ARTES visit to Malta, November 2014, by Susan Wilson

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ARTES visit to Malta, November 2014, by Susan Wilson
Malta was warm and sunny when the ARTES group landed: cacti, stony, tiny fields, palm trees, the sirocco blowing. Then the next day a huge grey-brown cloud rose up, it poured with rain, and cars were covered with Saharan dust.
Valletta is charming, the giant ramparts of soft golden brown stone startling you as you enter the city over a bridge, a deep gulf below, and find Wembley stores, Piccadilly tea rooms, splendid baroque facades, handsome balconies, steep steps, delightful squares and gardens, and always the sea at the end of the street.

I walked around the town, up and down steep streets, to the sea, to the giant 900-bed ward of the Hospital of the Knights of St John, on the ramparts by the sea.
The ARTES group visited St John’s Co-Cathedral, its vault painted by Mattia Preti, fabulous in soft rich colour, with scenes from the life of St John. Elsewhere in the Cathedral we saw Caravaggio’s Beheading of St John and his St Jerome.
Traces of Spanish art and architecture abound on Malta. On our first evening we went to Mdina where Fr. Dun Edgar Vella gave us a comprehensive survey of Nativity cribs and their construction, using his own collection to illustrate his points. We went back to Mdina on Friday, and there saw in the Cathedral Museum a large altarpiece by Luis Borrasa, brought to the island by sea in sections. During our visit the winds rose and a gale began – rain lashed down, streets flooded. Our journey back to Valletta in our minibus took an hour, instead of the expected 20 minutes.
On Saturday the storm prevented us going to the island of Gozo, and instead we visited prehistoric sites in Malta. I walked to a Spanish fort, a tall and severe, impregnable, square stone tower built on a cliff edge over rocky coast, one of a ring of forts built to alert the people of invasion.
The group made the visit so good. Our dinners were alive with great discussion, thoughts on Malta and the Spanish and I remain grateful to all who went for their stimulating company.
As a follow-up to our visit, in London’s National Gallery, Room 37, be sure to see the small painting by Adam Elsheimer, St Paul Shipwrecked: A storm rages, trees are hurled across the foreground, the seas are wild, it is dark and St Paul, is being bitten by the serpent. There is a crowd on the beach, all is very vivid. Or is that because of the storm we all experienced? The Church of St Paul’s Shipwreck in Valletta revealed the devotion among the Maltese to St Paul, their patron saint, and inside the church Marjorie Trusted showed us the small dressed figure, above an altar, of a Mater Dolorosa, by the Granada sculptor Pedro de Mena.
John Elliott recommended reading Ernle Bradford’s The Great Siege and on Tuesday I tracked a copy down to the bookshop at The Brunswick Centre. It is excellent and, though I did not see Malta’s Three Cities (Cospicua, Vittoriosa, and Senglea) – and wish I had – I feel I now know them well.

 

Exhibition: Dibujos españoles en la Hamburger Kunsthalle, Prado, Madrid

2014-11-DibujosEsp-HambKunsthalle2014-11-SpanishDwgsHamb-KunsthalleSpanish Drawings from the Hamburger Kunsthalle: Cano, Murillo and Goya, Museo del Prado, 30 October 2014 – 8 February 2015.
Previously on display as The Grand Gesture: Drawings from Murillo to Goya from the Hamburger Kunsthalle, at the Meadows Museum, Dallas, this exhibition has moved to the  Museo Nacional del Prado, Madrid.
A significant percentage of the collection, acquired for the Kunsthalle’s Kupferstichkabinett  (Department of Prints, Drawings and Photography) by its first Director, Alfred Lichtwark (1852-1914), is on view.
The exhibition is accompanied by a complete catalogue of all the drawings in the collection, written by Jens Hoffman-Samland with the collaboration of María Cruz de Carlos Varona, Gabriele Fialdi, José Manuel Matilla, Manuela Mena and Gloria Solache, curators at the Museo del Prado.
The exhibition has been co-organized by the Meadows Museum, SMU; the Museo Nacional del Prado; the Hamburger Kunsthalle; the Centro de Estudios Europa Hispánica; and the Center for Spain in America.

Juan DelGado’s audiovisual commission ‘The Flickering Darkness (Revisited)’ – Sat 8 Nov 2014 – CILAVS at Birkbeck University of London

The Centre for Iberian and Latin American Visual Studies (CILAVS) at Birkbeck University of London warmly invites you to

Juan delGado
The Flickering Darkness (Revisited)

Saturday 8 November 2015, 2.00-5.00pm
Birkbeck Cinema, 43 Gordon Square, London WC1H 0PD

Artist Juan delGado will present his recent commission The Flickering Darkness (Revisited) alongside the work by Agata Lulkowska. A panel will analyse and reflect on his audiovisual work to improve the understanding of current food policies and their impact in society and art by elaborating on the political and economic factors that promote them.

Juan delGado’s The Flickering Darkness (Revisited) is a video installation filmed at the Corabastos market in Bogotá. The market is the largest of its kind in Latin America. Produced during a three-month residency in the city in 2009 and re-edited for this exhibition, the project explores the journey produce sold at the market takes, from its arrival before dawn to its consumption. Reflecting on the idea of belonging, and the need we all have for locating ourselves in an environment, it creates sense out of the city’s chaos and order, while inviting wider reflections on society’s strata and how they fit together.

For more details visit http://www.bbk.ac.uk/cilavs/events#delGado

Please follow the link below to register

http://www.eventbrite.com/e/panel-discussion-the-flickering-darkness-the-implications-of-food-policy-in-society-and-art-tickets-13334119711

CAA annual conference: New York, February 2015

2014-11-CAA-logoCAA annual conference: New York, 11-14 February 2015
Registration is now open.
Sessions include:
Contemporary Art of Central America and Its Diaspora
-Old Technologies in Contemporary Latin American Art
-Artistic Exchange between the Spanish and British Empires, 1550–1900
-Imagining a US Latina/o Art History

New book: The Archaeology of Medieval Spain 1100-1500

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The Archaeology of Medieval Spain 1100-1500, edited by Magdalena Valor and Avelino Gutiérrez (Sheffield: Equinox Publishing, 2014) ISBN 9781845531737.
This book is the first attempt to make sense of the new data for the twelfth to the fifteenth centuries, a period when Spain was the hinge or fulcrum between Christianity and Islam, and that saw the gradual displacement of the previous Islamic culture and way of life by that of the Hispanic kingdoms.
Magdalena Valor is Professor of History and Medieval Archaeology at the University of Seville. Avelino Gutierrez is Professor of Archaeology at the University of Oviedo.
John Schofield has contributed the introduction and concluding chapter (‘Hopes for the future’). The book is published in the series ‘Studies in the Archaeology of Medieval Europe’ of which John was the founding editor. John says in his introduction that Spain was late in developing modern archaeological services but has since caught up: since the mid-1980s there has been ‘an explosion of archaeological excavations in towns and countryside, resulting in a mountain of new data, most of it undigested’.

 

Magistri Cataloniae, Barcelona, 7-8 November 2014

Clare Hills-Nova's avatarARTES

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I simposi Magistri Cataloniae: artista anònim, artista amb signatura: Identitat, estatus i rol de l’artista en l’art medieval. (Part of the research project Artistas, patronos y público: Cataluña y el Mediterráneo: Siglos XI-XV.)
Barcelona,  Departament d’Art i de Musicologia, Universitat Autònoma de Barcelona, 7-8 November 2014.

Programme

Registration is now open.

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Hispanic Visual Culture Essay Prize: Deadline 15th February

Artes logoSpanish embassy logo
***Juan Facundo Riaño Essay Medal: Call for Submissions. Deadline 15th February***
To encourage emerging scholars, ARTES (the Iberian and Latin American Visual Culture Group) awards an annual essay medal to the author of the best essay on the art, architecture or visual culture of the Hispanic world. The winner is also awarded a cash prize of £400, and the runner-up is awarded a certificate and prize of £100. Prize-winners receive a year’s free membership to ARTES, and the winning essays are considered for publication in the annual visual arts issue of the peer-reviewed Hispanic Research Journal.
ARTES welcomes submissions from researchers in a variety of circumstances, but envisages that most essays will be submitted from early career scholars, post-graduate students or undergraduates with exceptionally good end-of-degree dissertations. They must have some connection with the UK.
See www.artes-uk.org/awards for full details.

New England / New Spain: Portraiture in the Colonial Americas, 1492-1850, Denver, January 2015

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New England / New Spain: Portraiture in the Colonial Americas, 1492-1850, Symposium, Frederick + Jan Mayer Centre, Denver Art Museum, 23-24 January 2015.
Each year, the Denver Art Museum hosts a two-day symposium on a New World topic, alternating between a Pre-Columbian theme one year and a colonial Spanish theme the next year. The 2014 symposium, which has been edged into early 2015, is co-organized by Dr. Donna Pierce, the museum’s curator of Spanish colonial art.
Speakers: Michael A. Brown, Elizabeth Mankin Kornhauser, Clare Kunny, Karl Kusserow, James Middleton, Paula Mues Orts, Susan Rather, Michael J. Schreffler, Jennifer Van Horn, Kaylin Haverstock Weber.
Attendees will also be able to view the recently opened exhibition Glitterati: Portraits and Jewelry from Colonial Latin America.

Medieval Hispanic Research Seminar, London, 2014-2015

2014-10-QueenMaryULondonMedieval Hispanic Research Seminar, Queen Mary, University of London, Programme for 2014-2015.
The Research Seminar meets on Fridays at 3pm in room 1.36 of the Arts One Building, Mile End Campus. Papers last 45 minutes and are preceded by tea in The Gallery and followed by discussion.
Semester 1

Friday 21st November 2014 Kati Ihnat, University of Bristol ‘Mother of the Visigothic “Nation”: The Virgin Mary in Early Medieval Iberia’

Friday 12th December 2014 Francisco Bautista, Universidad de Salamanca/University of Cambridge ‘Don Juan Manuel y la herencia literaria de Alfonso X’

Semester 2

Friday 23rd January 2015 Aengus Ward, University of Birmingham ‘Digital editing and the Estoria de Espanna: of xml and crowdsourcers’

Friday 27th February 2015 Sizen Yiacoup, University of Liverpool ‘Movement, Stasis and the Translation of Power in El Viaje de Turquía

Friday 6th March 2015 Rosanna Cantavella, Universitat de València/University of Cambridge ‘The concept of “worthy rhymes” within the Troubadour poetic tradition’

Friday 27th March 2015 Rachel Scott, QMUL ‘“Esenta y señora”: The Paradox of the Prostitute in Celestina’

The Fitzwilliam Museum’s fundraising drive to acquire a Mater Dolorosa by Pedro de Mena proves successful

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Pedro de Mena’s Virgin of Sorrows (Mater Dolorosa) saved by public appeal

In another example of public philanthropy, the Fitzwilliam Museum in Cambridge has acquired a the Mater Dolorosa (Virgin of Sorrows) by Pedro de Mena. The acquisition had been supported by grants of £30,000 from the Art Fund and £10,000 from The Henry Moore Foundation plus an astonishing £85,000 from the public appeal.

Tim Knox, Director of the Fitzwilliam, said, ‘This has been right to the wire, and every single penny has counted. Our sincere thanks go out to all who donated towards the appeal: you have helped secure an important and beautiful work of art for the nation’. Described as ‘mesmerisingly beautiful, with gently furrowed brows and natural flesh tones’, the bust was probably created for a private chapel, study or bedchamber and might originally have been paired with a similarly-sized bust of the Ecce Homo (Christ as the Man of Sorrows).

Pedro de Mena was taught the art of wood carving by his father, Alonso de Mena (1587—1646), a well-regarded sculptor of traditional religious images in Granada. Following his father’s death, the eighteen-year-old Pedro took over the workshop and was joined by established artist Alonso Cano (1601-67), who taught him how to paint sculpture realistically. As a result, Mena’s statues and busts have a remarkable lifelike quality. Mena left Granada in 1658 and spent the rest of his career in Málaga. He was well regarded by prestigious patrons from church and state and known for his religiosity, for which he was appointed censor of images by the Inquisition in Granada and Málaga.