An annual event in honour of the great Hispanist Nigel Glendinning, supported by the Instituto Cervantes, and hosted in 2020 by the Warburg Institute.
04 March 2020, 17:30 to 20:00 The Warburg Institute, Woburn Square, London WC1H 0AB Click here to book a place
Benito Navarrete Prieto (Universidad de Alcalá): ‘Appropriation and Cultural Transfer in the Early Modern Iberian World’
In his influential work The Mediterranean and the Mediterranean World in the Age of Philip II Fernand Braudel regretted that: ‘We have museum catalogues but no artistic atlases’. Since then historians and art historians alike, such as Luisa Elena Alcalá, Peter Burke and Jean Michel Massing among others, have explored cultural appropriations to make sense of what Thomas DaCosta Kaufmann has famously called the geographies of early modern art. This lecture examines forms of assimilation and reception of images, and aims to contribute to the current scholarly conversation concerning early modern artistic circulations. The method of appropriation through which a canonical image is reinterpreted is fundamental to understanding the transferral of images within the Iberian World. This mechanism of appropriation is useful to examine the range of visual identities that configured the map of cultural circulations in the period, and is thus a useful theoretical framework for the study of global art history.
Juan Martínez Montañés (Alcalá la Real, 1568–Seville, 1649) marked a milestone in Spanish Baroque sculpture and a timeless model in the Sevillian school. This exhibition provides an insight into a select representation of 44 sculptures and reliefs by the brilliant artist, of a total of 58 works on display. Divided into three sections, the itinerary presents an exceptional repertoire of works that bear witness to the ambition of the major commissions he undertook, the sublime quality of his devotional images and the novelty of his iconographic models. The first section features works from his most outstanding groups or altarpieces, such as those from San Isidoro del Campo and the convent of San Leandro. The second one offers key examples of his magnificent religious imagery, such as Saint Christopher and Saint Jerome, and the third one highlights his most significant contributions to Sevillian Baroque iconography, as exemplified by the Infant Jesus from the Cathedral Side Chapel, ‘La Cieguecita’ (Little Blind One), and the Christ of Clemency.
The connections with the artistic and intellectual world of the day reveal the collaboration between Montañés and other artists, also represented here by paintings that formed part of altarpieces or were the pictorial expression of the new iconographies which the sculptor helped to establish. Many of the works on display have undergone conservation and restoration works specifically for the exhibition, enabling us to appreciate the extraordinary quality and beauty of the grand masterís work in all its glory. Thanks to the generous collaboration of the Archbishopric of Seville, the exhibition also includes works which the general public rarely have the opportunity to admire, either because they are located high up on altarpieces or hidden away in convents and monasteries.
A book launch and Q&A will be held on the 23 November, 3–5pm, at the Peltz Gallery, Birkbeck University of London.
In this book launch, Birkbeck scholar Mpalive Msiska will interview Dr Carmen Fracchia, from the Department of Cultures and Languages, about her new book Black but Human: Slavery and Visual Arts in Hapsburg Spain, 1480–1700 (OUP, 2019). This will be followed by a brief conversation between the author and the visual artist Victoria Burgher, who will give a short presentation of her work.
is a Paraguayan academic trained originally
in Italian and Spanish Art History at the Universities of Siena and
University College London. She is a Reader
in Hispanic Art History at Birkbeck. Her work focuses on the visual
articulations of Hispanic intellectual, political, and religious
thought about local Spanish and transatlantic slavery, freedom,
subjectivity, race, and hybridity, with special emphasis
to the visual representations of Africans and Afro-Hispanic enslaved
and liberated people, such as Juan de Pareja (Antequera,
Mpalive Msiska is a Malawian academic who is a Reader in English and Humanities at Birkbeck where he teaches courses and supervises research work on Post-colonial and Global literatures as well as interdisciplinary subjects. He has previously taught at Bath Spa University and the University of Malawi, among others. His publications include Post-Colonial Identity in Wole Soyinka (2007), Wole Soyinka (1998), Writing and Africa (1997) and The Quiet Chameleon: A Study of Poetry from Central Africa (1992) and the most recent chapter ‘Divine Ways of Cognition: the Burden of the Poet-Seer in Soyinka’s Idanre,’ in The Soyinka Impulse, eds Duro Oni and Bisi Adigun. He is a member of the Caine Prize Advisory Board, the Council of the British Institute in Eastern Africa as well as the Editorial Board of the Journal of Southern African Studies.
Victoria Burgher is a multi-disciplinary artist who lives and works in East London. She studied at Goldsmiths College (MA) and her politically engaged practice ranges from sculptural installations and site-specific interventions to collaborative community projects. She is interested in art’s ability to challenge histories and a fascination with materials and process inform her approach to making. Current work uses colonial commodities to decolonise the nostalgic narrative of Empire. She exhibits regularly in the UK and Europe.
Attendance is free but booking is necessary. Please click here to book and here for more information.
The call for papers is open for the DR-DS 2020 International Congress, which will be hosted in the cities of Seville and Granada, from the 11th to the 15th of May, 2020. The congress will include inaugural and closing conferences by professors Amadeo Serra, from the Universitat de València, and Fernando Marías, from the Universidad Autónoma de Madrid, as well as a number of highly qualified guest speakers.
The great transformation experienced by Spanish architecture during the reign of Emperor Charles V finds a brilliant and diverse expression in the activity of Diego de Riaño and Diego Siloé. Both masters, one working in the Sevillian metropolis and the other in the former Nasrid capital, the last bastion of Islam on the Peninsula, defined two very different models of operation. Both produced some of the first Spanish buildings with a fully Renaissance language.
This congress proposes to approach these two great architects in the context of the transition to the Renaissance in Spain. They will also serve as a pretext for tackling similar phenomena from a broader perspective, incorporating methodological and historiographic problems within a European framework. The organisers invite national and international researchers to an event that builds a cooperative space for interdisciplinary dialogue, offering an attractive and exciting programme of keynotes and plenary sessions given by experts in the field, with the presentation of unpublished papers selected by a scientific committee. All contributions will be published in an edited volume. Papers are subject to evaluation using a double-blind peer reviewed system to ensure scientific quality.
The congress will be hosted in Seville and Granada. The organization will be responsible for the transport between the two cities. The conference will open on 11 May in Seville. Paper sessions will be accompanied by special visits, for example to the sacristy of Seville cathedral and the city’s town hall, both works by Diego de Riaño. On 13 May sessions will take place in Granada, including a visit to the cathedral, designed by Diego Siloé, and Charles V’s palace, designed by Pedro Machuca.
The conference will focus on the following themes: General: – Theoretical and historiographic approaches. – Graphic and documentary testimonials.- Science and technology. – Architecture and city. – Promoters, patrons, ideologists, artificers. Specific: – Diego de Riaño and Lower Andalusia. – Diego Siloé and Eastern Andalusia. – The transition to Renaissance in other areas.
On 8th November 1519, Hernán Cortés and Moctezuma Xocoyotzin met for the first time, and less than two years later, in August 1521, the Spanish had completed their conquest with the aid of thousands of native auxiliaries who fought against the Aztecs. While this anniversary is being commemorated in Spain, Mexico have requested an apology from its former colonial master for the atrocities committed against its indigenous population. As such, this anniversary, and the subsequent anniversaries that will be remembered in the run up to the end of the siege of Tenochtitlán have very different connotations depending on your point of view.
500 years on, this guest panel aims to interrogate the contentious nature of historic anniversaries; the significance of this meeting for the Aztecs and other indigenous Mexicans, and its importance for the Spaniards and the narrative that it would help create. The guest speakers are: Greg Jenner, public historian, author and historical adviser for Horrible Histories; Dr Caroline Dodds Pennock, the UK’s leading Aztec specialist; and NTU History’s Dr Amy Fuller, who has published and lectured on the Conquest of Mexico.
The 3 speakers will be delivering a lecture of approximately 1 hour (20 minutes each) on different aspects of the significance of the 500 year anniversary, followed by a Q&A and reception for further questions/networking opportunities.
Alfonso X ‘the Learned’ of Castile (1252–1284) was praised in his lifetime as a king who devoted himself to discovering all worldly and divine knowledge. He commissioned chronicles and law codes and composed poems to the Virgin Mary, he gathered together Jewish scholars to translate works of Arab astrology and astronomy, and he founded a university of Latin and Arabic studies at Seville. Moreover, according to his nephew Juan Manuel, Alfonso was careful to ensure that ‘he had leisure to look into things he wanted for himself’. The level of his personal involvement in this literary activity marks him out as an exceptional patron in any period. However, Alfonso’s relationship with the arts also had much in common with that of other thirteenth-century European royal patrons, among them his first cousin, Louis IX of France. Like his contemporaries, he relentlessly used literary works as a vehicle to promote his royal status and advance his claim to the imperial crown. His motivation for the foundation of the university at Seville was arguably political rather than educational, and instead of promoting institutional learning during his reign, Alfonso preferred to direct the messages about his kingship in the lavish manuscripts he patronized to a restricted, courtly audience. Yet such was the interest of the works he commissioned, that those who could obtain copies did so, even if these were still incomplete drafts. Three codices traditionally held to have been copied for Alfonso in fact show how this learning reserved for the few began to filter out beyond the Learned King’s immediate circle.
Kirstin Kennedy is a curator of metalwork (specializing in silver) at the Victoria and Albert Museum, London. She previously held a British Academy Post-Doctoral Fellowship at King’s College London, in the Department of Spanish and Spanish American Studies (2000–2003).
Salary Range: Competitive salary based on our professorial Pay Scales (starting at £64,606 and going considerably higher based on experience)
Working arrangements: The role is full time, but we will consider requests for flexible working arrangements including potential job shares.
Open date: 30 September 2019
Closing date:17 January 2020 at 12pm midday
Preferred start date: Successful candidates will ideally be in post by 01 September 2020.
We are seeking an outstanding academic leader and scholar in Spanish and Latin American Art and/or Visual Culture to direct the interdisciplinary Zurbarán Centre for Spanish and Latin American Art, a collaborative venture with The Auckland Project.
The Director will be an internationally recognised authority in
her/his field who will act as an intellectual entrepreneur, developing
academic contacts within Durham University, as well as nationally and
internationally, and work in close collaboration with The Auckland
Project’s forthcoming Spanish Gallery in Bishop Auckland – the central
impetus for the creation of the Zurbarán Centre – on research,
programming, and the development of joint initiatives. The Director will
be located in an appropriate academic department of Durham University
(Faculty of Arts and Humanities).
Auckland Castle, at the heart of The Auckland Project, is one of the
most important working episcopal palaces in Europe, the seat of the
Prince Bishops of Durham since the twelfth century. For more than 250
years, Auckland Castle has been home to the internationally significant
cycle of masterpieces from the Spanish Golden Age, Jacob and his Twelve Sons
by Francisco de Zurbarán, the inspiration for The Zurbarán Centre.
Financier Jonathan Ruffer set up Auckland Castle Trust in 2012 (now The
Auckland Project) to secure the future of the Zurbaráns in Bishop
Durham University formally established the Zurbarán Centre in October 2016. The Centre’s collaboration with the Spanish Gallery will provide an unusual opportunity to combine engagement with connoisseurship of a new permanent collection with scholarship of, particularly, Golden Age art, playing to Durham University’s established strengths in Spanish and Latin American studies. The Centre is an embedded part of Durham University located in Bishop Auckland, where the Director will be primarily based.
This represents an exciting opportunity to further the ambitions of both partner organisations to become the leading home for the study and appreciation of Spanish and Latin American art. Over the past three years, the Centre has fostered research in Spanish and Latin American art in a global context, with a special focus on the art of Medieval Spain, the Spanish Golden Age, Mexican national art, the 19th-century history of collecting, and Spanish and Latin American cinema and photography.