In collaboration with The Embassy of Spain, The Instituto Cervantes and the National Gallery, ARTES organised a symposium dedicated to the painter Joaquín Sorolla (1863–1923), currently celebrated in the exhibition Sorolla: Spanish Master of Light at the National Gallery (until 7 July). Speakers included two ARTES committee members, Gail Turner and Akemi Herráez, as well as museum directors and art historians from Spain and the UK. Follow the link below for some images and impressions of a day to remember.
In the summer of 2019 the museum is presenting an exhibition that connects the work of Cristóbal Balenciaga, the most admired and influential fashion designer of all time, with the tradition of 16th– to 20th-century Spanish painting.
References to Spanish art and culture are a recurring presence in Balenciaga’s work. The simple, minimalist lines of religious habits or the architectural volume of their cloth are to be found in many of his designs. The billowing train of a flamenco dancer’s dress echoed in the flounces on some dresses, the glinting reflections on a bullfighter’s suit, brilliantly conveyed in the sequin embroidery on a bolero jacket, and the aesthetic of Habsburg court dress echoed in black velvets embellished with jet trim in some creations are just a few examples. Balenciaga constantly studied the history of art and made use of these influences, expressed through his own powerful and unique style, throughout his career, including his most avant-garde period, reviving historic garments and reinterpreting them in a strikingly modern manner.
The exhibition, curated by Eloy Martínez de la Pera, will include a carefully-selected group of paintings loaned from private Spanish collections and public museums, including the Museo Nacional del Prado and the museums of Fine Arts of Seville, Valencia and Bilbao. They will be accompanied by a group of important creations by Balenciaga, some of them never previously exhibited, loaned from national and international museums including the Museo Balenciaga in Guetaria, the Museo del Traje in Madrid and other international institutions and private collections.
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Since 2016, MoMA and the Guggenheim Museum have worked on digitising exhibition catalogues and other material related to their displays and collections.
MoMA’s ‘Exhibition History‘ page offers access to photographs, interpretation, checklists and other material for 4,918 exhibitions from the museum’s founding in 1929 to the present. ARTES members may be particularly interested to discover a 1931 exhibition dedicated to Diego Rivera, the show American Sources of Modern Art (Aztec, Mayan, Incan) of 1933, the ground-breaking Cubism and Abstract Art of 1936, the 1939 show Picasso: Forty years of his art and exhibitions dedicated to the Brazilian artist Candido Portinari and to Joan Miró in 1940. The archive offers a way to explore the museum’s history during its closure for refurbishment and redisplay (re-opens October 21).
On archive.org, art lovers and researchers can read and download more than 200 catalogues published by the Guggenheim Museum. Highlights include the exhibition Tauromaquia (Collezione Peggy Guggenheim, Venice, 1985), Berriaren tradizioa: Guggenheim bildumako maisulanak, 1945–1990 (Museo de Bellas Artes de Bilbao, 1995), and The Aztec Empire (Solomon R. Guggenheim Museum, New York, 2004).
Bermejo is one of the greatest Spanish artists of the second half of the 15th century.
This exhibition, in the National Gallery’s Room 1, brings two of his masterpieces: the triptych of the ‘Madonna of Montserrat’ from the cathedral at Acqui Terme, Alessandria (Italy) and the ‘Piedad Desplà’ from Barcelona Cathedral, to the UK for the first time.
In addition, The National Gallery’s own painting by Bermejo, the magnificent ‘Saint Michael Triumphs over the Devil‘, returns on display following its recent conservation, revealing the painting’s exquisite details and the extent of Bermejo’s artistry.
Organised by Stefano Cracolici and Edward Payne (Zurbarán Centre for Spanish and Latin American Art, Durham University)
Free, but please register at this link: https://www.eventbrite.co.uk/e/canons-and-repertoires-constructing-the-visual-arts-in-the-hispanic-world-registration-62569293441
The visual arts in Spain have long been haunted by the spectres of six giants: El Greco, Ribera, Velázquez, Murillo, Goya and Picasso. Still today, these canonical figures tower over all others and continue to shape the story of Spanish art, which has been traditionally told in monographic form. Although the strength of the Spanish canon has informed different disciplines (literature, aesthetics, performing arts), given the recent ‘material turn’, the prosopographical dimension of the visual arts in Spain poses a disciplinary challenge. Similarly, following the ‘global turn’, the visual arts of Iberia pose a geographical challenge, intersecting with the Mediterranean, Arabic, Latin American, British and continental European worlds. The notions of ‘Spain’ and ‘Spanish art’, therefore, are necessarily nebulous and problematic, raising a host of questions: To what extent does Spanish art exist before the establishment of Spain as a nation state? To what extent is the art of the Habsburg and Bourbon empires a Spanish art outside Spain? What is the role of Spain in the wider canon of European art? Who has exploited the visual arts of the Hispanic world, geographically, politically and intellectually? These questions ultimately point to a tension between canons and repertoires; between centres and peripheries; and between consolidating the ‘core’ and expanding the ‘remit’ of the so-called Spanish school.
This conference will explode the disciplinary, material and geographical limits of Spanish art, inaugurating the Zurbarán Centre as a critical and innovative research institution for the study of Spanish and Latin American art in the twenty-first century. Papers will challenge the canonical construction of Spanish art, which can be traced back to writings from Palomino’s Lives of the Eminent Spanish Painters and Sculptors (1724) to Stirling Maxwell’s Annals of the Artists of Spain (1848), to more recent publications by scholars in the field. Papers will also probe the chronological, geographical and material boundaries of the ‘El Greco to Goya’ survey, interrogating the ways in which academics, curators, scholars and teachers narrate this material through various platforms, including publications, museum displays, exhibitions, lectures, gallery talks and academic courses. Speakers will address the various ‘terrains’ of Spanish art, from geographical constructions of Iberia as Europe’s frontier or edge, to exchange with all that lies beyond the Pillars of Hercules.
Thursday 20 June 2019
|09.30 – 10.00||Registration & Coffee|
|10.00 – 10.05||Introduction & Welcome|
|10.05 – 11.20||Session 1: Historiographies|
Chair: Stefano Cracolici (Durham University)
|10.05 – 10.25||Why El Greco to Goya?|
Edward Payne (Durham University)
|10.25 – 10.45||Frederic Leighton’s Vision of Spain|
Véronique Gerard Powell (Sorbonne Université, Paris)
|10.45 – 11.05|| Nigel Glendinning and the Hispanic Research Journal: A Unique Voice in Spanish Cultural |
Sarah Symmons (University of Essex)
|11.05 – 11.20||Discussion|
|11.20 – 11.50||Tea & Coffee|
|11.50 – 12.50||Keynote Lecture: |
Passion and Prejudice: Attitudes to Spanish Sculpture in Nineteenth-Century Britain
Holly Trusted (Victoria & Albert Museum, London)
|13.00 – 14.00||Lunch|
|14.00 – 15.15||Session 2: Geographies|
Chair: Edward Payne (Durham University)
|14.00 – 14.20||Beyond El Greco: The Travelling Artist between Italy and Spain—Artistic Translation and the |
Sixteenth-Century Hispanic Canon
Piers Baker-Bates (The Open University)
|14.20 – 14.40||Maestros españoles en Chile: Espacios y repertorios|
Marcela Drien (Universidad Adolfo Ibáñez, Santiago de Chile)
|14.40 – 15.00||Geographic Limits and the History of the Spanish Avant-Garde|
Maite Barragán (Albright College, Reading PA)
|15.00 – 15.15||Discussion|
|15.15 – 16.30||Session 3: Strategies|
Chair: Tom Stammers (Durham University)
|15.15 – 15.35||Genaro Pérez Villaamil: Navigating Stereotypes|
Claudia Hopkins (University of Edinburgh)
|15.35 – 15.55||Imaginary Architecture as Imagined Community: ‘The Market’ by Jenaro Pérez Villaamil|
Matilde Mateo (Syracuse University)
|15.55 – 16.15||Hieroglyphs of Providence: Pelegrín Clavé and Isabella I of Castile|
Stefano Cracolici (Durham University)
|16.15 – 16.30||Discussion|
|16.30 – 17.00||Tea & Coffee|
|17.00 – 18.00|| Keynote Lecture|
Canons and Repertoires in Hispanic Art: What does Stirling Maxwell have to do with them?
Hilary Macartney (University of Glasgow)
Friday 21 June 2019
|9.30 – 10.00||Tea & Coffee|
|10.00 – 11.15||Session 4: Identities|
Chair: Giovanna Capitelli (Università Roma Tre)
|10.00 – 10.20||El arte español más allá de la península ibérica: ¿Qué significa ser un ‘artista español en la Nueva España’? |
Luis Javier Cuesta Hernández (Universidad Iberoamericana, Ciudad de México)
|10.20 – 10.40||Constructing the Monuments of the Nation: Victor Balaguer and the Struggle to Shape Monasteries as Spanishness|
Josep-Maria Garcia-Fuentes (Newcastle University)
|10.40 – 11.00||Thinking Spain from Barcelona: The Iconographic Repertoire of Spanish Art (1918–1922)|
Lucila Mallart (Universitat Pompeu Fabra, Barcelona)
|11.00 – 11.15||Discussion|
|11.15 – 11.45||Tea & Coffee|
|11.45 – 13.00||Session 5: Remediations|
Chair: Ludmilla Jordanova (Durham University)
|11.45 – 12.05||Thinking through Painting: Artistic Practice as Metaphor in the Early Modern Hispanic World|
Adam Jasienski (Southern Methodist University, Dallas TX)
|12.05 – 12.25||From Mimesis to Montage: Sergei Eisenstein on El Greco|
Dušan Radunović (Durham University)
|12.25 – 12.45||‘Ese Velázquez sí que era un genio’: el canon del arte español y la ficción televisiva|
Luis Vives-Ferrándiz Sánchez (Universitat de València)
|12.45 – 13.00||Discussion|
|13.00 – 14.00||Lunch|
|14.00 – 14.20||Concluding Remarks |
Amaya Alzaga Ruiz (Universidad Nacional de Educación a Distancia, Madrid)
|14.20 – 15.00||Roundtable Discussion|
|15.00 – 16.00||Refreshment|
The Maius Workshop’s next event will take place at 4:30–5:30 pm on 3 June 2019 at QMUL (Arts Two, room 2.18).
We are delighted to welcome Emily Floyd, Lecturer in Visual Culture and Art before 1700 at UCL, for a conversation on her forthcoming article, ‘The Word as Object in Colonial South America’. A draft of the article will be pre-circulated, and Emily looks forward to the group’s comments and questions.
Please email email@example.com to sign up to this free event.
***How to find Arts Two, room 2.18: the Arts Two building is number 35 on the campus map at this link. The campus is best accessed through the East Gate entrance. Please note that the Arts Two building does not have an entrance on Mile End Road.
The Museo Picasso Málaga presents Picasso’s first wife Olga Khokhlova and her story in the first show of its 2019 exhibition calendar. The exhibition Olga Picasso was inspired by the letters and photographs found in the travel trunk of the Russian dancer, Bernard Ruiz-Picasso’s grandmother. The exhibition focuses on the years of Olga’s relationship with Picasso. It offers context on the creation of some of Picasso’s greatest works, connecting them with a personal story that developed alongside another, political and social, story.
Olga Khokhlova (Nezhin, Ukraine, 1891– Cannes, France, 1955) was the daughter of a colonel in the Russian Imperial Army. In 1911 she joined the prestigious and innovative Ballet Russes company, which was at that time highly successful in Europe under the direction of Serguei Diaghilev. She first met Pablo Picasso in Rome in the spring of 1917, when the artist was designing the sets and costumes for the ballet Parade. They were married in Paris, on 12th July 1918, and their first and only child, Paul, was born in February 1921. The couple separated in 1935, although they remained married until Olga’s death in Cannes, in 1955.
The Russian ballerina’s travel trunk, which her son received when he inherited the chateau of Boisgeloup—currently owned by the Fundación Almine y Bernard Ruiz-Picasso para el Arte (FABA)—contained previously unseen letters and photographs. For many years, the drawers harboured Kodak envelopes full of photos that told the story of Bernard’s grandparents, their life together, their travels, Picasso’s ateliers and more. In other compartments lay hundreds of letters in French and Russian, tied with little pink or blue silk ribbons. Olga’s trunk, engraved with her initials, also held her dance attire, ballet shoes, tutus, programmes and such personal objects as a Crucifix and a Russian Orthodox Bible. The contents of the trunk, which was the only personal belonging Olga kept after her separation from Picasso, revealed new aspects of the artist’s work during their relationship.
Approximately 350 items will be shown in the exhibition, including paintings, works on paper, photographs, letters, documents and films. It has been jointly curated by Émilia Philippot, conservator of the Musée national Picasso-Paris; Joachim Pissarro, professor of art history and director of Hunter College Art Gallery (New York); and Bernard Ruiz-Picasso, co-chair of the Fundación Almine y Bernard Ruiz-Picasso para el Arte, FABA, president of the Executive Board of Museo Picasso Málaga and member of its Board of Trustees. The exhibition has been adapted for Museo Picasso Málaga by José Lebrero, the museum’s artistic director, and Sofía Díaz, its exhibitions coordinator.
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