ARTES-CEEH PhD Scholarship Report 2021: Nausheen Hoosein

Thanks to the generosity of the ARTES-CEEH PhD Scholarship, I have made significant progress in the first year of my PhD at the University of York’s History of Art department. My thesis is titled “From Umayyad Madinat al-Zahra to Almohad Seville: The Reuse of Architectural Spolia in al-Andalus during the 12th century” and is supervised by Dr Richard McClary. My work explores the plunder and re-use of Umayyad spolia, particularly marble capitals, in later Almohad architecture through an integrated text- and material-based analysis to examine two significant Almohad sites, the Giralda and Alcázar, in Seville.

Nausheen Hoosein presenting at the “Works in Progress” Postgraduate Research Conference hosted by the Department of History of Art at the University of York (March 2022)

Since beginning the PhD, I have completed numerous tutorials required of research students, including Research Integrity, Research Data Management, and Information Security Awareness, as well as created a Professional Development Plan. These trainings have ensured that I am equipped with the necessary skills to conduct effective and ethical research in my field. I have also successfully completed the Arabic for Medievalists language course, offered through the Centre for Medieval Studies. This course, along with an advanced Spanish course I will take in the summer term, will help me in better accessing relevant primary texts that are significant for my research. I have also completed several formal supervisions with my supervisor, as well as with my Thesis Advisory Panel Member, Professor Tim Ayers. These discussions have been instrumental in shaping my research questions and strengthening my bibliography.

Column capital, 936-976 CE, Madinat al-Zahra. On display at the British Museum. On loan from the Victoria and Albert Museum, London, A. 145-1920.

Throughout the past year, I worked towards compiling a literature review, as well as a digital database of the corpus of caliphal capitals that are dispersed in various international collections as well as in situ at various sites in Spain. Thus far, I have been able to study the examples in London, at the Victoria & Albert Museum and the British Museum. This short research trip was instrumental in studying the capitals closely and the material observation and visual analysis will serve as an integral component of the thesis. I am already looking forward to the second year of my PhD which will hopefully include field research in various archaeological sites, museums and archives in Cordoba, Seville and Madrid. Findings from these field visits will be recorded in a digital database. This database will serve as an integral component of the research process, allowing me to compile relevant information on each object and site.

Top: Capital, late 14th century, Granada, On display at the Victoria & Albert Museum, London, 341-1866.
Bottom: Capital, 960-980 CE, Madinat al-Zahra, On display at the Victoria & Albert Museum, London, A.10-1922.

In addition, I have had the opportunity to present my research at the recent “Works in Progress” Postgraduate Research Conference hosted by the Department of History of Art at York. I am also looking forward to presenting my work and collaborating with colleagues at upcoming conferences in the spring and summer including the Association for Art History (virtual), International Medieval Congress in Leeds, and Society for the Medieval Mediterranean in Crete.

In conclusion, I would like to express my sincere gratitude to ARTES and CEEH for their generous support, without which this progress would not have been possible.

ARTES CEEH Travel Scholarship Report: Yeidy Rosa

Thanks to the generous support of the ARTES-CEEH Travel Scholarship, I was able to carry out archival research at the Archivo General de Indias (AGI) in Seville, Spain, during the month of August, 2021. I was searching for lists of illustrated books and images that were sent to America before 1615, when Guaman Poma’s illustrated Nueva Corónica would have been completed. Before arriving at AGI, I got in touch with Prof. Pedro J. Rueda Ramírez, who knows the documents I wanted to read backwards and forwards, so my task in relation to my doctoral research was pretty straightforward. Now come the fascinating hours of systematizing the information I gathered. I also took advantage of being in Seville to visit the Biblioteca Americanista and read Spanish-language publications regarding the book trade in America that are difficult to find in the UK. One day, I visited nearby Cordoba and walked the streets that Inca Garcilaso de la Vega would have walked on that side of the Atlantic. I’m including a photo from that day, as I escaped the heat in a forest of columns!

In addition to successfully completing the research I set out to do, the ARTES-CEEH Travel Scholarship made possible two other deeply enriching moments during my month at AGI. First, due to covid restrictions, only a reduced number of researchers were allotted desks in the archive. In order to secure a spot for the day, we had to place our names on a list as early as possible and then wait an hour or so for the archive doors to open. This meant that, during this hour each morning, researchers could get a coffee and chat about their topics. This is incredibly beneficial to, not only each of us personally, but to the field as a whole, as we can get input and feedback in a more relaxed way. Usually, getting the chance to share with researchers in a silent archive requires some effort and planning. This time, however, the space was made for us, and I’d like to thank Stephanie, Marlis, Viviana, Kate, Scott, Grant, Cody, Jesús and José for the powerful and passionate conversations we had each day. Much success to all of you and I hope we meet again.

Yeidy in Cordoba

The second special moment took place on my third day at the archive. On that day, I read a document that, from the very first line, I knew was very special. It was filled with art-historical information regarding a sixteenth century Indigenous gold and silversmith, active in both Mexico and Peru, that I had never read before. I was so sure that what I had read was special that I reached out to Prof. Tom Cummins, who agreed that it was indeed very exciting! The document provides points of entry into discussions around artistic transfer (between Mexico and Peru, as well as transatlantic), circulation and mobility, pre-guild hierarchies and structures, surveillance, authorship, Indigenous and European artistic practices and iconography, mining and materiality, imperial power and artistic tastes, and the visual cultures of colonial contact zones. I have written a note regarding the document that will hopefully be published soon in order to make it accessible to researchers. Thanks to the ARTES-CEEH Travel Scholarship, this once-known silversmith is brought back into view, generating questions around artistic practice as a result of, and in spite of, colonial invasion. Thank you so very much. Support like yours has an even more valuable role now that we are again able to travel and meet our peers face-to-face. Thank you.

TODAY – Online Talk at The Wallace Collection | Meet the Expert: David Roberts’s Travels, Dr Akemi Luisa Herráez Vossbrink and Professor Claudia Hopkins, 1pm BST

Date: Thursday 21 April 2022
Time: 13.00-14.00 BST
Location: Zoom and YouTube (Online)

Speakers: Dr Akemi Luisa Herráez Vossbrink, Enriqueta Harris Frankfort Curatorial Fellow, The Wallace Collection, and Professor Claudia Hopkins, Director of Durham University’s Zurbarán Centre for Spanish and Latin American Art

Description: Victorian artist-adventurer David Roberts (1796-1864) travelled extensively in Europe, North Africa and the Middle East, creating countless images of sites and people in drawings, paintings, and prints. Join Dr Akemi Luisa Herráez Vossbrink and Professor Claudia Hopkins, who will discuss Roberts’s works in the Wallace Collection and those recently featured in the exhibition Romantic Spain: David Roberts and Genaro Pérez Villaamil (7 October 2021-16 January 2022) at Madrid’s Real Academia de Bellas Artes de San Fernando. 

Registration and Location: This talk will be hosted online through Zoom and YouTube. Please click here to register for Zoom. 

For more information about Zoom, including instructions on how to download and use the system, please visit

Please click here to view this talk via The Wallace Collection’s YouTube channel.

Live captioning available (by Stagetext)

Text and image via The Wallace Collection

TONIGHT: 2022 Glendinning Lecture | Juan Gris: the environment of collage, by Prof. Elizabeth Cowling (University of Edinburgh)

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.

Register For Online Attendance Here:

RSVP to attend in person here:

About the Speaker

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.

This year’s event is also part of the ongoing joint seminar series co-organised by ARTES and the Zurbarán Centre for Spanish and Latin American Art

TOMORROW: Zurbaran Centre-ARTES Seminar Series | 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’, 9 March, 6.00 PM (GMT)

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. 

Booking is essential. To register and receive a zoom link, click here: qNhnXNCmAShgOHLsKdUREU0M0RJTjAzSUpIVlFaTzZWRlQzSlQwSy4u

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.

The event is free and open to all. Please click here for more information:

Zurbarán Centre-ARTES Online Seminar Series | Colonial Latin America and Materiality 

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’

Booking is essential. To register and receive a zoom link, click here:

The zoom link will be valid for all three seminars. 

For the seminar abstracts and the speakers’ details, please click here:

Professor David Davies, 1937-2022

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)

Obituary by Susan Wilson, London, Feb 2022

REMINDER. Call for Applicants: ARTES Essay Prize and Scholarships, deadline 31st March 2022

Juan Facundo Riaño Essay Prize

ARTES invite submissions for the Juan Facundo Riaño Essay Prize for the best art-historical essay on a Spanish theme. The deadline is 31st March 2022 and full details are available at   


Thanks to the generous support of CEEH (Centro de Estudios Europa Hispánica), ARTES also awards a number of scholarships to students working on any aspect of Spanish visual culture before 1900. The deadline for all scholarship applications is also 31st March 2022 and there are further guidelines below. 

Travel scholarships 

Final year undergraduates and postgraduate students registered for a full or part-time degree course at a UK university may apply for up to £1000 towards the costs of travel to Spain for research purposes (which may include field work, attendance at a conference, or other recognised forms of research). 

£3000 scholarship for PhD students or post-doctoral scholars in Spain who wish to conduct research in the UK 

Doctoral students or those who received their doctorate less than four years before the application deadline may apply for this scholarship provided that they were or are registered for doctoral study at a university in Spain. 

£3000 scholarship for PhD students at a UK university 

ARTES offers one scholarship each year to a student registered for a full- or part-time doctoral degree at a UK university. The scholarship is intended to contribute towards the costs of tuition, living and/or research, and therefore students with full funding are not eligible. 

ARTES CEEH Scholarship Report |’“Fancy pictures”? The British Reception of Murillo, 1650-1900′, Alexandra Millón Maté (PhD Candidate, Universidad Autónoma de Madrid)

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.

Zurbarán Centre for Spanish and Latin American Art Online Conference: Romantic Spain, 24-25 February (pm)

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