Category Archives: Travel

ARTES Members’ Visit to the Año Murillo in Seville (30 November – 2 December 2018)

murillo

ARTES have organised a trip to Seville for members from 30th November to 2nd December 2018, the main aim being a curator-led tour of the exhibition Murillo IV Centenario, opening that week, as well as visits to the Cathedral, Hospital de los Venerables and de la Caridad, Alcázar, Casa de Pilatos and other sites of art historical significance.

Members must make their own travel and accommodation arrangements but should plan to arrive by Friday evening. A full programme (from Friday night to Sunday early evening) will be posted nearer the time.

murilloII

 ARTES members wishing to join the trip should RSVP to artesiberia@gmail.com.    Places will be limited to 15 and will be allocated on a first come first serve basis.*

*We may ask for a deposit to secure a place with the money put towards the cost of dinner on Saturday night.


Images: Moses Striking the Rock at Horeb, c. 1669–70, oil on canvas, 263 x 575 cm, Seville, Hospital de la Santa Caridad

Jesus Multiplies the Loaves and Fishes, c. 1669–70, oil on canvas, 263 x 575 cm, Seville, Hospital de la Santa Caridad

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ARTES Members’ Visit to the Año Murillo in Seville (30 November – 2 December 2018)

murillo

ARTES have organised a trip to Seville for members from 30th November to 2nd December 2018, the main aim being a curator-led tour of the exhibition Murillo IV Centenario, opening that week, as well as visits to the Cathedral, Hospital de los Venerables and de la Caridad, Alcázar, Casa de Pilatos and other sites of art historical significance.

Members must make their own travel and accommodation arrangements but should plan to arrive by Friday evening. A full programme (from Friday night to Sunday early evening) will be posted nearer the time.

murilloII

 ARTES members wishing to join the trip should RSVP to artesiberia@gmail.com.    Places will be limited to 15 and will be allocated on a first come first serve basis.*

*We may ask for a deposit to secure a place with the money put towards the cost of dinner on Saturday night.


Images: Moses Striking the Rock at Horeb, c. 1669–70, oil on canvas, 263 x 575 cm, Seville, Hospital de la Santa Caridad

Jesus Multiplies the Loaves and Fishes, c. 1669–70, oil on canvas, 263 x 575 cm, Seville, Hospital de la Santa Caridad

ARTES Members’ Visit to the Año Murillo in Seville (30 November – 2 December 2018)

murillo

ARTES have organised a trip to Seville for members from 30th November to 2nd December 2018, the main aim being a curator-led tour of the exhibition Murillo IV Centenario, opening that week, as well as visits to the Cathedral, Hospital de los Venerables and de la Caridad, Alcázar, Casa de Pilatos and other sites of art historical significance.

Members must make their own travel and accommodation arrangements but should plan to arrive by Friday evening. A full programme (from Friday night to Sunday early evening) will be posted nearer the time.

murilloII

 ARTES members wishing to join the trip should RSVP to artesiberia@gmail.com.    Places will be limited to 15 and will be allocated on a first come first serve basis.*

*We may ask for a deposit to secure a place with the money put towards the cost of dinner on Saturday night.


Images: Moses Striking the Rock at Horeb, c. 1669–70, oil on canvas, 263 x 575 cm, Seville, Hospital de la Santa Caridad

Jesus Multiplies the Loaves and Fishes, c. 1669–70, oil on canvas, 263 x 575 cm, Seville, Hospital de la Santa Caridad

Edilia and François-Auguste de Montêquin Fellowship, Society of Architectural Historians, deadline 30 September, 2018

 

catedral_primada_sd_01_2018_7934

Cathedral of Santa María la Menor, Santo Domingo

This award provides support for travel related to research on Spanish, Portuguese, or Ibero-American architecture.

The awards consist of a $2,000 stipend for a junior scholar and a $6,000 award for a senior scholar. The awardees will be notified in December and will be recognized at the SAH 72nd Annual International Conference in Providence, Rhode Island (April 24–28, 2019). The awards will be announced in the May 2019 issue of the SAH Newsletter.

This fellowship is intended to support the research of junior scholars (usually scholars engaged in doctoral dissertation research) annually, and senior scholars (scholars who have completed their PhD or equivalent terminal degree) every other year in even-numbered years (2020, 2022, 2024, etc.). The research to be supported must focus on Spanish, Portuguese, or Ibero-American architecture, including colonial architecture produced by the Spaniards in the Philippines and what is today the United States. The applicant must be a current member of SAH.

Following completion of travel and research supported by the fellowship, each de Montêquin Fellowship awardee must submit a written report summarizing their research and explaining what travel was undertaken and how funds were spent. The report will be submitted to the SAH office no later than three months following the completion of work related to the fellowship. Awardees are required to upload images to SAHARA (a minimum of 50  for junior scholars and a minimum of 150 for senior scholars).

You will need two recommendations to apply for this fellowship, a description of the research project on Iberian or Ibero-American architecture to be funded (500 words maximum), a current curriculum vitae (5 pages max), and a statement of purpose.

Applications for the 2019 Edilia and François-Auguste de Montêquin Fellowship will open at 3 pm CDT on August 1, 2018, and close on September 30, 2018.

Click here for more information and to complete the application form.

ARTES Coll&Cortes travel scholarship report: Ana Dias, PhD Candidate at Durham University

Fig 1 Biblioteca Nacional de EspañaThe ARTES Coll&Cortes travel scholarship granted me the opportunity to travel to Spain to examine three illustrated copies of Beatus of Liébana’s Commentarium in Apocalypsin (generally known as Beatus) on which my doctoral thesis is grounded.

My research concerns the production, illumination and impact of the Beatus manuscripts, with particular focus on the analysis of the text and image relationship. In this investigation I consider five specimens – the Beatus of Morgan, Valcavado, Urgell, Facundus and Silos – that form a particular group known as ‘family IIa’, which present remarkable textual and iconographic affinities. Moreover, these specimens also stand amongst the most lavishly illuminated copies within this tradition, thereby offering us rich material for an enquiry into questions of artistic production.

The careful and objective analysis of their differences and similarities, set against the general panorama of illustrated Apocalypses in the early medieval west, will therefore provide new evidence not only about the conceptualisation of their imagery but also concerning scribal and artistic practices in medieval Iberia.

One of the main subjects under investigation is the use of colour in the Beatus IIa miniatures. Through this analysis I aim to shed new light on how illuminators responded to the literary sources they were illustrating – Revelation and, to a more limited extent, Beatus of Liébana’s own commentary – themselves rich in colour references. Given that most of my prior research had been conducted through the observation of facsimile editions and other surrogates, it was crucial to examine the manuscripts at first hand, as even the best editions do not reproduce the material and chromatic qualities of the original works accurately enough for a study of this nature. For this reason, and having already examined the Morgan and the Silos Beatus (New York, Pierpont Morgan Library, MS M.644; London, British Library, Add MS 11695, respectively), travelling to Spain to consult in situ the Beatus of Facundus (Madrid, Biblioteca Nacional, MS Vitrina 14-2), Valcavado (Valladolid, Biblioteca de la Universidad, MS 433) and Urgell (Museu Diocesá de La Seu d’Urgell, Num. Inv. 501) was essential.

I began my research trip at the Biblioteca Nacional de España, in Madrid, where I examined the Facundus copy: an exquisite specimen commissioned by Fernando I and his wife Sancha in 1047.My main aim was to check the exact nature of its palette and pigment application, the employment of metallic inks and other general aspects of production and use, such as make up, collation and marginalia. Following my examination of this manuscript, I dedicated some days to a further exploration of the bibliographical resources of the BNE, focusing on secondary material that cannot be found in libraries in the United Kingdom.

Fig 3 Biblioteca Histórica de Santa Cruz Valladolid

My next destination was the university city of Valladolid, where the Beatus of Valcavado is held at the Biblioteca Histórica de Santa Cruz, as part of the university’s collection of historic manuscripts. As stated in its colophon, this manuscript was produced by the scribe Obeco in 970; however, no information concerning its centre of production or the nature of its commission is offered. With the diligent assistance of the library staff, I conducted a similar examination of this manuscript. I was particularly struck by the differences in its colour scheme in relation to its counterparts as well as by some particular choices of pigments in relation to the iconography.

Fig2 Biblioteca Histórica de Santa Cruz Valladolid

Fig 5 View from the Archivo Diocesano de Urgell to the natural parc del CadíIn order to examine the last manuscript in this group I had to travel to the Catalonian town of La Seu d’Urgell, located in the foothills of the Pyrenees. En route, I had the opportunity to visit the Cathedral treasury Museum of Girona where another Beatus copy is kept. While not being one of my primary sources (as it is part of another family within the tradition), seeing the Girona Beatus in exhibition was nevertheless very instructive as it enabled me to think more critically about colour use in early Iberian illumination more broadly.

Subsequently, I concluded my research trip in the Archivo Diocesano de Urgell where I inspected the Urgell Beatus: a copy of uncertain origin but which has been dated to the end of the tenth century on palaeographical and artistic grounds. The examination of this manuscript was surprising: despite being generally considered as a more humble specimen, its palette is composed of rich and vibrant bright colours. As in the case of Valcavado, this manuscript too shows some telling individual responses to the use of colour in relation to the iconography.Fig4 Archivo Diocesano de La Seu d'Urgell

Thus, the first-hand examination of these three Beatus was essential in order to confirm and refine the research conducted to date, and it has given me a greater insight into the material and chromatic properties of these specimens. It has also enabled me to conclude that, despite their relatively distinctive colour schemes, they also share evident patterns of colour use – an aspect which raises more questions concerning not only the artistic tradition but also about the nature of these images.

From a more technical perspective, this research trip has also allowed me to learn about the conservation policies of different libraries and archives, which is invaluable knowledge for someone working in the field of manuscript studies.

I am most grateful to ARTES and Coll&Cortes for their continuing support to my research and for giving me the opportunity and the privilege to conduct this investigation.

 

 

 

 

 

VISIT: Toledo 3-Day Visit – Fri 5 to Sun 7 June 2015 – British Spanish Society welcomes ARTES members

The British Spanish Society is hosting a 3-day visit to Toledo
f
rom Fri 5 to Sun 7 June 2015

Members of ARTES are welcome to join the BSS for this visit

There is an official deadline of Monday 16 February but please contact Morlin if you are interested at artesiberia@gmail.com

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ARTES Malta visit: Wed 5 November – Mon 10 November 2014

ARTES is visiting Malta from 5-10 November 2014. This visit is being organised by Marjorie Trusted of the V&A (ARTES Hon Vice-President) and Giuseppe Schembri Bonaci of the University of Malta (ARTES member). The programme is detailed below and includes a symposium on Spanish Baroque Art in Malta being hosted by the Spanish Embassy.

Valetta Harbour, Malta

Valetta Harbour, Malta

ARTES Visit to Malta: 5 – 10 November 2014

Programme

Wednesday 5 November
Day: Arrival
Evening: 5.30 pm – Talk by Fr Dun Edgar Vella
The Baroque Neapolitan Crib in Malta
Followed by drinks reception and dinner

Thursday 6 November
Day Spanish Art on Malta Symposium at the Spanish Embassy
See link below for the provisional schedule:
Spanish Art on Malta Symposium – Thurs 6 Nov 2014

Malta Symposium Nov 2014

Evening Reception at the Spanish Embassy 

Friday 7 November
Day Visit to St John’s Co-Cathedral with Professor Keith Sciberras
Followed by tour of Valletta (including the Wignacourt Museum)
Lunch With transport to Mdina
Afternoon Visit to Mdina Cathedral Museum with Fr. Dun Edgar Vella
& to St Paul’s Church, Rabat
Evening Santa Caterina Church, Valletta & Lecture by Peter Vassallo
The Sojourn of Ángel de Saavedra, Duque de Rivas, in Malta (1825-30)
& the Composition of Al faro de Malta and El moro expósito

Saturday 8 November
Day 
Visit to Gozo to see churches & private collections with Mark Sagona

Sunday 9 November
Day Three cities tour
Lunch at Vittoriosa Quay
Afternoon Visit to National Museum of Fine Arts
& St Paul’s Shipwreck Church

Monday 10 November
Departure

St John's Co-Cathedral Malta

St John’s Co-Cathedral, Malta

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