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Canvas & Silk: Historic Fashion from Madrid’s Museo del Traje, 19 September – 9 January
Rather than focus on a particular artist, Canvas & Silk: Historic Fashion from Madrid’s Museo del Traje will for the first time pair works in the Meadows collection with representative examples of the historic dress depicted to shed new light on the relationship between representation and reality, between image and artifact. The exhibition is possible thanks to an unprecedented collaboration with Madrid’s premier museum of historic dress, the Museo del Traje, and seeks to offer a glimpse into some historical fashions through the lens of Spanish art. The exhibition will be curated by Amanda W. Dotseth (Meadows Museum) and Elvira González (Museo del Traje). Click here for more information.
Image and Identity: Mexican Fashion in the Modern Period, 19 September – 9 January
The museum’s first-floor galleries will feature a focused exhibition titled Image & Identity: Mexican Fashion in the Modern Period, curated by the museum’s Center for Spain in America (CSA) Curatorial Fellow, and ARTES member, Akemi Luisa Herráez Vossbrink. Featuring photographs, prints, books and gouaches from the 19th and 20th centuries, this exhibition will explore Mexican fashion through images of everyday scenes, festivities, regional types and occupations. Building on a theme developed in the Meadows’s larger fall exhibition, Canvas & Silk: Historic Fashion from Madrid’s Museo del Traje, Image & Identity will also show how national identity formation is reflected in fashion and is often accompanied by a resurgence in the popularity of indigenous dress. Click here for more information.
Text excerpts and images provided by the Meadows Museum Dallas
International Conference Organized by: AmerMad Project in collaboration with the Royal Academy of San Fernando, Madrid
Directors: Luisa Elena Alcalá and Benito Navarrete Prieto
Dates: 3-4 (or 10-11) February 2022 (exacts dates to be confirmed)
Place: Real Academia de San Fernando, Madrid
Organized within the context of the research project AmerMad (America in Madrid. Interconnected Patrimony and Touristic Impact in the Comunidad de Madrid), this colloquium seeks to analyze the current state of knowledge regarding viceregal art in Madrid.
Deadline: September 20, 2021
Accepted participants will be notified by October 1
Languages: papers can be in Spanish, English, French, Italian, or Portuguese
The presence of objects with a Spanish American provenance in Madrid has mostly been studied through the lens of the monarchy since the crown was a primary patron, generator, and receiver of all kinds of objects and images, both of documentary and artistic value. Nonetheless, as Madrid grew and developed into a major city in the 17. and 18th centuries, it began to harbor nnany important institutions which offer other scenarios to explore: great convents, schools, academies, hospitals and churches with their respective religious congregations, all of them places of productive encounters for many people involved and/or connected in some way with life on the other side of the Atlantic.
One of the aims of this colloquium is to refresh and update what we know about the Spanish American patrimony in Madrid between the 16th and the 18. centuries. Another objective is to consider the place that these works should or could occupy in a renewed narrative of the history of art in Spain that is more inclusive, transversal and multicultural.
What stories about Madrid and its art have gone amiss? And, have they remained in the background because of traditional disciplinary divides, such as the one that separates Spanish art (or art in Spain) from Spanish American art? How can we think of Madrid as a crossroads where Iberian and colonial art rnet? How did objects that came from Ameri. interact or engage with local developments of taste, consurnption, religious practice, devotion and identity, as well as artistic processes and projects taking place in the capital? What kinds of functions did these works have, and how can we characterize their social impact? In addition, we encourage consideration of how these objects were displayed, if they were more or less visible, and how they have been transformed by changing displays, their meanings becoming more or less relevant for Madrid’s society as times changed.
We invite proposals based on original research that can contribute to advancing the current state of knowledge and explore new questions and theoretical frameworks for our better understanding of these unique objects and works of art.
Additional information: This event will coincide with the closing days of the exhibition Tornaviaje. Arte lberoamericano en España, (Museo Nacional del Prado) and the colloquium will include in its planned activities a visit to see it. Other activities are also planned to complement the conference, including a study session of the relevant holdings in the Real Academia de Bellas Artes de San Fernando, which will be coordinated by Juan Bordes and Itziar Arana as head of projects at the RABASF.
The Art Association of Australia & New Zealand (AAANZ)
I M P A C T
The University of Sydney
Deadline 30 July 2021.
The theme of this session is art and social resistance in Latin America and Caribbean in the era of post colonialism and global/glocal perspective. We will therefore look at Latin America and Caribbean contemporary artists whose work blends art, politics, democracy, resistance and identity. Artists in different contexts, and particularly in Latin America and Caribbean countries, have increasingly positioned themselves to usher in political and social change, in areas ranging from climate change and dictatorship to human rights. The current political crises, the coronavirus 19 pandemic crisis and its consequences for the Latin America economy and democracy, as well as the social struggles that lead to large influxes of Latin America migrants into the United States, Europa and Australia and massive flow of immigration from Venezuela, Nicaragua and Haiti has inspired many artists.
The panel will discuss crucial themes such as social and cultural identity, minority identities, ancestrality, religiosity and tradition. It will also highlight initiatives by artists who have demonstrated how art can break down barriers and be more inclusive in terms of reframing minorities.
We invite contributions on the following topics: art and activism, indigenous art, feminism art and black community. Our aim is to socialize emerging themes in the field of art history in dialogue with the various areas of knowledge and highlight its rich diversity and foster intercultural dialogue. In this panel, we will discuss the importance of maintaining the Latin American historical memory and raise questions about preserving the history of the Latino identity.
Panel convenor Tatiane de Oliveira Elias
How to apply
To apply to speak at the conference, you must submit a Paper Proposal Form to the Panel Convenor of the panel you wish to speak on. (The conference organisers are not accepting or processing applications.)
All Paper Proposal Forms must be submitted to the Panel Convenors by 30 July 2021.
The Paper Proposal Form requires you to provide the following details:
- Your name and institutional affiliation.
- Your email address and phone number
- The title of your paper
- Proposed paper abstract (max. 200 words)
- Professional biography (max. 100 words)
Submit paper proposals to this email address: firstname.lastname@example.org
Who should apply
The AAANZ Conference is held every year (although not in 2020), and is the region’s major conference for art workers and researchers.
You should apply to present at the conference if you are an art historian, artist or a curator. Outside these core areas, we also welcome design and moving image historians, museum studies academics, and arts and design professionals.
We welcome speakers from across Australia, New Zealand and the Pacific Region, and we especially welcome proposals from Indigenous delegates.
All speakers and convenors must be current AAANZ members to be included in the Conference Program (in August 2021).
More information http://aaanz.info/aaanz-home/conferences/2021-conference-impact/
Join the Hispanic Society Museum & Library Director & CEO, Guillaume Kientz, and Lionel Sauvage, philanthropist and 18th Century French art collector for a conversation organized by the American Friends of the Louvre and the National Arts Club. Together, they will discuss Mr. Kientz’s commitment to reimagining museums from the Louvre to the HSM&L, highlighting the history and collections of the Hispanic Society and the relations and collaborations between both institutions.
The Hispanic Society Museum & Library boasts one of the world’s most significant collections of Hispanic art and literature with more than 250,000 rare books and manuscripts and 200,000 artworks, including important paintings by Diego Velázquez, Francisco de Goya, El Greco and Joaquín Sorolla, among others.
Guillaume Kientz, Velázquez and El Greco expert, is the Director & CEO of the Hispanic Society Museum & Library in New York. Previously, he served as Curator of European Art at the Kimbell Art Museum in Fort Worth, Texas, and as Curator of Spanish and Latin American Art at the Musée du Louvre in Paris for nine years.
Lionel Sauvage is a philanthropist and 18th Century French art collector based in Los Angeles. He serves on the board of American Friends of the Louvre. Sauvage’s successful career in finance led him to philanthropy, where he became deeply involved in supporting the arts. To learn more, and to register for the virtual event, please click here.
We are delighted to announce the publication of a new book by ARTES committee member, Laura Fernández-González, Philip II of Spain and the Architecture of Empire (Penn State University Press)
From the publisher:
Philip II of Spain was a major patron of the arts, best known for his magnificent palace and royal mausoleum at the Monastery of San Lorenzo of El Escorial. However, neither the king’s monastery nor his collections fully convey the rich artistic landscape of early modern Iberia. In this book, Laura Fernández-González examines Philip’s architectural and artistic projects, placing them within the wider context of Europe and the transoceanic Iberian dominions.
Philip II of Spain and the Architecture of Empire investigates ideas of empire and globalization in the art and architecture of the Iberian world during the sixteenth century, a time when the Spanish Empire was one of the largest in the world. Fernández-González illuminates Philip’s use of building regulations to construct an imperial city in Madrid and highlights the importance of his transformation of the Simancas fortress into an archive. She analyzes the refashioning of his imperial image upon his ascension to the Portuguese throne and uses the Hall of Battles in El Escorial as a lens through which to understand visual culture, history writing, and Philip’s kingly image as it was reflected in the funeral commemorations mourning his death across the Iberian world. Positioning Philip’s art and architectural programs within the wider cultural context of politics, legislation, religion, and theoretical trends, Fernández-González shows how design and images traveled across the Iberian world and provides a nuanced assessment of Philip’s role in influencing them.
Original and important, this panoramic work will have a lasting impact on Philip II’s artistic legacy. Art historians and scholars of Iberia and sixteenth-century history will especially value Fernández-González’s research.
Laura Fernández-González is Senior Lecturer in Architectural History at the University of Lincoln. She is the coeditor, with Marjorie Trusted, of the special issue of Renaissance Studies titled “Visual and Spatial Hybridity in the Early Modern Iberian World” and, with Fernando Checa Cremades, of the book Festival Culture in the World of the Spanish Habsburgs.
You can find Philip II of Spain and the Architecture of Empire on the Penn State University Press web site here: https://www.psupress.org/books/titles/978-0-271-08724-5.html
Or through their UK/European distributor here: https://store.nbninternational.com/store/default/detail/workgroup?id=3-164-9780271087245
Take 30% off with code NR21 (valid on both the PSUPress and UK/EU distributor sites)
Join Akemi Herráez Vossbrink, Center for Spain in America (CSA) Curatorial Fellow at the Meadows Museum, to explore Alonso López de Herrera’s double-sided copper, Saint Thomas Aquinas [recto] and Saint Francis of Assisi Receiving the Stigmata, 1639.
On display at the Museo Nacional del Prado (Room 16) until 26 September 2021 under the title of The Invited Work is a masterpiece of Viceregal art, a painted screen or biombo from a private Madrid collection, showing The Conquest of Mexico and the most noble and loyal Mexico City (c. 1675-92). On one side the screen shows the conquest of Tenochtitlán and on the other a view of a thriving Mexico City. It was probably a gift from the city’s administration to an incoming viceroy. The conquest is shown in a variety of scenes spread over different localities and periods starting with Moctezuma receiving Cortés and finishing with the taking of Tlatelolco the last bastion of the indigenous people. By contrast the side depicting the ‘noble and loyal’ Mexico City seen from on high shows an orderly city with 66 identifiable buildings or sites mainly linked to religious life, as well as the viceregal palace, the Chapultepec hill, the Paseo de la Alameda and the main busy roads. After the 26th September the screen will become part of the Prado’s temporary exhibition Tornaviaje, which will showcase examples of Latin American art and culture from Spanish collections (5/10/21-13/02/22).
The screen is structured around a wooden frame, with 10 ‘doors’ joined by iron rings and with linen cloth glued on both sides as a support for the painting. The nature of its double-sided materials and the water damage and knocks it had suffered over the years had left it in bad condition. Its conservation was directed by María Álvarez Garcillán, who made use of a series of technical studies using analysis by infrared reflectography, ultraviolet light and chemical identification of pigments and materials.
A 2-minute video (in Spanish) showing both sides of the screen, its condition and the technical processes needed to conserve it can be found at this link https://youtu.be/G33BKIPDSsg.
A more detailed description of the conservation (in Spanish) can be found at https://www.hoyesarte.com/evento/2021/04/el-museo-nacional-del-prado-expone-biombo-de-la-conquista-de-mexico-y-la-muy-noble-y-leal-ciudad-de-mexico/
ARTES and CEEH are delighted to announce the winners of the ARTES-CEEH scholarships for 2021, and congratulate all those who have received an award. Details of the awards and their criteria are available on our Awards pages.
PhD scholarship (UK)
Nausheen Hoosein: £3000. PhD candidate, University of York. Supervisor: Dr Richard McClary
Title: From Umayyad Madinat al-Zahra to Almohad Seville: The Reuse of Caliphal Capitals in the Twelfth Century
Madinat al-Zahra is perhaps the most emblematic palatial construction of tenth-century Umayyad Spain. Some 150 kilometres west of the palace and two centuries after its demise, the Almohads would designate Seville as their Iberian capital. Despite the significant lapse in time and space, the two dynasties, the Umayyads and Almohads, and their respective imperial sites, Madinat al-Zahra and Seville’s Giralda and Alcázar, are connected through the reuse of marble from the former to the latter. The project will address the use of Umayyad spolia while contextualising the historical significance and perpetuity of Andalusi court culture in Almohad Seville.
Spanish PhD/post-doc scholarship
Dr Marina Garzón: £3000
PhD (2019): Santa María la Mayor de Toro (Zamora): iglesia y ciudad (1157-1312), University of Santiago de Compostela, supervised by Professor Rocío Sánchez Ameijeiras
Project title: ‘My darling, fly thou’: New iconography of the Song of Songs in Iberian medieval sculpture.
The sculpted cycle of the portal of San Pedro de Villanueva (Asturias), which features three different episodes portraying the love between a knight and a lady, may hold the key to interpret other similar reliefs that populate Romanesque churches in the north of Spain. Having noted in my dissertation that these images are a rare depiction of the Bible’s Song of Songs, I intend to explore this iconography and its relationship to other sculptures of knights and ladies that embody Psalm 44, in order to offer a new reading of these related cycles. In order to complete my work I will travel to London to visit the Warburg and British Library. It is there that I will be able to ensure that I have read the most recent literature related to the subject. I will also examine the Courtauld Image Libraries – specifically the Conway and Witt Libraries – in search of other iconographic examples of the Song of Songs and Psalm 44 like the ones found in British Psalters.
Yeidy Rosa. PhD candidate, Durham University. Supervisors: Dr Yarí Pérez Marín and Dr Laura León Llerena
£750 to conduct research in Seville. Project Title: (Un)Making Guaman Poma’s Illustrations: Reconsidering the Role of Visual Sources in El primer nueva corónica y buen gobierno, 1615
Daen Palma Huse. MA student, UCL. Supervisor: Dr Emily Floyd
£750 to conduct research in Madrid. Title: The Intersection of Rhetoric Imagery and Text in the Context of Andean Religion 1700-1750: The Case of “El Rivero”
Eva Sierra. 3rd-year BA History of Art, Birkbeck
£500 for travel to Madrid and Barcelona. Dissertation title: The Iconography of Saint Michael in the Crown of Aragon in the Fifteenth Century