The Zurbarán Centre for Spanish and Latin American Art invites applications for a fully funded doctoral scholarship in Spanish art-historical studies, commencing at Durham University in the academic year 2019/20. The deadline for the application is March 31st. The Zurbarán Doctoral Scholarship for the Study of Spanish Art has been created thanks to the generous support of CEEH (Centro de Estudios Europa Hispánica), in association with ARTES, and will be devoted to art-historical projects on Spanish art of the Golden Age and/or its legacy in Britain and/or Europe up to the 19th century.
The first UK exhibition of Joaquín Sorolla y Bastida (1863–1923), Spain’s most prominent Impressionist painter, opens today at the National Gallery, London. Born in Valencia, the artist is known as the ‘master of light’ for his iridescent canvases. From the vivid seascapes, garden views, and bather scenes for which he is most renowned, to portraits, landscapes and genre scenes of Spanish life, the exhibition features more than 60 works spanning Sorolla’s career—many of which are travelling from private collections and from afar.
The exhibition has been organised by the National Gallery and the National Gallery of Ireland, in collaboration with Museo Sorolla. Click here for more informati and to buy tickets.
The exhibition will then travel to the National Gallery of Ireland, 10 August–3 November 2019. Click here for more information
Francesco José de Goya Lucientes (1746-1828) and William Hogarth (1647-1764) were the most remarkable artists of their times. Both were famous painters, but their most compelling works are the prints that they made and published themselves. Often produced in serial format, like graphic novels, the prints were aimed at a more popular market than their paintings. This is the first exhibition to show Goya and Hogarth’s works together. It features a hundred prints, selected from the stellar collections of the Whitworth and the Manchester Art Gallery, and provides a unique opportunity to compare their extraordinary graphic work.
Both outsiders, Hogarth and Goya cast their candid gazes on their dysfunctional societies. Poverty, homelessness, warfare, violence, cruelty, sexual abuse and human trafficking, social inequity, political corruption, racism, superstition, hypocrisy, rampant materialism, nationalism, mental illness, and alcoholism all were subjected to their forensic scrutiny —no topic was off-limits. These challenging prints provoke a spectrum of responses, including shock, discomfort, laughter, pleasure, pain and empathy. The scenarios that Goya and Hogarth unflinchingly depicted are startlingly familiar to the contemporary viewer, and the images provoke us to turn our embarrassed gazes on our own society, and ourselves.
The exhibition is also timely, as it takes place during the troubled run-up to Britain’s exit from the European Union. Hogarth and Goya both lived through extended periods of warfare with France, and Hogarth claimed to hate the French, although he was a frequent visitor to Paris and hired French engravers for his print series Marriage a-la Mode. Angry, troubled, and ambivalent, Hogarth seems to embody the tortured mind-set of Britain on the eve of Brexit.
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The Courtauld Summer School features a variety of week-long intensive art history courses at one of the world’s leading Institutes for the study of art history, conservation and curating. Open to everyone over the age of 18. Click here for more information on the programme. ARTES members may be particularly interested in Spanish Splendour: The Arts of Iberia 1350–1500.
Spanish Splendour: The Arts of Iberia 1350–1500
Dr Nicola Jennings
This course looks at the arts in the kingdoms of Aragon and Castile between 1350 and 1550, a period which saw the establishment of the new kingdom of Spain and the development of traditions of painting, architecture and sculpture which can today be seen in museums, churches and palaces around the world. With visits to the Victoria & Albert Museum, the National Gallery, and the British Museum’s print room, the sessions will frame this art in relation to the active part played by Spaniards in political, cultural, and commercial exchange around the Mediterranean and with the Burgundian Netherlands and northern France. Aragon saw both the highpoint and the decline of an extensive political and commercial empire resulting in polyglot works such as the altarpiece of St George at the Victoria & Albert Museum. Castile saw taste for the Islamophile ‘Mudejar’ style give way to so-called ‘Hispano-Flemish’ art such as Bartolomé Bermejo’s Saint Michael vanquishing the Devil at the National Gallery. The arrival in Iberia of increasing numbers of superbly crafted ivories, altarpieces, metalwork and tapestries from the southern Netherlands, of paintings by the likes of Jan van Eyck and Rogier van der Weyden, and of prints by Schongauer and Dürer played a key role in this process.
Dr Nicola Jenningshas an MA and a PhD from The Courtauld, where she is currently an Associate Lecturer; she is also Director of the Colnaghi Foundation, London. She previously held positions at the National Gallery and at City University, London. Nicola is a specialist in late-Gothic Spanish art, with a particular research interest in the connections between immigrant French and Flemish and local Spanish artists in fifteenth-century Iberia, and in the works they produced for prominent converts from Judaism. Her writings include contributions to monographs on Lorenzo Mercadante and Alonso Berruguete, and various articles and book chapters based on her thesis.
Cost: £555. For further information please see the websitecourtauld.ac.uk/learn
or contact firstname.lastname@example.org: 020 3 9477 650
This exhibition explores the vibrant cosmopolitan architecture culture in Latin America during the interwar period, using original materials from archival collections at Harvard. Presented here are works by Argentinian architects Jorge Ferrari Hardoy and Juan Kurchan, who collaborated with Le Corbusier, and by German architect Franz Möller, who worked with Walter Gropius, both of whom were key propagandists of modern architecture. In 1931, Möller opened the office Gropius-Moller Arquitectos in Buenos Aires. Among the firm’s projects was the Ciudad Balnearia de Chapadmalal, a private commission for a large-scale seaside resort, represented here by the clubhouse. This high-end leisure development contrasts with Gropius Standard—a one-story, low-cost house intended for young professional couples that could transform over time to meet the needs of a growing family. This system continued Gropius’s interests in prefabrication, which can be traced back to his Bauhaus years, but was adjusted to suit local building and climatic conditions.
In the early 1940s, Ferrari Hardoy and Kurchan conceived of an apartment building on Virrey del Pino Street to showcase the possibilities of “city in the park” modern planning; they envisioned the project as a fragment of a future greater whole. The 10-story apartment block is set back on an urban lot, and an ample garden separates the building from the street. Three august carefully preserved eucalyptus trees were woven into the facade, fusing practical climatic considerations and formal aesthetic concerns. Both architects were engaged in the Plan Director, a master plan for the Argentinian capital that had been developed with Le Corbusier in Paris. Le Corbusier’s daring proposal for skyscrapers on the Rio de la Plata, which had sprung from his 1929 visit to Argentina, would have extended the city of the Pampas into the river. This key functional and symbolic node sets the development of the Plan Director into a multinode city linked by circulation arteries. After the war, working for the city government, Ferrari Hardoy and Kurchan refined the plan and vigorously endeavored to publicize and implement it.
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Over the course of millennia, textiles were the primary form of aesthetic expression and communication for the diverse cultures that developed throughout the desert coasts and mountain highlands of the Andean region. Worn as garments, suspended on walls of temples and homes, and used in ritual settings, textiles functioned in multiple contexts, yet, within each culture, the techniques, motifs, and messages remained consistent.
This exhibition features over 60 textiles along with a small selection of ceramics from the museum’s collection that together explore the ways select Andean cultures developed distinct textile technologies and approaches to design. While emphasizing the unique aspects of each culture and highlighting Andean artistic diversity, the exhibition also invites comparisons across cultures and time periods. These objects speak to shared ideas concerning everyday life, the natural world, the supernatural realm, and the afterlife, demonstrating a unified visual language that spans the Andes region from its ancient past to modern communities.
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The Centro de Estudios Europa Hispánica and the Center for Spain in America (CSA) encourage studies on Spanish history, art and literature by establishing doctoral and postdoctoral scholarships at European and American universities, as well as at research centres whose holdings are particularly relevant to the knowledge of Spanish culture. They likewise establish assistantships for curatorial work at museums with significant holdings of Spanish painting.
Doctoral Scholarship in Spanish Art-Historical Studies: Spanish art of the Golden Age and/or its British/European legacy up to the 19th century, Zurbarán Centre for Spanish and Latin American Art, Durham University
Awarded in association with ARTES.
Deadline: 31 March 2019
Doctoral Scholarship for the Study of Spanish Art, in memory of Rosemarie Mulcahy (1942–2012): Spanish art 1450–1750, Trinity College, Dublin
Deadline: 31 March 2019