ARTES visit to Madrid, 28-29 January 2014

Portrait of Pope Innocent X
Portrait of Pope Innocent X

We have been kindly invited by Deputy Director of the Prado and ARTES member Gabriele Finaldi to visit the current exhibition in Madrid on Velázquez and the Family of Philip IV.  Javier Portús, Chief Curator of Spanish Painting and Curator of the exhibition will kindly take us on a private tour on Tuesday 28th January 2014, starting at 10.00 and meeting at the Puerta de Jerónimos. After the tour, members will have the opportunity to view for themselves some of the paintings highlighted in Gabriele’s 2012 ARTES Lecture, The Collections of the Prado: new works and restored paintings Director of Conservation and Research at the Prado (featured in InformARTES, 2012, pp. 6-8).

The following day (for those able to stay another night) Mercedes González Amezúa Curator of Paintings at the Real Academia de Bellas Artes de San Fernando has also kindly agreed to take us on a tour of the Academia to tie in with the popular talk she gave earlier this year for the 2013 ARTES Lecture, Highlights from the Collection of Manuel Godoy & Recent Acquisitions of the Real Academia de Bellas Artes de San Fernando (featured in the forthcoming edition of InformARTES). We will meet at the ticket office at the entrance to the Academia, in front of the Hércules Farnese at 10.30am.

We will try and organise a meal together on the Tuesday evening. Please contact Morlin.Ellis@tiscali.co.uk as soon as possible if you are interested and are able to join us for both or either of these two visits.

ARTES CEEH PhD Scholarships for students at a UK University

logo Ceeh bn (2)Thanks to the generous support of CEEH (Centro de Estudios Europa Hispánica), ARTES awards one £3,000 scholarship each year for PhD students registered for a full- or part-time doctoral degree at a UK university who are working on any aspect of Spanish visual culture before 1900. The scholarship is intended to contribute towards the costs of tuition, living and/or research, and therefore students with full funding are not eligible. The deadline for all applications is 31st January each year, successful applicants are informed by 15th March, and the Awards Ceremony is held at the ARTES AGM in the same year. Please read the general guidelines below.

Scholarship application guidelines

  1. Applications should be made in English as a single MS Word or PDF file and sent to artesscholarships@gmail.com. Applicants are requested to include ‘PhD Scholarship’ in the email subject, but should not expect acknowledgement of receipt.
  2. All applications should include: a) a project title, b) a max 100-word project summary, c) a max 600-word description of the research to be conducted; d) a short breakdown of how the money will be spent, together with details of any other funding received; e) an academic CV. Applicants should ensure that an academic advisor sends a reference to the same email address by the 31st January deadline. Applications without a reference will not be considered.
  3. Candidates may apply for other scholarships and awards from ARTES, but are unlikely to be successful in more than one category in any one year.
  4. Application is open to any student or scholar who can demonstrate compliance with the criteria set out above, other than employees of CEEH, committee members of ARTES, or their immediate families. Scholarships are not awarded to students who have not yet begun their programme of study, are valid for one year only, and are not renewable.
  5. Applications will be assessed according to the following criteria: Originality of research, significance of research, feasibility of successful completion, academic rigour (command of the field, spelling, fluency etc), potential of the applicant (an assessment of the strength of the CV, taking into account the student’s current status), financial need, strength of reference.
  6. Successful scholarship winners are normally informed by 15th March, and are invited to attend a presentation ceremony held at the ARTES AGM in the Summer. They are required to write a 600-word report on their funded research project, to be sent to artesscholarships@gmail.com within nine months of receipt of the scholarship.
  7. Any publications arising from research supported by these scholarships should include acknowledgement of ARTES and CEEH.
  8. The scholarships come with no institutional affiliation, and ARTES and CEEH cannot take responsibility for the support or welfare of scholarship holders.
  9. The decision of the Scholarship Committee shall be final. The Committee reserves the right to make no awards in cases where it deems that applications are not of satisfactory quality. CEEH and ARTES accept no legal responsibility to any applicant or third party arising from this notice, or the award or otherwise of a scholarship.  The Scholarship Committee will not enter into correspondence with unsuccessful applicants or their academic advisors regarding its decisions.

 

Artes visit to Beyond El Dorado at the British Museum

Bird pectoral, Popayan, gold alloy, AD100-1600, Copyright the Trustees of the British Museum
Bird pectoral, Popayan, gold alloy, AD100-1600. Copyright the Trustees of the British Museum

We are pleased to announce a private Artes visit to the British Museum’s Beyond El Dorado exhibition on Thursday 20 February 2014. We shall be meeting at 8.20 am for a 8.30 am at the main front gates (the museum is not open to the public at this time). Curator Elisenda Vila Llonch has kindly agreed to give us an introduction to the exhibition.

Please contact Morlin if you would like to attend – morlin.ellis@Tiscali.co.uk.  Members are very welcome to bring guests. There is no charge for members but we do ask for a £6 donation per person for guests. 

Artes CEEH Travel Scholarships

logo Ceeh bn (2)Thanks to the generous support of CEEH (Centro de Estudios Europa Hispánica), ARTES awards a number of travel scholarships to final year undergraduates and postgraduate students registered for a full or part-time degree course at a UK university who are working on any aspect of Spanish  visual culture before 1900. The deadline for all applications is 31st January and the Scholarship Committee usually informs successful applicants by 15th March. Winners are invited to attend a special awards ceremony at the ARTES AGM in the summer. Students 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). Please read the guidelines below.

Scholarship application guidelines.

  1. Applications should be made in English as a single MS Word or PDF file and sent to artesscholarships@gmail.com. Applicants are requested to include ‘Travel Scholarship’ in the email subject, but should not expect acknowledgement of receipt.
  2. All applications should include: a) project title, b) a max 100-word project summary, c) a max 600-word explanation of the research to be conducted (including explanation of the necessity of travel); d) a short breakdown of how the money will be spent, together with details of any other funding received; e) an academic CV. Applicants should ensure that an academic advisor sends a reference to the same email address by the 31st January deadline: this may be in English or Spanish. Applications without a reference will not be considered.
  3. Candidates may apply for any other scholarship or award offered by ARTES, but are unlikely to be successful in more than one category in any one year.
  4. Application is open to any student or scholar who can demonstrate compliance with the criteria set out above, other than employees of CEEH, committee members of ARTES, or their immediate families. Scholarships are not awarded to students who have not yet begun their programme of study, are valid for one year only, and are not renewable. Applications may be submitted for travel conducted in the 12 months prior to the submission deadline, though funding for such trips is likely to be considered less urgent than for forthcoming trips that would not be possible without funding.
  5. Applications will be assessed according to the following criteria: Originality of research, significance of research, feasibility of successful completion, academic rigour (command of the field, spelling, fluency etc), potential of the applicant (an assessment of the strength of the CV, taking into account the student’s current status), financial need, value for money, strength of reference, necessity of travel.
  6. Successful scholarship winners are normally informed by 15th March, and are invited to attend a presentation at the ARTES AGM in the Summer. They are required to write a 600-word report on their funded research project, to be sent to artesscholarships@gmail.com within nine months of receipt of the scholarship
  7. Any publications arising from research supported by these scholarships should include acknowledgement of ARTES and CEEH.
  8. The scholarships come with no institutional affiliation, and ARTES and CEEH cannot take responsibility for the support or welfare of scholarship holders.
  9. The decision of the Scholarship Committee shall be final. The Committee reserves the right to make no awards in cases where it deems that applications are not of satisfactory quality. CEEH and ARTES accept no legal responsibility to any applicant or third party arising from this notice, or the award or otherwise of a scholarship.  The Scholarship Committee will not enter into correspondence with unsuccessful applicants or their academic advisors regarding its decisions.

Velázquez portraits exhibition at the Prado

Velazquez, Juan Martínez Montañés, Prado
Velazquez, Juan Martínez Montañés, Prado

Tues 8 Oct 2013 – Sat 9 Feb 2014, The Prado, Madrid. Velázquez y la familia de Felipe IV 1650-1680 (the English catalogue is titled, Velázquez, Las Meninas and the Late Royal Portraits).  Jerónimos Building, Room C, El Museo del Prado, Ruiz de Alarcón, 23, 28014 Madrid. www.museodelprado.es . Curated by Javier Portús, Chief Curator of Spanish Painting at the Museo del Prado.

In chronological terms, the exhibition opens in 1650 during Velázquez’s second period in Rome, at which date he had already spent more than a year outside Spain. In Rome, the artist painted around a dozen portraits of individuals associated with the papal court, of which four of the surviving six are included in the exhibition.

They constitute a separate chapter within the artist’s oeuvre and one in which he markedly extended his expressive registers in order to brilliantly convey the personalities and concerns of these sitters.

Portrait of Pope Innocent X
Portrait of Pope Innocent X

The exhibition opens with the Portrait of Innocent X from Apsley House, London. A version of the celebrated portrait in the Doria Pamphilj Gallery, Velázquez brought it back with him to Madrid. It will now be exhibited in Spain for the first time.

Also on display in this gallery are the portraits of Cardinal Camillo Massimo (The Bankes Collection, National Trust, UK), Cardinal Camillo Astalli Pamphilj (Hispanic Society of America, New York), and Ferdinando Brandani (Museo del Prado), chief clerk to the papal secretariat, the latter a new identification of a work previously known as “the Pope’s Barber”.

While Velázquez was in Rome, Mariana of Austria had married Philip IV and the city welcomed the arrival of the new Queen in late 1649. The second section in the exhibition focuses on the artist’s return to the capital in 1651 after much insisting on the King’s part. It presents comparisons between some of the Roman portraits and those Velázquez executed for the court after his return. Philip IV (Museo del Prado), The Infanta María Teresa (Metropolitan Museum of Art, New York) and Queen Mariana of Austria (Museo del Prado) reveal how the painter once again deployed the hieratic distance evident in his earlier royal portraits as opposed to the expressivity of the Roman period.

This return to the court constitutes the core of the exhibition, comprising the royal portraits that Velázquez produced from his arrival in Madrid until his death in 1660. Together they form a separate chapter in his career due to their technical and iconographic uniqueness and exceptionally high quality.

The Infanta Margarita in blue and gold
The Infanta Margarita in blue and gold

At this period the world of women and children makes its appearance in the artist’s work and is the subject of the third room, which includes The Infanta María Teresa, Prince Felipe Próspero and The Infanta Margarita in blue and gold, all loaned from the Kunsthistorisches Museum in Vienna. During this period Velázquez’s colour became denser and more rich and varied, while the compositions included spatial references arising from the settings. Particularly outstanding within this group is Las Meninas, which will not be hung in the exhibition (remaining in its habitual location in the Museum) but which is a key element in this group given that it represents a remarkable defence of the genre of portrait painting. Its complexity makes its comparable to the most erudite type of “history painting” and it can be seen as the finest example of the level of sophistication achieved by the Spanish court at a high point of cultural creativity. In addition, Las Meninas also represents a profound exercise of social and professional affirmation on Velázquez’s part through the inclusion of his self-portrait.

The demand for images following the new Queen’s arrival and the birth of infants and princes meant that Velázquez was obliged to produce more portraits, to which he responded by setting up an active studio that is represented in this exhibition by various studio versions of originals by the artist, created under his supervision. They include The Infanta Margarita and Queen Mariana of Austria (both Musée du Louvre, Paris). The exhibition concludes with examples of court portraiture by Velázquez’s successors Martínez del Mazo and Carreño. Both artists looked to their predecessor’s solutions in order to move royal iconography towards a more complex, Baroque style and to create a particularly Spanish typology for the court portrait that differs from other European schools in its inclusion of particular rooms in the royal palaces as the settings for these works.

The catalogue

The accompanying catalogue –Spanish and English editions – includes three essays: the principal one by the exhibition’s curator Javier Portús; another on painting at the Spanish court after the death of Velázquez by Miguel Morán Turina of the Universidad Complutense, Madrid; and a third that analyses aspects of the court in Vienna by Andrea Sommer-Mathis of the Austrian Academy of Sciences.