Stirling Maxwell Seminar | Collecting Spain: textiles at the V&A, 1850-1950 (book launch) | 10 November 2022, 5 pm 

Collecting Spain: textiles at the V&A, 1850-1950

Book launch: Collecting Spain. Coleccionismo de artes decorativas españolas en Gran

Bretaña y España / Collecting Spanish Decorative Arts in Britain and Spain (Madrid: Polifemo, 2022)

Ana Cabrera Lafuente (V&A Museum), introduced by Lesley Miller (University of Glasgow)

Respondent: Hilary Macartney (University of Glasgow)

In Collecting Spain: Coleccionismo de artes decorativas españolas en Gran Bretaña y España / Collecting Spanish Decorative Arts in Britain and Spain (Madrid: Polifemo, 2002), Ana Cabrera examines the collecting of Spanish decorative arts between about 1850 and 1945, from both British and Spanish perspectives. It focusses on the period in which museums and private collectors in both countries valued and acquired different types of objects from Spain, such as ivory caskets, silk textiles, carpets, lustreware ceramics, furniture, jewelry and silverware. The essays reveal similarities and differences in approach in Britain and Spain, as well as the key figures involved and the differing national contexts in which their activities took place.

Dr Cabrera will highlight the role played by specific museums, such as the Victoria and Albert Museum in London, and by local, national and international exhibitions of the decorative arts, in disseminating knowledge about Spanish objects, historical and contemporary. In her talk, Dr Cabrera will also focus on the significant role of textiles in the history of taste and collecting in this period.

Thursday, 10 November 2022, 5 p.m.

This is an in-person event, at the TalkLab Room (University of Glasgow Library, level 3). However, by popular request, the event will also be available via Zoom (Zoom link from:

AAH Conference CFP – Written In The Margins: Interpreting Early Modern Artistic Literature

Early modern artistic literature is a crucial source for the study of art between the fifteenth and eighteenth centuries. Treatise writers such as Vasari, Pacheco, Baldinucci, and Palomino were crucial to the construction and future interpretation of art and their texts, most of them of hagiographical nature, provide insight into early modern artistic theory and practice, while offering a glimpse of the lives and works of artists.

This session focuses instead on the readers and owners of these texts, many of whom have left annotations, scribbles, drawings, and poems on the book. Much can be learned from these comments written in the margins. For instance, the copies of Vasari’s Vite which were annotated by El Greco, Scamozzi, or Carracci, indicate how artists interpreted the text. Thus, through an interdisciplinary approach, the session seeks to deepen the study of art treatises (whether in their original language or translated) as key factors of knowledge transfer and we invite proposals that examine either manuscripts or printed books as an object, their readers in the early modern period (up to 1850), or their annotations.

If interested, please email Mario Zamora Pérez ( and Patricia Manzano Rodríguez ( with a title and abstract (250 words maximum) for a 20-minute paper, your name and institutional affiliation (if any). Please make sure the title is concise and reflects the contents of the paper because the title is what appears online, in social media and in the digital programme. You should receive an acknowledgement of receipt of your submission within two

Deadline for submissions: 11 November 2022

ARTES / Durham University’s Zurbarán Centre Autumn 2022 Seminar Series

We are pleased to announce the return of the Research Seminar Series, jointly organized by ARTES and the Zurbarán Centre (Durham University):

12 October, 6.00 PM | Dr Olga Sendra Ferrer, Material Dissidence: The Reconstruction of Democratic Citizenship under Franco’s Dictatorship.

Organised by ARTES, the Zurbarán Centre, and the Centre for Visual Arts and Culture (Durham University)

26 October, 6.00 PM | Professor Richard Williams, The Politics of Public Space on São Paulo’s Big Worm. Organised by ARTES, the Zurbarán Centre, and the Centre for Visual Arts and Culture (Durham University)

9 November. 6.00 PM | Professor Sir Barry Ife, George Vivian’s Spanish Scenery and the Politics of the 1830s

Organised by ARTES and the Zurbarán Centre (Durham University)

16 November, 6.00 PM | Sarah Cash, Sargent and Spain

Organised by ARTES and the Zurbarán Centre (Durham University)

30 November, Dr Francisco Montes, Female Power and Visual Culture in Viceregal America

Organised by ARTES and the Zurbarán Centre (Durham University)

The abstracts and speaker’s details are available on the Zurbarán Centre website:

To book your place and receive a zoom link for these seminars, please complete the registration form here.

You only need to register once to receive a link.

ARTES/CEEH Scholarship Report: Carter Lyon

With the generous support of the ARTES-CEEH PhD Scholarship, I conducted a research trip to Madrid in September 2022. This informed my work on the methods and materials of the Spanish scholar-artist Vicente Carducho (c. 1576-1638), whose Self Portrait (c.1633-38) and treatise Diálogos de la Pintura (1633) are at the core of my PhD thesis. The primary objectives of this trip were to study key works from Carducho’s oeuvre and to review the records of past technical studies of his paintings at the Museo del Prado.


Prior to visiting Madrid I had seen only a handful of paintings and drawings by Carducho, whose treatise and Self Portrait I’ve come to know well over the past few years. On this research trip I encountered dozens of his works in and around his adoptive patria, dramatically expanding my experience of studying his work in-person.

Among the many Carducho paintings I accessed, I was most excited to see another portrait of the artist held in a private collection. Beyond the clear similarities that exist between the portraits, the precise relationship between them is difficult to discern. Although the Madrid portraithas not undergone technical analysis, there is much to learn from studying its support and paint surface, which I will compare with the observations and results from my study of the Glasgow Self Portrait. I am very grateful to have had the opportunity to take a close look at this very familiar face.

Of the paintings I consulted in-situ in churches, convents, and monasteries, Carducho’s Carthusian series (1624-32) for the Monasterio de Santa Maria de El Paular in Rascafría proved especially striking. The Prado conducted technical analyses on a selection of paint samples from the series during the early-mid 2000s, and I have pored over high resolution images of these works in recent years. However, seeing these large-scale paintings (nearly 3.4m x 3m each!) together in the cloister really put this commission into perspective. Consideration of the physicality of these works, as well as the practical realities of their commission and completion, will inform my interpretation of their technical studies relative to the likes of Self Portrait.

Technical Records

Complementary to studying Carducho’s paintings was reviewing records from previous technical examinations of his works. For this I received permission to visit the Gabinete Técnico of the Museo del Prado, where I studied a selection of records from historical studies of paintings by Carducho and his peers. Given the comparatively small number of technical studies of Carducho’s paintings, it will be extremely insightful to compare my own results with data from his other paintings and to further contextualise his working practice amid that of his contemporaries in Madrid.

I am very grateful ARTES and CEEH for their support of my research. I was presented this PhD Scholarship in the early weeks of the first lockdown of 2020, and I had no idea if or when it would be possible to reschedule my travel plans. Indeed, re-planning this trip proved to be quite a moving target, and I am indebted to each person who helped make it possible. My endeavours in Madrid helped me to gain a fresh perspective on the place of Self Portrait within Carducho’s oeuvre and a host of ideas to incorporate into my thesis.

“So shall the king greatly desire thy beauty”: on the sculptures of knights and ladies at Santa María la Mayor de Toro (Zamora) | Marina Aurora Garzón Fernández | Medieval Work in Progress at The Courtauld, 23 November 2022

Farewell embrace between knight and lady, Santa María la Mayor de Toro (Zamora) (ca. 1160-1180) (Photo MAGF)

5pm, 23 November 2022 at The Courtauld, Vernon Square Campus

Speaker: Marina Aurora Garzón Fernández (University of Heidelberg)

During the second half of the 12th century sculptures of knights and ladies started populating churches across the Iberian North. Particularly interesting is the case of Santa María la Mayor de Toro (Zamora) because it features three capitals carved in successive construction stages that can be linked to different traditions. First, in the apse, a victorious knight facing a lady, similar to scenes found in Lleida, León and Santillana del Mar, could be read as a representation of Psalm 44. Later, a capital with a knight and a lady in a farewell embrace was sculpted at the transept, an iconography that can be traced back to a cycle of the Song of Songs from the portal of San Pedro de Villanueva (Asturias). Finally, decades later, another victorious knight with lady was carved at the tower quoting the earlier sculptures. Traditionally interpreted as images of the fight against evil, a reading of these scenes based on Psalm 44 and the Song of Songs, biblical passages alluding to the marriage between Christ and the Church, offers a new perspective on the sculpture program of Santa María la Mayor de Toro.

Marina Aurora Garzón Fernández studied Art History at the University of Santiago de Compostela (2011) where she earned a Masters in Medieval Studies (2013) and obtained her Phd in Medieval Studies (2019) with the thesis “Santa María la Mayor de Toro (Zamora): Church and City (1157-1312)” focusing on the study of Visual Culture in Leon and Castile during the 12th and 13th century. She is currently pursuing her post-doctoral project about paper-cut calligraphy in the Middle Ages at the CRC 933 “Material Text Cultures” at the University of Heidelberg.

This event is free, but booking is essential:

For more details please see:

Organised by Dr Tom Nickson

Conference | Hispanic Art in British Regional Collections – History, Display, Research | 22-23 September 2022

To register and see full programme:

CFP – Activation. Staging Strategies of Mobile Artworks in the Early Modern Hispanic World 

International and interdisciplinary conference
Bibliotheca Hertziana – Max Planck Institute for Art History Rome

16 – 17 February 2023
Deadline: June 20, 2022

Conception and scientific organisation: Dr. Sven Jakstat, Dr. Johannes Gebhardt, Prof. Dr. Tanja Michalsky

The temporary activation of mobile works of art and cult objects can be traced back to antiquity and continues to play an essential role in the communication of religious truths and manifestations of political power today. The inclusion of mobile artworks in ritual ceremonies is closely linked to terminologies of animation, evidence, mediation, performativity, presence and presentation, staging, and vivification, which have shaped the discourse on images. These terms have developed different connotations in each of the various humanities disciplines and now embody manifold dimensions of meaning.

Powerful examples that can be subjected to theoretical and critical analysis from an interdisciplinary perspective can be found, for example, on the Habsburg-dominated Iberian Peninsula in the seventeenth century. With the Spanish viceroyalties of the Kingdom of Naples and New Spain, Iberia is the conference’s geographical focus.

This conference seeks to analyze how objects from the sacred realm, like those carried in processions, and those employed in a profane context like courtly ceremonials, achieve their effective power during their temporary activation. Its emphasis is on processional figures such as pasos or imágenes de vestir, relic and cult image presentations, but also ephemeral fountain installations or festive architecture. In this context, disciplines often neglected in humanities discourse, such as engineering (and thus aspects of production aesthetics), will also be considered.

Contributions may explore (but are not limited to) the following questions:
To what extent can performative or ritual actions integrating artworks be reconstructed? What were the theological and political ideas underlying these staging strategies? What role did music, singing, light, and olfactory effects play in the presentation of these objects? What mechanical devices were used to create special effects, and how did they work? What was the role of different social groups, such as artists, clergy, secular elites, and laypeople? To what extent was the temporary activation of such artworks considered during production, for instance, in the choice of materials or the integration of specific mechanical devices? What consequences did awareness of their temporary activation have for the objects’ reception outside their ritual use?

Presentations dedicated to concrete case studies, as well as theoretical or critical examinations of the concepts mentioned above, are both welcome. This interdisciplinary conference seeks contributions from scholars of art history, history, literature, musicology, philosophy, and theology, among others.

Please send proposals not exceeding 350 words for twenty-minute presentations, together with a short CV and list of publications of no more than two pages to Raffaele Rossi ( by 20 June 2022. The organizers will provide accommodation, and travel costs may be reimbursed.


Join us on Zoom at 5:00 pm (UK) on 28 June for the Maius Workshop’s new event. To attend, please register here:

As in previous meetings, this workshop will feature short informal presentations followed by discussion. Our line-up includes:

Stephanie Bernard, ‘Juan Sánchez Cotán’s ‘Adoration of the Magi’ and the Taste for Ancient Models’. Stephanie is PhD candidate in Art History in the School of Modern Languages and Cultures. Her thesis, funded by a Zurbarán Scholarship, explores the influence of Flemish and Netherlandish art in the oeuvre of Juan Sánchez Cotán. Her research benefits from the inter-disciplinary nature of the Zurbarán Centre for Spanish and Latin American Art and from a collaboration with the Spanish Gallery at the Auckland Project.

Julia Vázquez, ‘Towards a History of the Curator’. Julia is Curatorial Fellow for the Marisol Bequest and Curator of the Marisol Paper Project at the Albright-Knox Art Gallery. She received her PhD from Columbia University in 2020 and has just completed a book manuscript titled “Velázquez: Painter and Curator.”

Elisabetta Maistri, ‘In the folds of art historiography. The parallel lifes of Julián de Villalba and García and José Nicolás de Azara, two aragonese diplomats in the eternal city’. Elisabetta is an art historian in fieri, specialising in Iberian art history (16 th -19 th cent) and history of European art collecting. She holds a BA from the Università degli Studi di Padova (2012), two MA from the Università Ca’ Foscari di Venezia (2015 & 2017), and a PgDip in art registrations from the Istituto Europeo del Design (2016). Since 2018 she is a doctoral student in History of art at Durham University thanks to an AHRC Northern Bridge Consortium scholarship.

Our sessions are open to all, and research in early stages of development is especially welcome.

ARTES CEEH Travel Scholarship Report: Daen Palma Huse

Daen at the Royal Alcázar of Seville during his research trip

The ARTES-CEEH Travel Scholarship supported my travels to Spain in July 2021. I conducted research in three different cities – Madrid, Seville and Vitoria-Gasteiz. This primary research directly benefited the preparation of my MA thesis, and progressed into further research at PhD level at the UCL History of Art department starting in 2022.

My initial proposed project with the title ‘The Intersection of Rhetoric Imagery and Text in the Context of Andean Religion 1700-1750: The Case of “El Rivero”’ had developed by the time I was able to travel to Spain with the ARTES-CEEH Travel Scholarship, many Covid restrictions still having remained in place. With the support of Dr Emily Floyd at UCL and her connection to an archivist at the Museo de Arte Religioso, Arzobispado del Cuzco, Peru, it became clear that the inscription on a painting signed by Gabriel Ugarte Pérez, 1754, was most likely a nineteenth-century addition rather than an original inscription. My original research aim to investigate “El Rivero” as mentioned in this inscription in Spanish archives, therefore haltered. That said, my interest in the rhetoric around the corruption of morality within the context of the Spanish Colonial period remained.

I started preparing my research trip to Spain, which was to include visiting the Archivo Histórico Nacional in Madrid, and mapped further museums and collections that would be of interest to my research in relation to the Viceroyalty of Peru, its relations to Spain in the colonial period and beyond. Due to looming Covid restrictions at the time and for fear of not being able to travel at all, I decided to leave earlier than planned and, by doing so, extended my research stay to a month. I connected to archivists at the Museo Arqueológico Nacional, Madrid as well as the Museo Fournier in Vitoria-Gasteiz and decided quickly that a trip to the Archivo General de Indias in Seville would also be beneficial.

Manual printing machine, Heraclio Fournier S.A., late 19th century, Museo Fournier, Vitoria-Gasteiz, Spain, photograph by Daen Palma Huse

The casta paintings in the collection of the Museo de Américas in Madrid led me to look further into casta paintings more generally, and to search for reference points in both visuals and writing that pertained to my research around ephemera, the motifs shown on these, and their impact. Narrative dimensions could transport a subliminal moral message to someone immersed in the pleasurable task of engaging with these objects.

Between archival finds and consulting secondary literature and started to write on my MA thesis, in which I dealt with the potential moral connotations that could be inherent in motifs, the nature of their use, and their dimensionality. My thesis concentrated mainly on the nineteenth century, as a lack of existing research in the field became apparent. I found colonial legislation and discourse to continue impacting heavily on the production of visuals in the early postcolonial era of Republican Peru. The research I conducted in Spain was fundamental to contextualise this aspect of my work in terms of production processes and object historiography. Furthermore, my visit allowed me to further my understanding of print production processes – for example through seeing print presses first-hand that would be used to produce some of the ephemera that were exported from Spain to the Americas.

Letters, Heraclio Fournier S.A., late 19th century, Museo Fournier, Vitoria-Gasteiz, Spain, photograph by Daen Palma Huse

Overall, this research trip contributed essential research findings to my MA thesis, part of which I have already presented at the Association for Art History Annual Conference 2022 as well as at the Graduate Symposium in the History of Art & Architecture, University of Oregon. I was also lucky to be able to complete an online course in Latin American palaeography at the Biblioteca Municipal de Lima, Peru at the same time as staying in Spain – which greatly facilitated my ability to read the documents I encountered in the archives during my research. The ARTES-CEEH Travel Scholarship and the palaeography course worked in perfect synergy: the palaeography course took place by night, and during daytime I was able to put my newly learnt skills to use.

I am extremely grateful to the ARTES-CEEH for the support and look forward to base future research projects as part of my PhD research at UCL on connecting themes.

Transgression And Liminality In Iberian And Latin American Art: Emerging Researchers Symposium, Durham University, 7-8 July 2022

Venue: Room PCL054, The Palatine Centre, Stockton Road, Durham, DH1 3LE

On 7 and 8 July Durham University’s Zurbarán Centre will host its second student-led symposium showcasing innovative doctoral research in Iberian and Latin American art and visual culture.

The theme of this year’s symposium is transgression and liminality, with presentations exploring a wide variety of periods and geographies. The 19 papers, drawn from 14 academic institutions, range from the bounding of traditional artistic movements to the confronting of the borders of mind and body, of religion, and of societal norms. The presentations will address important questions relating to art and politics, the circulation of art and artefacts, visual traditions across different media and periods, identity issues, cultural heritage, and modernity. The symposium also features an invited keynote address by Dr Laura Fernández-González from the University of Lincoln.

The student presentations and the keynote lecture will be followed by opportunities for questions and answers. The aim is to stimulate interdisciplinary conversations and connections among emerging and established scholars engaged in the field of Iberian and Latin American art.

Organised by Durham University doctoral students, the symposium will be held as a hybrid event for in-person attendance in Durham or virtual attendance via Zoom.

Booking is essential and in order to register, either to attend in person or via zoom, please click here:

Please click here for the full agenda