Picasso: The Eternal Feminine, Musée des Beaux Arts, Quimper, Brittany, 23 May – 18 August 2014; and touring to the Musée des Beaux Arts, Pau.
Display of some 67 prints and drawings on loan from the Museo Picasso, Malaga focussing on Picasso’s female imagery created between 1927 and 1964. Accompanied by an exhibition catalogue with 70 illustrations.
Oscar Muñoz, Paris
Oscar Muñoz: Protographies, Jeu de Paume, Paris, 4 June – 21 September 2014.
Presents works by one of Colombia’s leading contemporary artists (born 1951) including hyper-realist large-scale charcoal drawings created between 1979-81, prints from the 1980s, film and recent ‘images in flux’.
The exhibition has been co-curated by the Jeu de Paume with the Museo de Arte del Banco de la República, Bogotá.
Coll & Cortés, London
Coll & Cortés Fine Arts, London, will be taking part in Master Paintings Week in London 4- 11 July 2014.
The gallery will by exhibiting, amongst other works, a portrait by Alonso Cano (1601-1667) of Don Antonio Pedro Sancho Dávila Toledo y Álvarez Osorio (1615-1689), IV Marquis of Velada and X Marquis of Astorga, who was Madrid’s ambassador to Rome and Viceroy of Naples. He is shown wearing pince-nez spectacles known as quevedos in Spain after the Spanish poet Francisco de Quevcedo, (1580-1645).
The portrait is thought to have been painted between 1657 and 1660 during the artist’s second stay in Madrid. The portrait remained in the Velada family until 2006.
Ben Elwes, London
Ben Elwes Fine Art, Master Paintings Week, London, 4-11 July 2014, is showing a portrait of Admiral Abdelkader Perez, Moroccan ambassador to England in 1723 and 1737, whose Spanish family name suggests he was descended from morisco refugees from Spain. The portrait was painted by Michael Dahl (1659-1743), the London-based Swedish artist.
Fifty Years after Panofsky’s ‘Tomb Sculpture’, conference, London
21 June 2014
Conference on Fifty Years after Panofsky’s Tomb Sculpture: New Approaches, New Perspectives, New Material, Courtauld Institute of Art, London.
Will include two 25-minute papers on Portuguese tombs:
1) ‘Medieval Women commemorated as readers: the iconography of reading as a specific feature of female Portuguese medieval monuments’ delivered by Joana Ramôa Melo of the New University of Lisbon;
2) Does technical investigation fully answer art history questions? A case study of a Portuguese copper tomb from the early fifteenth century by Marisa Costa of the University of Lisbon.
Ticket price £16 (£11 students/concessions)
Sorolla: the Colour of the Sea, Barcelona
Sorolla: El Color del Mart (The Colour of the Sea), CaixaForum, Barcelona, 12 June – 14 September 2014. Previously shown at the Museo Sorolla, Madrid, from which many of the paintings have been selected along with works from the Museo Thyssen in Malaga. The exhibition focuses on Sorolla’s favourite theme, the sea and the many colours of its waters. A downloadable colour-illustrated leaflet in Spanish can be found at http://obrasocial.lacaixa.es/deployedfiles/obrasocial/Estaticos/pdf/Nuestros_centros/caixaforumbarcelona/Sorolla_cfbcn_es.pdf
Susana Solana, Barcelona
Susana Solana, Fundació Suñol, Barcelona, 23 May-6 September.
A focused display from the Fundació’s collection of the abstract sculptures and installations produced by the Barcelona-born Susana Solana (1946).
Since she began her career in the 1980s Solana has become internationally renowned through exhibitions at Kassel Documenta (1987, 1992), São Paolo Bienal (1987) and the Venice Biennale (1988, 1993). She has also collaborated with architects such as Rafael Moneo on exterior projects.
José de Madrazo y Agudo (1781-1859) Drawings, Santander
José de Madrazo y Agudo (1781-1859) Drawings, Fundación Botín, Santander, 12 June – 14 September. Exhibition of a previously unpublicized aspect of Madrazo’s work, including many drawings from the hundreds of previously unknown works recently discovered by the Prado in the hands of Madrazo’s descendants. The exhibition includes 61 drawings, four prints and four oils and a bust portrait of the artist by Ponciano Ponzano. Apart from the 58 works lent by the Prado there are also loans from the Museo Nacional de Romanticismo, Madrid; Lille’s Musée des Beaux Arts; the Kunstsammlungen, Dresden; and the Hispanic Society of New York. José de Madrazo was the patriarch of the artistic Madrazo clan and trained in the neoclassical style in Paris under David (1748-1825). The exhibition is curated by Carlos G Navarro, from the Department of 19th-century painting at the Prado, who will also be working on a future Madrazo catalogue raisonné. This is a further example in the series of monographic exhibitions organized since 2007 by the Fundación Botín to showcase the work of Spanish master draughtsmen.
Fotografía en España,1850-1870, Madrid
Spanish Photography (1850-1870) in the Biblioteca Nacional de España, Madrid, 27 May – 14 September, 2014.
Photographs by named and anonymous artists working in Spain such as Charles Clifford, Jean Laurent, José Martínez Sánchez, Alonso Martínez y Hermano, José Spreafico and Joaquín Pedrosa.
Prado New Acquisitions (2013)
The Prado has put on display (from April 2014 onwards) in the appropriate gallery rooms its acquisitions over the last year. These include six Spanish paintings: two early works painted by Alonso Cano before 1638, St Teresa of Avila’s Vision of Christ Crucified and St Teresa’s Vision of the Resurrected Christ (or) The Mystic Marriage of St Teresa, both in Room 10a; Luis Morales’ Christ in the Garden of Gethsemane, with an elaborate and detailed landscape; in Room 7 a Cristo exemplo de martires painted by Juan de Roelas and his workshop for Seville’s Mercedarian monastery; in Room 18 an iconographically unusual painting elaborating on the theme of the Immaculate depicting God portraying the Immaculate Virgin by the Rome and Valencia-trained José García Hidalgo (1645-1717), who moved to Madrid in 1674; and finally in Room 10, an anonymous seventeenth-century and highly naturalistic Repentant St Peter.The Prado has also acquired Mariano Fortuny’s 1867 copy of Ribera’s St Andrew. It was put on show in April 2014 in Room 9 alongside the original painting by Ribera which served as its model, in a small in-focus display, which also includes Fortuny’s Naked old man in the sun, painted in Granada between 1870 and 1872, and his watercolour copy of Velázquez’s Menippus.
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