Between 1906, when he settled in Paris, and 1912, Gris made his living as a cartoonist and illustrator for Spanish and French magazines. His drawings were narrative and, mostly, comical and satirical in tone. In his Cubist collages and papiers collés of 1912-14 figures are absent but narrative situations and social and political references are suggested by the settings and objects of his still-life compositions.
To demonstrate this, we will discuss his choice of wallpapers, newspapers, cuttings from books, labels, cigarette packaging, etc., and the connections with advertisements and decorating magazines and manuals.
Elizabeth Cowling and Emily Braun are curating for the New York’s Met Cubism and the Trompe l’Oeil Tradition. Picasso, Braque and Gris are the only Cubists represented and most of their works date from the “synthetic” period, 1912-14.
This is a hybrid event held at the Luis Cernuda Hall located at Instituto Cervantes London (15-19 Devereux Ct, Temple, London WC2R 3JJ) and online via Zoom.
Elizabeth Cowling is Professor Emeritus of History of Art and Honorary Fellow at the University of Edinburgh University. She has published widely on twentieth-century European art and specialised in the work of Picasso.
Her publications include Picasso: Style and Meaning (Phaidon, 2002), Visiting Picasso: The Notebooks and Letters of Roland Penrose (Thames & Hudson, 2006), and Picasso Portraits (National Portrait Gallery, 2016).
She has co-curated various exhibitions, including Dada and Surrealism Reviewed (Arts Council of Great Britain, 1978), On Classic Ground: Picasso, Léger, De Chirico and the New Classicism, 1910-1930 (Tate Gallery, 1990), Picasso: Sculptor/Painter (Tate Gallery, 1994), Matisse Picasso (Tate; Grand Palais, Paris; MOMA, New York, 2002-3), and Picasso Looks at Degas (Clark Art Institute, Williamstown; Museu Picasso, Barcelona, 2010-11). Cubism and the Trompe l’Oeil Tradition, which she is co-curating with Emily Braun, opens at the Metropolitan Museum, New York, in October 2022.
About the Annual Glendinning Lecture
Ever since ARTES (Iberian & Latin American Visual Culture Group) was founded back in 2000 we have aimed to work closely with the Instituto Cervantes, and have been warmly supported by the Instituto in every way.
ARTES organises and promotes numerous educational and cultural events related to Iberian and Latin American visual arts, and on many occasions, we have held the most pleasurable and well-attended events at the Instituto Cervantes.
The Instituto Cervantes also generously sponsors the newsletter produced annually by ARTES. Since its inception, ARTES has held an annual lecture given by an eminent speaker on Iberian or Latin American art.
Following the decease of our much revered late President, Nigel Glendinning, in 2013 we decided to re-name this event the Glendinning Lecture in his honour. We are most grateful to the Instituto Cervantes for their continuing support.
We are pleased to announce the sixth seminar of our Research Seminar Series:
9 March, 6.00 PM (GMT), Dr Juan Ricardo Rey-Márquez (Buenos Aires), ‘Simulated Nature: Colour and texture in the eighteenth-century botanical drawings of José Celestino Mutis and his circle‘
Abstract: During the last quarter of the 18th century, the Spanish crown sponsored several expeditions throughout its territories. Among several scientific subjects that encouraged such endeavors, botany had a special place given its paramount importance for the economy and the arts. But it also proved to be a challenge to the Spanish botanist. Since the Hispanic American flora defied the sexual system of Carl von Linnaeus, mainly based on the written description of the flower, Linnaeus ideas were not easily applicable. Besides, collecting dried specimens on the field to be sent to Europe was especially difficult in terms of conservation because of the heat and humidity of the tropics. How could they possibly prove the exceptional features of Hispanic American flora using only textual description? Could it be possible to solve the issue of decay and send well-preserved specimens to Spain?
In this talk, I will discuss the case of the Botanical Expedition to New Granada whose production of images was developed by an exceptional team of artists directed by José Celestino Mutis. By studying some of the drawings made by the Mutis team, we will see how the development of a particular painting technique served to render the ultimate visual description of a plant: an icon whose visual features were as realistic as the ones of the living thing.
We are delighted to announce two further online talks later this month, which will also focus on colonial Latin America and materiality :
16 March, 6.00 PM (GMT), Professor Charlene Villaseñor Black (UCLA), ‘On Shells and Sustainability in the Early Modern Iberian World’
30 March, 6.00 PM (GMT), Professor Gabriela Siracusano (CONICET, National Research Council, Argentina), ‘Changing Colours. The case of the Lady of the Miracles of Salta’
These three seminars have been jointly organised by the Zurbarán Centre and Dr Emily Floyd (History of Art, UCL) from the ARTES Iberian and Latin American Visual Culture Group, in association with the Embassy of Spain and the Instituto Cervantes.
Jointly organised by Durham University’s Zurbarán Centre, the ARTES Iberian & Latin American Visual Culture Group and the Instituto Cervantes, this live online seminar series provides an open forum for engaging with innovative research relating to the visual arts in the Hispanic world.
The forthcoming three seminars focus on colonial Latin America and materiality.
9 March, 6.00 PM (GMT) – Dr Juan Ricardo Rey-Márquez (Buenos Aires), ‘Simulated Nature: Colour and texture in the eighteenth-century botanical drawings of José Celestino Mutis and his circle’
16 March, 6.00 PM (GMT) – Professor Charlene Villaseñor Black (UCLA), ‘On Shells and Sustainability in the Early Modern Iberian World’
30 March, 6.00 PM (GMT) – Professor Gabriela Siracusano (CONICET, National Research Council, Argentina), ‘Changing Colours. The case of the Lady of the Miracles of Salta’
David Davies was an active member of ARTES since its inception.
A Welshman from the Valleys, David was a middle weight champion boxer in his youth. He joined UCL in 1967 and is said to have put the History of Art Department on its feet. He was ‘a teacher enraptured by his subject matter’ (Charles Ford Senior Lecturer in History of Art, UCL)
He followed rugby. I understand this, it’s a passion. A Welshman from the Valleys would be there in heart and soul. Once in Cardiff to open a Touring Arts Council Show I rushed to touch the gates of Cardiff Arms Park. My childhood home had echoed with the sound of Welsh rugby supporters singing in the Cardiff Arms stadium.
Holly Trusted aka Majorie Trusted says of David:
‘David was immensely knowledgeable about Spanish art, and immensely generous with that expertise. He visited the V&A stores when I was first working on the collection of Spanish sculpture in the late 1980s to look at and discuss with me sculpture from Seville. He was especially struck by a lead statuette of the Virgin of the Immaculate Conception after Juan Martínez Montañés, rightly pointing out that there was an active industry in the eighteenth century of producing such devotional figures for domestic use. On another occasion soon afterwards David showed me a beautiful turned wooden bowl made in Spain that he owned, noting that the wood exemplified the use of wood in Spain for articles both artistic and utilitarian. With both these instances he was emphasising the intertwined nature of art and everyday life.’
As a postgrad student at the Royal Academy Schools, he found me sitting in front of John on Patmos by Velasquez, making a large pencil drawing over several days. He talked to me about Spanish painters and took a deep interest in the drawing and its process. I knew him from the terrific lunchtime lectures he gave in the old basement lecture theatre in the 1980’s which my friends and I would rush to attend – covering the distance in record speed from the RA to the NG. Probably he recognised us, we were always a little late. Erudite, complex, challenging and informative, we were gripped by the content and loved El Greco, discussing paint surface and technique in our studio on return. His dedication to El Greco scholarship was infectious. Later I sent him a colour pencil copy of The View of Toledo one of several I made when the painting was on loan to the NG from the Met, NY. Later he wrote an essay for the El Greco catalogue, on his landscapes which wasn’t used, but said he propped up the drawing to write the article and that ‘it had something.’
Here is a quote from his catalogue essay for the exhibition at The National Gallery of Scotland, ‘El Greco: Mystery and Illumination’ which he curated in 1989:
‘The dramatic device of painting the city in a thunderstorm might have stemmed from a literary tradition. Pliny in his Natural History acclaims Apelles because “he even painted things that cannot be represented in pictures- thunder, lightning and thunderbolts, the pictures known respectively under the Greek titles of Bronte, Astrape and Ceraunobilia” (XXV.97). Artistically, El Greco is clearly responding to the tradition established by Giorgone in his “tempest” which might have been inspired by the same literary source. Yet El Greco has extended Giorgione’s image by fusing the two traditions of the topographical city view and the emotive landscapes of the Venetian school. The city is identifiable but interpreted subjectively to reveal its individual character. In this manner El Greco has painted an astonishing portrait of the city of Toledo.
Toledo seems to be gripped in the rhythms of the landscape, while the buildings, shown almost as splinters of light, seem electrified. This startling effect is enhanced by El Greco’s treatment of colour whereby the yellowish – white highlights of the grey stone buildings are juxtaposed with blue grey shadows, and the virulent greens make a strident contrast with the red brown earth colours. The townscape is not topographically accurate. El Greco has deliberately removed the Cathedral from the west side of the city and placed it to the left of the Alcazar, the Royal Palace. It would seem he is making some concentrated statement about the pinnacles of Church and State. Both appear to endure in the midst of an apocalyptic storm that has burst upon the city.’
Devoted to teaching in front of the paintings he loved, latterly he was unhappy about a UCL decision not to take students to the National Gallery and discuss works, teaching them how to take time looking and enjoying the experience of thinking ones way through the image. ‘I start with the object’ he said.
One year in front of Titian’s Philip ll he spoke to me about of Philips hose, wrinkle free pale cream, and was amused at how Antonis Mor had shown the court jester’s wrinkled hose, a cheaper version in an adjacent picture. He wrote well on court dress and its symbolism and status.
He was a complex and original thinker, not given to the fashion of the moment, a man who followed his own path. He was raised in a communist party family and in his scholarship took a deep interest in Catholic doctrine and practice. He knew the function of paintings in a liturgical sense. He knew their purpose before they became art objects in galleries. This depth of knowledge is increasingly rare, yet to know it changes how we see the works.
Years later at the Instituto Cervantes he suggested I join ARTES as I was about to go to Madrid to see the Prado Exhibition, ‘The Spanish Portrait’. Always encouraging, he liked the company of painters and when I asked him who to read on Velasquez he suggested Peter Greenham, painter and keeper of the RA Schools. I was surprised but Greenham’s tender description of faces in his Madrid pension as being those of Velasquez sitters seemed modest and true.
He was always at our events, a great supporter of ARTES and at our last meeting met me at South Kensington Station where I drove him to the Sala Luis Vives at The Spanish Embassy. Soon afterwards he posted me ‘The Body politic of Spanish Hapsburg Queens’, a long essay analysing the dress, role and position of the Spanish Princesses Queens at Court in Madrid. He was frail. I did not see him again.
I am grateful to him for his interest and encouragement and my one regret is that I did not study with him as my supervisor. Xanthe Brooke, Xavier Bray and doubtless other ARTES members did. It was a great privilege to have known him.
I will leave the last word to David:
‘Likewise Titian’s mountainous landscape (The Presentation of the Virgin/Accademia Venice) may have been influenced by Petrarch’s “Ascent of Mount Ventoux “ Initially Petrarch climbs the mountain to admire the view but on reaching the summit he read the passage in St Augustine’s “Confessions” in which the saint chides men for admiring earthly things, such as high mountains, and thereby deserting themselves. Stunned by this truth, Petrarch recognised that the physical climb of the mountain should be forsaken for the ascent of the mind to God.’
From The Body Politic of Spanish Hapsburg Queens, David Davies (Madrid: Editiones Polifemo, 2008)
ARTES invite submissions for the Juan Facundo Riaño Essay Prize for the best art-historical essay on a Hispanic theme. The deadline is 30th April 2025
To encourage emerging scholars that are based in the UK, ARTES, in collaboration with the Embassy of Spain, awards an annual essay medal to the author of the best art-historical essay or study on a Hispanic theme, which must be submitted in competition and judged by a reading Sub-Committee. The medal is named after Juan Facundo Riaño (1829-1901), the distinguished art historian who was partly responsible for a growing interest in Spanish culture in late nineteenth-century Britain. The winner is also awarded a cash prize of £400, and the runner-up is awarded a certificate and prize of £100 – both prizes are generously sponsored by the Office for Cultural and Scientific Affairs of the Embassy of Spain. Prize-winners also receive a year’s free membership to ARTES, and the winning essays are considered for publication in the annual visual arts issue of Hispanic Research Journal. See the information about eligibility and rules of competition. The deadline is 30th April 2025
Entering the Essay Competition
The judges will be looking for evidence of originality of thought and high academic quality. Submissions must focus on the production, reception or impact Spanish art, architecture or visual culture, defined in the broadest possible terms, whether locally or globally. Alternative contributions in the form of photo or video essays will also be considered, provided that they demonstrate originality, high academic quality and high production standards.
As a permanent reminder of the winner’s achievement, an essay medal is awarded, together with a cash prize of £400. The winning essay will be considered for publication in the annual visual arts issue of Hispanic Research Journal. The runner-up receives a prize of £100, and an essay so commended may also be considered for publication in Hispanic Research Journal. Both prize-winners also receive a year’s free membership to ARTES.
Essays are submitted by 30th April each year, and are read by the Essay Medal Committee, appointed by ARTES. The decision of the Committee shall be final and Winners will be announced May 31st, 2025. Presentation of the medal is made at a special Award ceremony on June 27th, 2025 to which winners are invited to give a 30 minute presentation based on their essay. The result is announced on the ARTES website and the website of the Spanish Embassy.
Pleasenote that Winners of scholarships and prizes funded by the Spanish embassy must be able to attend the Award Ceremony held in London in order to be eligible. Travel within the UK will be funded.
Previous Winners
2024: No Award
2023: Isabelle Kent, a PhD candidate at Cambridge University, for ‘Becoming Actaeon: Titian and the Conceptual Gaze in Velázquez’s Las Hilanderas‘.
2022: Patricia Manzano Rodríguez, a PhD candidate at the University of Durham, for ‘The Upper half of Las Meninas’.
2021: Diana Bularca, formerly a MA student at the Courtauld, for ‘Wilfredo Lam’s Strategic Language’
2020: Dr Simon Park, an early career scholar at the University of Oxford, for ‘Chasing Wild Men (in Silver)’.
2019: No award
2018: Javier Vicente Arenas, a Masters student at the Warburg Institute, for ‘Constructing a “Transmediterranean” Identity: Rodrigo de Borgia’s Italian Angels in Valencia Cathedral (1472-81)’.
2017: David Cambronero, a MA student at The Courtauld, for ‘Lighting the Great Mosque of Cordoba in the Caliphal Period’.
2016: Leah McBride, a PhD student at Glasgow University, for ‘‘The grave is only half full; who will help us fill it?’: The Politics of Trauma in Alfredo Jaar’s Rwanda Project‘.
2015: Rebekah Lee, a PhD student at the University of York, for ‘Catherine of Austria, Queen of Portugal and the Courtly Portrayal of Middle Age’.
2014: Lesley Thornton-Cronin, a first year PhD student at Glasgow University, for ‘Image-Making by Means of Metaphoric Transposition in the Work of Joan Miró’.
2013: Maite Usoz, a third year PhD student at King’s College, London, for ‘Sex and the City: Urban Eroticism in Rodrigo Muñoz Ballester’s Manuel Series’.
Regulations for the Essay Medal
1. Entrants should ideally be resident or studying in the UK, but exceptions may be made if entrants can demonstrate sustained engagement with students, scholars, objects or materials in the UK.
2. There is no age limit for entrants, but the Essay Medal Committee reserves the right to give preference to entrants who have not previously published in the field of Hispanic visual arts. We welcome submissions from researchers in a variety of circumstances, but envisage that most essays will be submitted from early career scholars, post-graduate students or undergraduates with exceptionally good end-of-degree dissertations. Details of degrees or qualifications, as well as previous publications, must be submitted together with the submission (ie in the cover email, but not in the main text.
3. Visual arts are defined in their broadest sense to include all material and visual culture, including film and photography, but our collaboration with the Spanish Embassy means that essays must focus on the production, reception or impact of Spanish art, architecture or visual culture, defined in the broadest possible terms, whether locally or globally.
4. The essay must not have been previously published and must not have been awarded any national or international prize. A note of any departmental prizes awarded to it should accompany the email by which the submission is sent.
5. Essays may be up to 10,000 words in length, including bibliography (though this is not not necessary if full footnotes are given), all notes and appendices. Shorter submissions will not be penalised on grounds of length, but overlength essays will be refused. A word count and a summary of up to 250 words (additional to the work total) must be included. Submissions in the form of photo essays or videos (up to 25 minutes in length) will also be considered.
6. The submission should demonstrate original thinking. It may be based on a dissertation, and may involve original research, although submissions based on a survey of secondary material will also be considered if they are of suitable quality. However, the submission should be self-contained and especially prepared for this competition. The submission should demonstrate original thinking. It may be based on a dissertation, and may involve original research, although submissions based on a survey of secondary material will also be considered if they are of suitable quality. Essays that engage with Spanish-language scholarship are especially encouraged.
7. Entries must be written in English and double-spaced. Diagrams or illustrations should be included and captioned. Sources of information and images must be acknowledged, together with information about image rights.
8. The winning essay may be considered for publication in the visual arts issue of Hispanic Research Journal, subject to the usual process of refereeing, and to acceptance by the Editors, whose decision on this is final. In the event of the essay being accepted for publication, some reworking may be required. Essays may not be offered for publication elsewhere while they are sub judice.
9. In the case of any dispute about the award, the decision of the ARTES Essay Medal Committee shall be final.
10. ARTES reserves the right to make no award if none of the entries is considered worthy.
11. The closing date for entries is 30th April each year. Essays received after this date will not be considered.
12. A PDF of the essay, including images, should be sent to David.cambronerosanchez@yale.edu To ensure anonymity please do not put your name on the essay, and omit any acknowledgements.
13. Any queries should be directed to David.cambronerosanchez@yale.edu
My research stay in England and Scotland lasted 45 days between September 1st and October 15th, 2021. During this time, I have had the privilege of visiting more than sixty institutions, public and private, where I have been able to study the History of the reception of genre painting by Bartolomé Esteban Murillo (Seville, 1617-1682) from the middle of the 17th century to the end of the 20th century.
In order to optimize the stay and make the most of the resources obtained thanks to the scholarship, I established three study sections that I will list below.
A. Identification and documentation of copies, versions and reproductions of original works by Murillo.
With some exceptions, I have had direct access to both the original works and the copies and the “after Murillo” versions, which in many cases were not on display. In the same way, I have been allowed to collect all the available documentation on them physically or electronically, depending on the COVID prevention policies of each institution.
B. Study of the repercussion of Murillo’s genre painting on local artists.
Based on the existing bibliography on the subject, mostly dedicated to Reynolds and Gainsborough’s Fancy pictures, I have been able to expand the list of artists who paid homage to Murillo from different social, political and cultural spheres throughout more than three hundred years of history.
C. Study of historiography and artistic criticism dedicated to the Murillo ́s genre painting and his “followers” between the XVIIth and XXth centuries.
From the arrival of the first works to private collections in England in the mid-17th century, until the inauguration of the first public collections in which his paintings could be seen, Murillo captured the attention of a new public outside his horizon of expectations generating an abundant artistic literature that has been partially studied.
During my stay I have been able to expand my knowledge by resorting to other less canonical sources for artistic historiography such as the non-specialized press, private correspondence, travel diaries, guest books or copyists’ books where, chance allowed to register some interesting comments on genre paintings.
Objectives achieved.
The objectives achieved throughout the stay have exceeded initial expectations. Despite some unavoidable obstacles derived from the pandemic and the measures for its prevention, I have been able to access or obtain documentation electronically in 75% of the institutions that had planned. Thanks to this, I have been able to gather a large documentary base, in many cases unpublished, that I will use in my doctoral thesis in various ways:
First, I am going to create a series of “collecting maps” of Murillo’s genre paintings in Great Britain in order to graphically expose the history of the collectionism of these paintings.
Second, I will contribute some unpublished data to the history of collecting some of these paintings and propose a hypothesis about the possible provenance of Four Figures in a Step (Kimbell Art Museum), unknown until the 1820s.
Third, I will add a new section in my thesis dedicated to the role that Murillo’s paintings played in European academic circles, contrasting the British model with others more focused on the study of his religious painting, as is the Spanish case.
Finally, I hope to be able to take advantage of other parts of the information gathered during the stay in future publications. I think it would be very interesting, for example, to review what we know about Sir David Wilkie’s trip to Spain. The information on this artist’s journey has been published in a fragmentary way and it is still possible to contribute to its study thanks to the collections kept in the National Library of Scotland, the Royal Academy of Arts and the Royal Collection Trust.
Something similar happens with the fondness for Murillo shown by Queen Victoria and Prince Albert. In both cases, there are numerous testimonies of their admiration for the Spanish artist that have been collected mostly by artistic historiography almost anecdotally. However, I believe that greater depth can be added to the matter if we insert Murillo into the artistic debate of the moment and analyse his role, and that of his “followers” in national collections.
Personal assessment of the learning and training achieved and acknowledgements
The experience and information acquired throughout this research stay has been unique in my academic career. Until now, I had not had the opportunity to dedicate myself fully to research, and it has clearly been a gratifying and tremendously motivating experience in a difficult moment in which I have had to postpone the deposit of my thesis, due to institutional closures caused by the pandemic in the last two years.
Fortunately, all the contacts made, all the knowledge acquired on the functioning of the bibliographic and documentary collections, as well as the collections visited, will help me in the future to continue with my PhD research and other works.
I must express my sincere gratitude to the ARTES association and the CEEH for the support and trust they placed in my project. Thank you for giving me the opportunity to conduct this research abroad, as it would not have been possible without your help.
I hope to rise to the occasion and to be able to translate all my appreciation into work that expands our knowledge of Murillo’s work and his contribution to British artistic culture.
The Zurbarán Centre for Spanish and Latin American Art will host an online conference on 24 and 25 February relating to the recent exhibition La España romántica: David Roberts y Genaro Pérez Villaamil, Real Academia de Bellas Artes de San Fernando, 7 Oct. 2021-16 Jan. 2022.
The conference will further explore the prolific production of images of Spanish landscapes, monuments, and people by Roberts, Villaamil and their contemporaries. Adopting a cross-cultural perspective, six international scholars will situate their work within the wider context of national identity formation and a romanticised vision of Spain that still colours our perceptions of the country today.
Booking is essential, please see their website here for the conference programme and how to register. The speakers will present their papers in either Spanish or English (as indicated in the Programme).
For details on the exhibition La España romántica, see here.
Durham University’s Zurbarán Centre for Spanish and Latin American Art invites doctoral students to submit proposals for presentations at the centre’s second Emerging Researchers Symposium, taking place at Durham University on 7 and 8 July. The aim of the event is to stimulate engaging and interdisciplinary conversations amongst international postgraduate students engaged with Hispanic art and visual culture. It offers an opportunity for participants to discuss their work-in-progress projects, to receive feedback from others, to learn about new research by their fellow researchers, and to hear leading keynotes by established scholars or curators. The event will also offer opportunities to explore the significant holdings of Spanish art in County Durham.
We welcome proposals for 20-minute presentations focusing on the theme of ‘Transgression and Liminality’. Proposals may relate to any aspects and periods of Iberian and Latin American art and visual culture. Possible topics may include (but are not limited to) :
Borders and Borderlands: Geopolitical encounters
Transgressing Societal and Religious Boundaries
Invading the Borders of the Mind and the Body
Trespassing and Bounding Artistic Movements and Techniques
Liminality and Polemics in Artistic Thought and Reception
Organised by Durham University doctoral students, the symposium will be held as a hybrid event in Durham for in-person and virtual attendees. We encourage speakers to attend the event in person, rather than online, in order to maximise intellectual exchange and networking and to enable visits to local collections, in particular The Spanish Gallery in Bishop Auckland and/or the Bowes Museum.
Please send a 250-word abstract and a 50-word biography to pg.zurbarancentre@durham.ac.uk by Thursday 10th March 2022. Please indicate whether you intend to attend the symposium in person or remotely. If you have any queries regarding the submission process, please do not hesitate to get in touch with us using the email provided.
A brief reminder that the fifth seminar of our 2022 online Research Seminar Series will take place today at 6.00 PM, UK time.
José Ramón Marcaida, Painters’ artimañas. Ingenuity and technique in the age of Velázquez
Using the early modern notion of ingenuity (ingenio, in Spanish) as a vantage point, this paper will explore a number of interconnected themes associated with the practice of painting – matters of technique, in particular– in seventeenth-century Spain. In invoking the notion of ingenuity, my aim is to emphasise not only issues of creativity and invention but also, and especially, resourcefulness and craftiness. Thus, in this account artists will be characterised as cunning manipulators of materials and procedures, that is, masters of art and artfulness working for an audience familiarised with, and appreciative of, demonstrations of skill and finesse.
José Ramón Marcaida is a professor at the Instituto de Historia, Consejo Superior de Investigaciones Científicas (CSIC).
The session will be moderated by Piers Baker-Bates, chair of ARTES.
The seminar series has been jointly organised by the Zurbarán Centre and the ARTES Iberian and Latin American Visual Culture Group in association with the Embassy of Spain and the Instituto Cervantes.
ARTES 