly specialised subject. Their recent publications on artists including Leone and Pompeo Leoni, Guglielmo della Porta, Pedro de Mena and Guercino were further attempts at presenting the finest objects on the market with the most up-to-date scholarship. Their current publication Granada: The Mystic Baroque is a brief study of the city’s rich cultural heritage. The first part is a survey of its many museums, churches and fraternities, as well as of the paintings and sculptures within them. The second includes detailed investigations of seventeen baroque sculptures carved by the leading Granadiño artists broadly active between 1620 and 1740. The Coll & Cortés gallery has proudly been exhibiting at The European Fine Art Fair, Maastricht, since 2012, Spring Masters, New York, since 2014, and London Art Week since 2014. The gallery also participated at Frieze Masters in 2013 and 2014.
Founded in 1760, Colnaghi is one of the most renowned and venerable art galleries in the world. A print publisher and dealer in the 18th century, Colnaghi moved to Pall Mall in 1786 becoming the destination of choice for collectors and, by the early 19th century, being appointed Printsellers to the Prince Regent, later George IV. The company’s prominent position saw them work with celebrated artists including John Constable, for whom they arranged the exhibition of ‘The Hay Wain’ at the Paris Salon in 1824 where the painting was awarded the Gold Medal. From the late 19th century, Colnaghi assumed a dominant position in the field of Old Masters, pioneering the market during the early 20th century as American millionaires acquired European masters from aristocratic collections and built the foundations of their great institutions. In 1911, the firm moved to New Bond Street, and in 1930, it oversaw the sale by The Soviet Government of some of the greatest masterpieces from The Hermitage, the bulk of which were acquired by Mr. Andrew Mellon and are now found in The National Gallery of Art, Washington. In 1940, the company moved to Old Bond Street and in 1970, Colnaghi was modernised after it was acquired by The Hon. Jacob (now Lord) Rothschild, who rejuvenated the business, appointing a number of young Directors and encouraging entrepreneurship and innovation. In 2002, Colnaghi was acquired by Konrad Bernheimer, a long established art dealer from Munich whose family had been purveyors of antiques and works of art to the Royal House of Bavaria in the 19th century. He was soon joined by Katrin Bellinger, a renowned specialist dealer of Old Master drawings. Colnaghi continues to be recognised as one of the greatest and most successful art galleries, and builds its longstanding tradition of selling works of art to international museums including, in the last 5 years, to Metropolitan Museum of Art in New York, the J. Paul Getty Museum in Los Angeles and the Princely Collections of Lichtenstein, among others.