We are pleased to let ARTES members know that a small visit to Artemisia Gentileschi will take place on Wednesday December 9th at 0915.
Gentileschi spent some years working in Naples (from 1630- until her death, thought to have occurred in 1652, when it was part of the Spanish Empire.) Her patrons included Phillip IV and his ambassadors and Viceroys, eg The Duke of Alcala. We thought it made sense to visit the exhibition and follow on developing our understanding of the Spanish in Naples.
Due to the pandemic places are limited, to 10 only, masks must be worn and social distancing of 2 metres observed. We cannot form groups as we go through the exhibition.
If you want to include “Titian” please make an online booking for later that morning as combining the two exhibitions is not now possible due to the pandemic.
Meet Susan Wilson at the Sainsbury Wing Entrance at 0900 to enter at 0915.
Latecomers cannot be admitted. NB: If you reserve a place and cannot attend please let me know immediately as we can run a waiting list for this visit, but I would need to swap names over.
By the early 1620s – when Juan Gutiérrez de Padilla migrated from Cádiz to New Spain (modernday Mexico) in search of new horizons as a music director, composer and instrument-maker – the colony was an important and wealthy outpost of the Habsburg Empire, keen to maintain the religious and musical customs of its mother country. The cathedral of the young, thriving city of Puebla de los Ángeles was still a magnificent work in progress, but its music provision could already rival its European counterparts. Padilla stayed there for forty years, composing prolifically right up to his death in 1664, and had at his disposal a sizeable body of men and boys who not only sang but also played instruments – including guitars, sackbut, dulcian, and simple percussion such as the cajón.
Siglo de Oro’s programme explores the rich soundworld of this time and place: a sonic landscape ultimately quite different from the one Padilla had left behind in Europe. Evoking a Mass at Christmas Eve affords the opportunity to include a number of villancicos – energetic, dance-like pieces whose captivating mixture of Mexican, Afro-Hispanic and Portuguese influences would have invigorated even the most sober churchgoer.
Yarí Pérez Marín, Marvels of Medicine: Literature and Scientific Enquiry in Early Colonial Spanish America
Marvels of Medicine makes a compelling case for including sixteenth century medical and surgical writing in the critical frameworks we now use to think about a genealogy of cultural expression in Latin America. Focusing on a small group of practitioners who differed in their levels of training, but who shared the common experience of having left Spain to join colonial societies in the making, this book analyses the paths their texts charted to attitudes and political positions that would come to characterize a criollo mode of enunciation. Unlike the accounts of first explorers, which sought to amaze audiences back in Europe with descriptions of strange and astonishing lands, these texts instead engaged the marvellous in an effort to supersede it, stressing the value of sensorial experience and of verifying information through repetition and demonstration. Vernacular medical writing became an unlikely early platform for a new form of regionally anchored discourse that demanded participation in a global intellectual conversation, yet found itself increasingly relegated to the margins. In responding to that challenge, anatomical treatises, natural histories and surgical manuals exceeded the bounds set by earlier templates becoming rich, hybrid narratives that were as concerned with science as with portraying the lives and sensibilities of women and men in early colonial Mexico.
Andrew M. Beresford, Sacred Skin: The Legend of St. Bartholomew in Spanish Art and Literature
Sacred Skin offers the first systematic evaluation of the dissemination and development of the cult of St. Bartholomew in Spain. Exploring the paradoxes of hagiographic representation and their ambivalent effect on the observer, the book focuses on literary and visual testimonies produced from the emergence of a distinctive vernacular voice through to the formalization of Bartholomew’s saintly identity and his transformation into a key expression of Iberian consciousness. Drawing on and extending advances in cultural criticism, particularly theories of selfhood and the complex ontology of the human body, its five chapters probe the evolution of hagiographic conventions, demonstrating how flaying poses a unique challenge to our understanding of the nature and meaning of identity.
As part of its Architecture Awards 2020 the Royal Academy will be hosting an in conversation event online via Zoom between the Spanish sculptor Cristina Iglesias and the British architect Lord Norman Foster RA on 3rd December 6.30-7.45pm.
The RA will begin by introducing the RA Dorfman Award Finalists and announcing the 2020 winner. Cristina Iglesias will then present a celebratory lecture, exploring her work and its connections to public space, followed by a conversation with the chair of this year’s jury, Norman Foster RA. Ranging from gallery spaces to city squares, their conversation will chart the important public aspect of Iglesias’ work. Following the lecture and conversation, there will be 15 minutes for the audience to ask questions.
Talk Description: Among the treasures of the Wallace Collection is a modest but very fine collection of Spanish paintings. They were largely collected by the 4th Marquess of Hertford in the 1830s and 1840s in Paris, when the fashion for collecting Spanish art was at its highest and works by Murillo and Velázquez were much sought after. The 4th Marquess acquired a total of thirteen paintings attributed to Murillo and eight to Velázquez, along with the only known Alonso Cano painting in the United Kingdom.
Although modern day scholarship no longer accepts some of these paintings as fully autograph, the Wallace Collection contains several icons of Spanish art such as Velázquez’s enigmatic portrait of a The Lady with the Fan and Murillo’s exquisite The Marriage of the Virgin, painted on a mahogany panel.
Join Director of the Wallace Collection and expert on Spanish art, Dr Xavier Bray, who will explore the context in which these works were made, whether Spanish ecclesiastical institution or royal palace, and their importance in the wider context of collecting in 19th-century Europe.
The Maius Workshop is back virtually for the 2020–21 academic year!
Please join us for an informal welcome meeting, which will take place on Tuesday 24th November 2020, at 5:00 p.m. on Zoom.
This event is open to anyone interested in Hispanic cultures, widely considered: literature and language, history, geography, art and visual culture, medical humanities, music, etc., from Iberia, the Americas, and any other Spanish and Portuguese communities. We particularly welcome PhD students and early career researchers.
The Maius Workshop’s organisers, Costanza, Bert and Elizabeth, will introduce the group and events planned for the coming academic year. This will be an opportunity to meet people with similar research interests working at other universities and departments.
CILAVS warmly invites you to the seminar The destruction of images in the medieval and early modern world: Jews, Muslims, Protestants and Catholics in Iberia Professor Borja Franco Friday, 20 November 2020 from 6 to 7.30pm Live Online
In this paper, Prof Borja Franco presents the main written and visual sources that captured trials for iconoclastic behaviour in medieval and early modern Iberia. He shall explore the reasons for these actions and their political and religious repercussions. A comparative study of the various socio-religious groups reveals that the theological discourse behind each iconoclastic action varied with each case study. Furthermore, it will be shown that iconoclastic attitudes were not the exclusive territory of ‘heretics’ or ‘infidels’ and that even Catholics were persecuted for their hostile attitudes to images.
Borja Franco Llopis is a Professor at the Department of Art History in the UNED (Spain). His research is devoted to the visual and literary representation of the otherness in Southern Europe. He has been a visiting scholar in several prestigious institutions such as the School of History and Archaeology in Rome, the Instituto Storico per el Medievo (Rome), the Warburg Institute (London), Johns Hopkins University, University of California (Berkeley), Harvard University, Columbia University, Universidade Nova of Lisbon and NYU; and Visiting Professor at the University of Genoa. He is Associate Professor at the Department of Art History in the UNED (Spain), the PI of the research group “Before Orientalism. Images of the Muslim Other in Iberia (15-17th Centuries) and their Mediterranean connections” and working Group Leader of the Cost Action 18129: Islamic Legacy: Narratives East, West, South, North of the Mediterranean. He has recently published the monographs titled: Pintando al converso: la imagen del morisco en la peninsula ibérica (1492-1614) (Cátedra, 2019), and Etnicità e conversione. Immagini di moriscos nella cultural visuale dell’età moderna (Affinità Elettive, 2020). He has also co-edited the book: Muslim and Jews made Visible in Christian Iberia and beyond (14-18th centuries) (Brill 2019).
The event is free, although you will need to book.