‘The Conquest of Mexico and the most noble and loyal Mexico City’ (c. 1675-92), a Viceregal biombo (painted screen) on display at the Prado

he Conquest of Mexico and the most noble and loyal Mexico City, c. 1675-92, Madrid, colección particular.

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-CEEH Scholarships 2021

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.

Travel Scholarships

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. PhD candidate, UCL. Supervisor: Dr Emily Floyd

Photograph by Ram Shergill

£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

Goya’s ‘Aníbal vencedor, que por primera vez mira Italia desde los Alpes’ (Hannibal victorious, who for the first time looks at Italy from the Alps) donated to the Prado by the Fundación Amigos Museo del Prado

Francisco de Goya y Lucientes, The Victorious Hannibal seeing Italy from the Alps for the first Time, 1771, © Museo Nacional del Prado

Please click here to see a video of Miguel Falomir, director of the Museo del Prado, and Nuria de Miguel, directory of the Fundación Amigos Museo del Prado, discussing the donation (in Spanish)

Please click here for more information about the significance of this donation

Maius Workshop – Palaeography Online: Iberian Documents in Virtual Times, 4 May, 5pm (London)

In this session, we will discuss innovative ways of confronting medieval Iberian documents. We will hear from the PI of a born-digital, collaborative project which exemplifies the potential of the internet in reshaping the study of pre-modern sources. We will also learn from the ongoing research of an ECR who has adapted to the challenges of COVID-19 to ask fascinating questions about Mozarabic evidence.

Speakers:

Aengus Ward, Professor of Medieval Iberian Studies at the University of Birmingham
From 2013–16 Professor Ward headed-up an AHRC-funded project to transcribe all of the manuscripts of Alfonso el Sabio’s history of Spain (Estoria de Espanna). The research project was accompanied by Transcribeestoria, a pilot project which aimed to engage a broad public in the study of the middle ages in Spain though a collaborative transcription platform and palaeography training.

Helen Flatley, DPhil candidate, St Cross College, University of Oxford
Helen’s doctoral project sheds light on the nature of inter-religious interaction and exchange in 12th and 13th-century Iberia through the study of the Mozarabs of Toledo. Her research draws especially in the rich and still under-utilised store of Mozarabic legal documents from Toledo in the two centuries after the conquest of the city by Alfonso VI.

Click here to register: https://ucl.zoom.us/meeting/register/tJYrdu2tpj8tE9W-43DGW5vjM8rficVpNZ6A

Juan Facundo Riaño Essay Medal winner 2021: Diana Bularca

ARTES is delighted to announce the winner of the 2021 Juan Facundo Riaño Essay Medal. The medal and £400 prize money are awarded to Diana Bularca, formerly a MA student at the Courtauld Institute of Art, for her essay ‘Wifredo Lam’s Strategic Language’.

As Diana writes, ‘Cuban artist Wifredo Lam (b.1902—d.1982) used European modernist forms to turn his oeuvre into a counter-discourse that challenged the ethnic-based assumptions through which Europe was shaping his art and race. By mainly concentrating on Lam’s painting Je Suis (1949), and paying close attention to the artist’s own statements, this essay explores how Lam strategically essentialised his works, how he used them as an ‘act of decolonisation,’ and how he succeeded in diverting European modernism into new paths by conveying his own vision of his culture.’

Wifredo Lam, Centre Pompidou, Paris, France. Photo Pierre-Alain Maire, CC by 2.0

Diana will give a short talk on this topic at ARTES’ online AGM on 8 June. No runner-up prize is awarded in 2021.

TONIGHT: Professor Roberto Conduru (Southern Methodist University), “Magic, crime and art in early 20th-century Afro-Brazilian religions,” the final talk in the ARTES and Zurbarán Centre Seminar Series

You are warmly invited to our final seminar (re-scheduled from 17 February) of our Research Seminar Series organised with ARTES Iberian and Latin American Visual Culture Group and the Instituto Cervantes:

TONIGHT, Tuesday 27 April, 6.00 PM

Professor Roberto Conduru (Southern Methodist University), “Magic, crime and art in early 20th-century Afro-Brazilian religions”

At the beginning of the 20th century a set of pioneering texts examined the artistic dimension of artifacts manufactured and used in Brazilian religious communities, which were linked to African belief systems. These works were authored by physicians Raymundo Nina Rodrigues and Arthur Ramos (the founding figures of the field of Brazilian Anthropology), the museum expert and art critic Mário Barata, and Afro-Brazilian artist and intellectual Manuel Querino. They argued from Afro-Brazilian religious communities practices and material culture, but also from the collections of those artifacts they constituted for themselves and from the random sets of objects confiscated violently and unsystematically by the police.

Roberto Conduru is Endowed Distinguished Professor of Art History, Southern Methodist University, Dallas. He is author of Pérolas Negras-Primeiros Fios (EdUERJ, 2013) and Arte Afro-Brasileira (C/Arte, 2007), co-author ofArchitecture Agouda au Bénin et au Togo (Edições Fotorio, 2016), co-editor of Carl Einstein e a Arte da África (EdUERJ, 2015), curator of Quilombo do Rosário (Museu Bispo do Rosário Arte Contemporânea, Rio de Janeiro, 2018) andIncorporation – Afro-Brazilian Contemporary Art(Centrale Electrique, Brussels, 2011), co-curator of Axé Bahia: The Power of Art in an Afro-Brazilian Metropolis (Fowler Museum UCLA, 2017) and Perles de Liberté – Bijoux Afro-Brésiliens (Grand Hornu Images, Hornu, 2011).

You can join the seminar by clicking on the zoom link below (or copy the link and paste it into your browser)

https://durhamuniversity.zoom.us/j/95963427765?pwd=R1R5UUpFM1lUMW9lOWJKTCtjc2FCdz09

Meeting ID: 959 6342 7765

Passcode: 465980

The talk will last ca. 40 minutes and be followed by Q&A.

CFP: Ibero-American Art, Identity and Resistance session at the UAAC-AAUC conference 2021(deadline May 16th)

UAAC Conference 2021, 20-23 October 2021, Online

Ibero-American Art, Identity and Resistance session

This panel aims to examine works by Ibero-American artists from the colonial period to contemporary times that debate migration and people’s movements across geographies. We seek to debate how artists interpret a new reality with constrained people movement in a pandemic. We seek contributions from a wide range of disciplines that engage with artistic practices in an Ibero-American context, including painting, performance, multimedia, art installation, and virtual reality (VR). We encourage submissions that debate how Ibero-American artists portray in their work the political and social aspects of cultural transfers resulting from people’s migration. We seek to discuss issues affecting minority populations and cultural transfers discourses in the context of immigration. We seek to debate how these works by Ibero-American artists demand from their makers a reconfiguration of thought and practices in current realities. We explore the importance of maintaining the Latin American historical memory and raising questions about preserving Latinxs identity and diversity. How politics influenced the Latin America art scene? How does the cultural flow happen in a new geographical location? How can arts promote cultural identity? How do artists negotiate their migrant identity in new geographies? How can artistic practices be reimagined in a new context in which we have limited physical interactions with others?

We invite 300-word abstracts of the proposed papers to be sent along with a brief biography (150 words maximum)

Please send proposals to Tatiane de Oliveira Elias  (tatianeeliasufsm@gmail.com) and Patricia Branco Cornish, Concordia University (patricia.cornish@mail.concordia.ca)

Deadline: 16 May 2021

Submissions must include:

the name of the applicant

the applicant’s email address

the applicant’s institutional affiliation and rank

title of proposal

a proposal (300 words maximum)

a brief biography (150 words maximum) 

Submissions must be submitted via the Call for Papers form (click to open)

More information at https://uaac-aauc.com/conference/

JOB: Teaching Fellowship in Spanish or French art, c. 1600-1900, University of Edinburgh

History of Art, University of Edinburgh is looking for a Teaching Fellow (0.7 FTE) in History of Art, specifically the History of Spanish and French art, c.1600-1900 to start on 31 May 2021, fixed term for 27 months.

Application deadline: 20/04/2021, 17:00

Start date: May 31, 2021 End dateAugust 31, 2023

Details: https://elxw.fa.em3.oraclecloud.com/hcmUI/CandidateExperience/en/sites/CX_1001/job/815/?utm_medium=jobshare