CALL FOR APPLICATIONS: ICDAD Grants, Spring 2021,

Deadline of Application: April 7, 2021

ICDAD has announced grants of the amount of up to 2,000 euros for spring 2021. All individual and institutional members of ICDAD are welcome to apply. Collaborations with ICOM national or regional groups, with other ICOM international committees, or other partners are allowed and encouraged.

The proposed projects should fit into the following categories of activity:

  • conferences, trainings and meetings
  • publications and research activities
  • activities for young members
  • actions encouraging exchange with emerging countries
  • cooperation with other ICOM committees and/or Regional Alliances

Please find the application form below:

As a Word document

As a PDF

Job Opportunity: Associate Professorship (or Professorship) in Seventeenth/Eighteenth-Century Art History, University of Oxford

Faculty of History, Department of History of Art, Littlegate House, St Ebbe’s St, Oxford

The Department of History of Art is seeking a highly motivated and inspirational person to join a thriving academic community of art historians and bring exciting perspectives to the teaching and study of the History of Art at Oxford. This is a joint appointment: the person appointed to the Associate Professorship will also be appointed to a Tutorial Fellowship at St Peter’s College and will be a member and trustee of its Governing Body. In time, the post holder may be appointed to a lectureship at a further college by agreement between the Faculty, St Peter’s College and that college (more details in ‘Duties’, below). 

They seek applicants whose scholarship focuses on the seventeenth and/or eighteenth centuries. We are particularly interested in candidates with a global outlook who can bring innovation to the way art history is conceived and practiced. A goal of the search is to increase the diversity of the teaching in our Department, and we therefore welcome applicants who can offer frames of reference that are historically under-represented in the discipline of art history. We particularly encourage applications from women and people of colour. The successful applicant will join an academic community that places the highest value on rigorous inquiry and encourages a range of perspectives, experiences, and ideas to inform and stimulate intellectual challenge, engagement, and exchange.   

Please click here for more information and to apply.

In advance of tonight’s annual Nigel Glendinning lecture, please find the recording of the 2019 lecture by Dr Javier Barón, Senior Curator of 19th Century Painting at the Museo del Prado, on Velázquez, El Greco and Modern Painting, recorded at the Instituto Cervantes in London

Highlights from the 2019 Glendinning lecture by Dr Javier Barón, courtesy of Dr Nicola Jennings of the Colnaghi Foundation

Please click here for the full recording of part 1 of the lecture, with subtitles

Please click here for the full recording of part 2 of the lecture, with subtitles

Please click here for more information about tonight’s Glendenning Lecture

Booking is essential. Please email the Zurbarán Centre (Zurbaran.centre@durham.ac.uk) to register and to receive a zoom link.

Claudie Ressort (1933-2021)

Claudie Ressort, who died in Paris on 9th February 2021 at the age of eighty-seven, was for many years in charge of Spanish Paintings in the Louvre Museum. During her career spent entirely in that institution, she worked endlessly to defend the cause of Spanish Art and the place it should have in such a museum, beyond the exceptional masterpieces of Spain’s most renowned artists.

After her studies at the École du Louvre and a few years in the Educational Service of the museum, Claudie moved in 1969 to the Department of Paintings where she worked first both with Michel Laclotte, the head of Department, mainly on early renaissance painting, and with Jeannine Baticle (1920-2014) then chief curator of Spanish Paintings. She discreetly but very efficiently assisted Baticle in her series of important exhibitions – Goya (with A.B. De Vries, Orangerie des Tuileries, Paris; Mauristhuis, The Hague, 1970), La Galerie espagnole de Louis-Philippe (Louvre, 1981), Zurbarán (Paris, Grand Palais; New York, Metropolitan Museum, 1987-1988). From their close collaboration on another exhibition, then quite pioneering, Eugenio Lucas et les satellites de Goya (Lille and Castres museums, 1972) for which she established most of the challenging catalogue, she kept an interest in nineteenth-century Spanish painting that she liked to collect. Her first “solo exhibition”, Mariano Fortuny et ses amis français (Castres, 1974) that commemorated the centenary of the painter’s death also confronted a field then totally unclear.

In 1983, she took full responsibility for a seemingly modest exhibition, Murillo dans les musées français in the Louvre series “dossiers du département des peintures”. The catalog, one of the first to seriously tackle Murillo’s provenances, is still a mine of references today with its in-depth study of the masterpieces preserved in France and of the French taste for Murillo since the eighteenth century. She further deepened our knowledge of the exceptional collection of Murillo’s drawings held in the Louvre Cabinet des Dessins in Spanish Drawings: Masters of the 16th and 17th Centuries exhibition catalogue (Louvre, 1991, with Lizzie Boubli and Alfonso Pérez Sánchez).

Claudie’s preferred area of research was the Spanish painting of the 14th and 15th centuries, notably Catalan and Valencian works with their many contacts with Italy, but also those from Castille and Aragon. At the time of her death, she was working on the history of the Altarpiece of St George in the Victoria and Albert Museum, trying to resolve the enigma of its arrival in France around 1864. Her interest in the researches of the Louvre Research Laboratory and her exceptional ability to work in collaboration resulted in more than a dozen of important articles among them several written with Mathieu Hériard-Dubreuil on Valencian painting (1978, 1979 and 1994). Her death will be keenly felt among the specialists of this period who greatly respected her work and judgments.

A committed curator, Claudie was always looking for works to be acquired by the Louvre Museum or the Musée Goya in Castres. Jean-Louis Augé, who has just retired from his long curatorship in the latter museum, paid tribute to the help she gave him in his active acquisition policy, among them Herrera the elder’s Multiplication of loaves and a panel by Juan Rexach as well as in writing the catalogue raisonné of Castres paintings and sculptures of the 14th and 15th centuries (Cahiers du Musée Goya, n° 3, 2000). Once she took over the responsibility for Spanish Paintings after Jeannine Baticle’s retirement in 1988, she tried, in a difficult context, to obtain new paintings for the Louvre. She managed to acquire a Pieta by Morales, the splendid panel of Juan de Borgoña of The Virgin, Saint John, two holy women and St Dominique of Guzmán and three panels by the Maestro de Alcobacer. She was also always determined to study these new acquisitions as well as to help colleagues from “musées de province” with their Spanish works. She knew all these museums very well and started enthusiastically, some years ago, to contribute to a new project of inventorying the Spanish works kept in French public collections (RETIB) travelling to Burgundy, Franche-Comté or Aquitaine.

Claudie Ressort, was extremely attached to the scholarly tradition of museums, and keen to consummate her professional career by producing the catalogue raisonné of Spanish and Portuguese paintings at the Louvre, in a department that, apart from another curator, largely ignored this kind of task. The Musée du Louvre, Département des peintures, catalogue, Écoles espagnole et portugaise, Paris, Réunion des Musées nationaux 2002, to which she kindly associated me, is, with her 1982 catalogue of Murillo dans les musées français, her greatest legacy to the museum where she spent all her working life.

Almost ten years ago Claudie, still indefatigable, undertook the enormous task – and associated me again in this enterprise –of inventorying Spanish works that had passed through France between 1800 and 1914, and of studying their collectors. Her starting point was really to pay homage to the work of the bibliographer and bookseller Louis Soullié (1860-1940) whose manuscript of his never published Relevé détaillé des tableaux et dessins de l’École espagnole ayant passé dans les ventes de collection depuis 1801 is in the Library of the Prado museum. Claudie was able to complete most of her chapters and hopefully the finished work will be online in 2022.

Many scholars of Spanish art, Spaniards, British, American etc, older or even still quite young, will remember Claudie’s wonderful generosity and warm kindness: she was always ready to help them in their work, to guide them in the complicated network of libraries and archives, to share her immense knowledge of Spain but also, and these may be the most precious memories, to welcome them, as real friends, in her Parisian flat or her charming country house in the Chevreuse valley.

A list of Claudie Ressort’s publications can be found here.

Obituary and Bibliography written by Veronique Gerard-Powell.

The Maius Workshop: Work in Progress Talk, 23rd March 2021, 5pm

This work-in-progress talk will present some new findings on the iconography and provenance of a series of cuttings from a richly illuminated choir book. I argue that the parent manuscript, a Gradual, was probably created in the late fifteenth century for the Observant Hieronymites of San Isidoro del Campo in Santiponce, near Seville. As used by this Hieronymite community, and later pasted into an album of cuttings by William Stirling Maxwell after 1849, I explore the continued production of meaning of these cuttings and their digital remediation.

Dr Matthew Westerby is Robert H. Smith Postdoctoral Research Associate for Digital Projects at the Center for Advanced Study in the Visual Arts (CASVA), National Gallery of Art, Washington DC.

The event will take place on Zoom. Please register here to join:

When: Mar 23, 2021 05:00 PM London 

https://ucl.zoom.us/meeting/register/tJ0udeuqrTkrG9eL_L89Ax92P_7SMYms5x9J

After registering, you will receive a confirmation email containing information about joining the meeting.

For more details, see https://maiusworkshop.wordpress.com/2021/03/04/maius-workshop-event-matthew-westerby-reimagining-a-hieronymite-choir-book-from-seville-23-march-5pm/

PhD ‘Zurbarán Scholarship’ for the Study of Spanish Art, Durham University, Deadline 31st March

The Zurbarán Centre for Spanish and Latin American Art at Durham University invites applications for a doctoral scholarship in Spanish art-historical studies, commencing in the academic year 2021/22. The scholarship has been created thanks to the generous support of the CEEH (Centro de Estudios Europa Hispánica) in association with ARTES and The Auckland Project. It supports research focusing on Spanish art from the Golden Age to around 1900, including the reception of Spanish art in Britain. The scholarship is tenable for three years full-time (or five years part-time). It is worth £20,000 per year over the course of three years.

For the full details of the scholarship, please see: https://www.dur.ac.uk/zurbaran/teaching/scholarships/

The application deadline is 31 March 2021.

Applicants are advised to contact Professor Claudia Hopkins, the Director of the Zurbarán Centre (Claudia.h.hopkins@durham.ac.uk) in advance of the deadline.

NIGEL GLENDINNING LECTURE: Jesús Escobar (Northwestern University), “All Roads Lead to the Plaza de Palacio: Architecture and Ceremony in Habsburg Madrid”, 17 March, 6-7pm, via Zoom

An annual event in honour of the great Hispanist Nigel Glendinning, organised by ARTES and the Instituto Cervantes. Part of the twelve-part seminar series hosted by ARTES and the Zurbarán Centre at Durham University.

17th March 2021, 18:00 to 19:00

Used by people of all classes and fronted by the architectural seat of imperial government, the Plaza de Palacio was the preeminent space of power in Habsburg Madrid. In the 1670s, during the regency of Mariana of Austria, it was lined with arcades and adorned with sculpture. This talk explores the plaza’s design within the context of late seventeenth-century European urbanism, demonstrating that its transformation reflects Madrid’s evolving image as the capital of an empire.

Jesús Escobar is Associate Professor at Northwestern University, Chicago. He arrived at Northwestern in 2008 and chaired the Department of Art History for seven years between 2010 and 2018. He is a scholar of art, architecture, and urbanism in early modern Spain and the larger Spanish Habsburg world. His first book, The Plaza Mayor and the Shaping of Baroque Madrid (Cambridge University Press, 2003; paperback, 2009), explored the interchange of architecture and politics in the evolution of Madrid from a secondary city of Castile to the seat of a global empire in the late sixteenth and early seventeenth centuries. The book won the Eleanor Tufts Award from the American Society for Hispanic Art Historical Studies and was published in a Spanish-language edition in 2008 by Editorial Nerea. His second book, Habsburg Madrid: Architecture and the Spanish Monarchy (Penn State University Press, forthcoming in 2022), examines government buildings and public spaces built and shaped between 1620 and 1700 from local, regional, and global vantage points. Other recent and ongoing projects consider the monastery-palace of El Escorial, transatlantic Renaissance and Baroque religious architecture in the Spanish Empire, and the historiography of seventeenth-century architecture in Spain. With Michael Schreffler of the University of Notre Dame, he is at work on another book tentatively titled Architecture in the Spanish World, 1500 to 1800.

Booking is essential. Please email the Zurbarán Centre (Zurbaran.centre@durham.ac.uk) to register and to receive a zoom link.

Please click here for more information about the ARTES/ Zurbarán Centre seminar series.

Image: Nicolas Guérard I, after Felipe Pallota, Aspecto del Real Palacio de Madrid, 4 de Marzo de 1704, The British Museum, no. 1859,0514.341.104, ©The Trustees of the British Museum.

REMINDER: Two Day Online Conference – Velázquez and the Spanish Prince: Baltasar Carlos in the Riding School, Starting TOMORROW

Prince Baltasar Carlos in the Riding School, c. 1640 – c. 1645, Wallace Collection

Date: Thursday 4 and Friday 5 March 2021
Times: 15.00-18.00 each day
Location: Zoom (online)

Drawing together an international panel of eminent scholars working on the Spanish Habsburg Court and Spanish art, this two-session conference focuses on one of the best-loved paintings at the Wallace Collection, Prince Baltasar Carlos in the Riding School.

Please click here for more information, including the full programme and how to register.

https://www.wallacecollection.org/whats-on/conference-vel%C3%A1zquez-and-the-spanish-prince-baltasar-carlos-in-the-riding-school/

TONIGHT: Jonathan Ruffer (The Auckland Project), ‘Juan Bautista Maíno – A Great Artist At The Spanish Gallery, Bishop Auckland’, ARTES and Zurbarán Centre Seminar Series, 6-7pm

Booking is essential. Email Zurbaran.centre@durham.ac.uk to register and to receive a zoom link.

More information: http://www.dur.ac.uk/zurbaran/news-events/events

Exhibition ‘Funk Fiction’ at Casa de las Conchas, Spain: VIRTUAL TOUR, SEMINAR (24 Feb), and WORKSHOP (25 Feb)

Take a VIRTUAL TOUR of ‘Funk Fiction’, a video Installation by Brazilian Artist Henrique Fagundes, showing at the Casa de las Conchas Palace in Salamanca, Spain.

VIRTUAL TOUR: https://www.youtube.com/watch?v=ITLG4M4bXpw&feature=youtu.be

FUNK FICTION CHANNEL 1-2: https://www.youtube.com/watch?v=cYieAQjSpdQ&t=233s

To learn more about Henrique Fagundes’ art practice and its relationship to the broader context of Brazilian art join the following didactic initiatives:

SEMINAR (in Spanish)

‘Not Only Carnival: Brazilian Culture between the Symbols of the Nation, Cultural Hybridisation and the Struggle Against Stereotypes’

THURSDAY 24TH FEBRUARY 2021

HISPANIC BRAZILIAN CULTURAL FOUNDATION – SALAMANCA – (online from 11 am UK time)

LINK: https://www.facebook.com/FundacionCHB/

WORKSHOP (in Spanish)

‘Internet, Appropriation and Remix as Artistic Power’

THURSDAY 25TH FEBRUARY 2021

HISPANIC BRAZILIAN CULTURAL FOUNDATION – SALAMANCA – (online from 11 am UK time)

LINK: https://www.facebook.com/FundacionCHB/