Author Archives: costanzabeltrami

New Exhibition and CEEH Publication: VALENTÍN CARDERERA Y SOLANO, Biblioteca Nacional de España, Madrid, September 27, 2019 – January 12, 2020

VALENTÍN CARDERERA Y SOLANO (Huesca, 1796 – Madrid, 1880) was a painter, scholar, communicator, collector and traveller. His life was marked by his efforts to safeguard Spain’s historical heritage and he journeyed around much of the Spanish mainland to bear witness in his drawings and watercolours to significant monuments, many at risk of disappearance as a result of the modernising drive ushered in by the new liberal order. Member of the Romantic generation and friends with the Madrazo family, Carderera was also in contact with some other figures like Richard Ford and Prosper Mérimée, with whom he shared the same nostalgia for the past and the need to define his position in the complex debate between tradition and progress.

The exhibition—featuring more than a hundred pieces including paintings, drawings, engravings, manuscripts, books, maps and objects—pays tribute to Carderera’s work and the significant legacy he left in the Biblioteca Nacional de España. In 1867 the Spanish State adquired his collection of drawings and prints: more than 45.000 pieces which enriched the department of Fine Arts with engravings of Mantegna, Dürer and Rembrandt, among others, along with one of the very few drawings attributed to Velázquez. Click here for more information.

The exhibition opens on 27 September in the Biblioteca Nacional de España’s Sala Hipóstila. It was curated by José María Lanzarote Guiral and organised by the Biblioteca Nacional de España and Centro de Estudios Europa Hispánica.

It is accompanied by a an exhibition catalogue which reconstructs Carderera’s intense life in six thematic sections, published by CEEH. Until 25 September, the catalogue can be purchased from the CEEH website at special discount price. Click here for more information.

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Workshop and Lecture: Music of the Three Andalusias, The Warburg Institute, London, 27 September 2019, 14:00–19:00

Workshop: 14:00–16:00
Lecture and reception: 17:00–19:00  

A lecture and recital by musician, writer and teacher Marc Loopuyt on Muslim, Jewish and Christian music of Medieval Spain, focusing on the rabab and the oud, and on articulation techniques. Articulation in stringed musical instruments from the East will be put in relation with Paganini’s Suonare Parlante, with bird song and the mythical language of the birds. 

The evening lecture will be preceded by an afternoon workshop on the practical foundations of traditional mode based improvisation and ornamentation—details to be finalised. 

Born in France in 1947, with French, Dutch, English and Caucasian roots, Marc Loopuyt discovered the flamenco guitar via immigrant Spanish workers, and subsequently spent three years in Spain learning how to play it. Interested in the strong “colours” in flamenco singing, he crossed the Mediterranean and settled for nine years in Morocco, learning to play the oud. Attracted by the art of the Turkish master Cinuçen Tanrıkorur, he became his disciple and spent many years travelling and living in Turkey and the Middle East, as well as staying for one year in Azerbaijan with the singer Agha Karim Bey. Marc Loopuyt taught for 25 years in the Music Conservatory of Lyon, and has published, performed and recorded widely.

Click here for an excerpt from his flamenco-influenced piece Farruca
Supported by the Cassal Trust, the Matheson Trust.

Click here for more information about this event


Workshop: Science and Nature in Latin America (18th–20th century), University College London, 17 September, 15:00–17:00

Science and nature event poster

In the context of Latin America, traditional History of Science discourses have tended to focus on European actors and their agency. This interdisciplinary workshop will elucidate new and emerging perspectives on the history and theories of science, nature, and the enviornment in the region. By doing so, the workshop hopes to further develop the critical discussion around knowledge production and transfer in Latin America. Our speakers will all offer responses to the following key questions, using examples from their own research:

What can your research say about hierarchies of power and knowledge in Latin America?

What does the History of Science and Nature in Latin America say or contribute to the history of the region in a broader sense?

Participants:

Nicola Miller (UCL)

Helen Cowie (University of York)

Lesley Wylie (University of Leicester)

Sophie Brockmann (De Montfort University)

Ximena Urbina (Pontificia Universidad Católica de Valparaíso)

A discussion will follow the individual presentations, and the event will conclude with a free drinks reception. All welcome.

This event is organised by Elizabeth Chant. Please contact natalia.gandara.16@ucl.ac.uk or elizabeth.chant.17@ucl.ac.uk for further information. Free and open to all, please click here to book your place.

Celebrating the Prado: A Day of Special Events at the National Gallery, London, 30 September 2019

The National Gallery will celebrate the 200th anniversary of Spain’s foremost artistic institution, the Museo del Prado in Madrid, with a day of special events. Read below or click here to discover what’s on.

In conversation: Celebrating 200 years of the Prado

Lunchtime talk, Sainsbury Wing Theatre, National Gallery, London, Monday 30 September 2019, 1–1.45pm

Miguel Falomir © Archivo Fotográfico. Museo Nacional del Prado, Madrid

Discover Madrid’s Prado Museum: past, present and future. Miguel Falomir, Director of the Prado Museum, Madrid, joins Gabriele Finaldi, Director of the National Gallery, to discuss the history and dynamic future of Spain’s most eminent art museum, which celebrates its bicentenary this year.

Click here for more information.

Picasso and the Prado

Lunchtime talk, Sainsbury Wing Theatre, National Gallery, London, Monday 30 September 2019, 2–2.45pm

Pablo Picasso in Antibes, Summer 1946

The Prado Museum in Madrid held a special place in Picasso’s heart and mind. As a young artist he visited the museum many times, drawn to the world of El Greco and Velázquez. Later, in 1936, the Spanish Republic awarded him the title of Honorary Director-in-Exile of the Prado Museum in gratitude for his support. In 1957 he created a series of 58 variations of Velázquez’s ‘Las Meninas’, the iconic work in the Prado. Art historian Gijs van Hensbergen tells the story of Picasso’s life-long relationship with the Prado.

Click here for more information.

Black and light: Discover the mystique of the Prado Museum by night

Film Screening and Q&A, Sainsbury Wing Theatre, National Gallery, London, Monday 30 September 2019, 3–5.20pm

© 2017- Alvaro Perdices

Join award-winning film-maker Álvaro Perdices for a screening of his stunning 2015 film ‘Negro y Luz’, an artistic essay on darkness and light exploring the Prado Museum at night.

3 pm Introduction to the film with Álvaro Pedrices
3.10 pm Film showing of Negro y Luz (2015)
5.30 pm Q&A with Álvaro Perdices
5.40 pm Close

Click here for more information.

Closing Soon: Balenciaga and Spanish Painting, Museo Nacional Thyssen-Bornemisza, Madrid, until 22 September 2019

Francisco de Zurbarán
Saint Casilda, ca. 1635
Oil on canvas. 171 x 107 cm
© Museo Nacional Thyssen-Bornemisza, Madrid

The Spanish fashion designer’s approach to his designs was informed by his lifelong love of art sparked by his youthful admiration of the paintings owned by clients of his seamstress mother, in particular the Marquis and Marchioness of Casa Torres, who spent their summers in the Palacio Aldamar (also known as Vista Ona) in Getaría. Three of the paintings on display in this exhibition, and loaned by the Prado, were in that collection: Head of an Apostle by Velázquez; Saint Sebastian by El Greco; and Cardinal Luis María de Borbón y Vallabriga by Goya. The latter establishes a dialogue with a magnificent red dress suit with a short jacket loaned from the Museo del Traje in Madrid. Balenciaga frequently drew on the heritage of his Spanish homeland, going further than adding flamenco ruffles to his dresses and seeking inspiration by re-imagining bull fighters’ jackets. The exhibition explores the influence of four centuries of Spanish painting on the couturier’s work. Zurbarán was one inspiration, his drapery influencing Balenciaga’s bold sashes. In 1939 Velázquez’s portraits of the Infanta Magarita were reinterpreted by the dress designer’s work. Also notable is the interaction between a spectacular blue silk evening gown and cape and the mantle of the same colour seen in The Immaculate Conception by Murillo from the Arango collection. The curator Eloy Martínez de la Pera, has drawn together some 90 examples of Balenciaga’s work alongside 55 paintings, including works by El Greco, Murillo, Goya and the nineteenth-century artist Antonio María Esquivel. Paintings have been lent by the Prado, Bilbao, Seville and Valencia and costumes, some of which have never been displayed before and designs have been lent by the Balenciaga Museum in his hometown in Getaría, and archives in Paris. The exhibition also explores the impact of Philip II’s court making the use of black fashionable for clothing throughout Europe, and how Balenciaga chose to transform it in his own way. As the magazine Harper’s Bazaar wrote in 1938: “at the new Spanish house Balenciaga [in Paris] the black is so black that it hits you like a blow. Thick Spanish black, almost velvety, a night without stars, which makes the ordinary black seem almost grey.”

Click here for more information.

Thoma Foundation Grants in Spanish Colonial Art, deadline 25 October 2019

MARILYNN THOMA FELLOWSHIP IN SPANISH COLONIAL ART

The Carl & Marilynn Thoma Art Foundation offers Pre-doctoral and Post-doctoral fellowships annually in support of projects and research initiatives that will advance the field of Spanish colonial art. The Marilynn Thoma Fellowship is the only unrestricted research funding in the United States devoted exclusively to the field of Spanish Colonial art. Scholars may come from any discipline, but all projects must relate to the study of art and art history. Exceptionally accomplished scholars holding an MA may also apply. International scholars, particularly from Latin America, are strongly encouraged to apply. 

Applicants should propose projects that exhibit original scholarship and/or will make a significant contribution to the understanding of colonial Spanish American art and its history. Fellowships range in duration from one to two years, and eventuate in major measurable outcomes, including museum exhibitions, dissertations, book publications, scholarly essays, and lecture series. Projects will be considered from all of Spanish colonial Latin America and the Caribbean, however the Foundation will give strong preference to projects that make specific contributions to the history of painting and sculpture in colonial South America. 

Pre-doctoral Dissertation Research Fellowship–$45,000 (1–year award) 

Post-doctoral Fellowship–$60,000/year (1–2 year award; indicate project length in application)
*Applicants should hold a PhD conferred between 2009-2019 

Applications are open from May 15 to October 25, 2019. Click here for more information.


THOMA FOUNDATION RESEARCH AND TRAVEL AWARDS IN SPANISH COLONIAL ART

Congruent with the Marilynn Thoma Fellowship, the Thoma Foundation offers annual grants to scholars, curators, art historians and advanced graduate students working on MA or PhD dissertations in support of projects and research initiatives that will advance the field of colonial art of Spanish America. These grants are meant to help defray the costs of research-related expenses. Funding is provided each year to several scholars selected by an international jury of undisclosed experts in the field, with travel commencing within one year + one month from the date of notification. 

Grants of up to $25,000 are available for projects lasting up to six months. 

Applications are open from May 15 to October 25, 2019. Click here for more information.

Click here for the Thoma Foundation website

Lecture: ‘Bartolomé Bermejo. Master of the Spanish Renaissance’, by Akemi Herráez Vossbrink, Conference Room 1, National Gallery, London, 4 September 2019, 2:30–3:30pm

ARTES committee member Akemi Herráez Vossbrink, assistant curator of the exhibition “Bartolomé Bermejo. Master of the Spanish Renaissance” at The National Gallery, will give a lecture on the life and works of this Spanish painter.

Bartolomé Bermejo was a fifteenth-century Spanish artist whose painting technique, mixing Spanish and Netherlandish features, was unparalleled amongst his Iberian contemporaries. He had a limited output of less than twenty paintings of which seven are featured in the current National Gallery exhibition. This is the first time that six of these paintings are shown in the UK and the restoration of the National Gallery’s painting of Saint Michael Triumphs over the Devil (1468) has enabled the Gallery to showcase Bermejo’s earliest masterpiece. Following the two major Bermejo retrospectives at the Prado Museum and the MNAC (Barcelona), this exhibition features paintings ranging from different periods of Bermejo’s career demonstrating his development as he moved throughout the Crown of Aragon (mostly encompassing territories in eastern Spain). This talk will focus on the seven paintings shown in the exhibition considering them within their context and retracing Bermejo’s artistic career. Bermejo’s Saint Michael, the Acqui Terme triptych and the Desplà Pietà (reproduced above), will receive special attention in the lecture, which will compare their donors, production, intended location and historical context.

This event is for a general audience and is organised by the Instituto Cervantes — London. Free, reistration required. Click here to register.