Gala (7th September 1894 – 10th June 1982), born into a family of intellectuals from Kazan (Russia), spent her childhood in Moscow before moving to Switzerland and then Paris. There she befriended such prominent members of the surrealist movement as Max Ernst. In 1929 she travelled to Cadaqués, where she met Dalí. The two fell in love and started to live together, first during an eight-year exile in the United States and then in Portlligat, New York and Paris.
Gala, an enigmatic and intuitive lady famous as Salvador Dalí’s wife, muse and model, is the subject of this exhibition. Abandoning traditional stereotypes on the role of this figure, the show follows her transformation into a fully-fledged artist, exploring her artistic cooperation with Dalí and revealing the possible shared authorship of some works.
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Zuloaga. Character and Emotion (until 26 August 2018)
This exhibition features some 66 paintings by the Basque artist, several of which are displayed in public for the first time. Ranging in date from 1888, when Zuloaga was 18, to 1945, the works trace the artist’s development from his training in Paris to the mature work inspired by Spanish artists such as Velázquez, Ribera, Zurbarán, Goya and El Greco. The curators, Sofía Barrón y Carlos Alonso, focus on Zuloaga as both a landscapist and a portraitist. They showcase his representations of turn-of-the-century aristocracy, bourgeoisie and intellectuals, as well as his intimate portraits of family members. The exhibition is accompanied by a catalogue and is organised in collaboration with the Museo Zuloaga in Pedraza (Segovia) and its president, the artist’s granddaughter, María Rosa Suárez Zuloaga.
Sorolla and Spirituality (until 2 September 2018)
This exhibition features the work Yo soy el pan de la vida, exhibited to the public for the first time since its recent restoration, the result of a collaboration with the owners of the work, the Lladró family. Curated by Felipe Garín, the exhibition explores the religious themes which the Valencian artist explored briefly in the earlier part of his career. It comprises six works produced between 1883 y 1899, including ¡Triste herencia!, Monja en oración, Santa Clotilde, Mesa petitoria, and La Virgen María, all on loan from major public collections.
Open until 4 November 2018, this exhibition presents an extraordinary collection of personal artefacts and clothing belonging to the iconic Mexican artist Frida Kahlo. Locked away for 50 years after her death, this collection has never before been exhibited outside Mexico. Click here to book tickets and see related events.
Coordinators: Ana Cabrera and Lesley Miller
This conference explores collecting practices, attitudes to and perceptions of Spanish decorative arts in Britain and Spain from the 19thcentury onwards, and how these attitudes influenced the development of museums and museum collections in both countries. The case studies aredrawnfrom the British and Spanish museum collections.
The conference is organisedin joint sessions dealing with the same subject from British and then Spanish perspectives. The first day considers the collecting of particular media while the second day focuses on the dissemination, display and conservation of these collections. The conference includes poster sessions during the coffee breaks.
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Friday, 8thJune 2008: Collecting Spanish Decorative Arts
10.00 Registration and collecting of conference packs; displaying of posters
Ana Cabrera, V&A
10:30 Collecting, Display & Dissemination: The Changing Face of the Decorative Arts Collection at South Kensington, 1852-1873
Susanna Avery-Quash, National Gallery, London
Lustreware and Furniture
Chair: Holly Trusted, V&A
11.00 Collecting Spanish Lustreware at the Victoria and Albert Museum
Mariam Rosser-Owen, Asian Department, V&A
11:30 A Survey and History of the Collecting of Spanish Decorative Arts: Lustreware
Jaume Coll, Museo Nacional de Cerámica, Valencia
12.00-12.30. COFFEE BREAK
12:30 Collecting Spanish Furniture, Woodwork and Leatherwork, 1850-1950
Nick Humphrey, Furniture, Textiles and Fashion department, V&A
13:00 Collecting Spanish Furniture in Madrid, 1880-1920
Sofía Rodríguez, Museo Nacional de Artes Decorativas, Madrid
Textiles and Fashion
Chair: Sonnet Stanfill, V&A
14:30 Following the Thread: Collecting Spanish Textiles at the Victoria and Albert Museum
Ana Cabrera, Marie S.-Curie Fellow, V&A
15:30 Textile Collecting in Catalonia
Silvia Carbonell, Centre de Documentació i Museu Tèxtil, Terrasa
16:00 Fashion and Spain at the Victoria and Albert Museum
Oriole Cullen, Furniture, Textiles and Fashion Department, V&A
16:30 From Dress to Fashion: The Collection of The Museo del Traje
Helena López del Hierro, Museo del Traje, Madrid
16.30-17.00 TEA BREAK
Sculpture and Plaster Casts
Chair: Edward Payne, Auckland Castle Project
17.00 A Vogue for St Francis
Xavier Bray, Wallace Collection, London
17:30 Spanish Monuments Displayed at South Kensington: Raising the Profile of Spanish Art through Plaster Casts
Holly Trusted, Sculpture, Metalwork, Ceramics and Glass Department, V&A
18:00 Electrical Treasuries: The Decorative Arts Collection from Antiquity at the Museo Nacional de Reproducciones, 1881-1915
María Bolaños, Museo Nacional de Escultura, Valladolid
Saturday, 9thJune 2008: Collecting Spanish decorative arts continued
Chair: Antonia Boström, V&A
10:15 The Scholar, the Scoundrel and the Skater: How the V&A Collections of Hispanic Silver were formed
Kirstin Kennedy, Sculpture, Metalwork, Ceramics and Glass Department, V&A
10:45 Collecting Spanish Silver
Jesús Rivas, Universidad de Murcia
Displaying, Interpreting and Conserving Spanish Decorative Arts
Chair: Christopher Wilk, V&A
11.45 Displaying Decorative Arts in Britain and Spain. A Comparative Analysis
Isabel Rodríguez, Museo Nacional de Artes Decorativas, Madrid
12.15 Spain in the Europe 1600-1815 Galleries at the V&A
Lesley Miller, Furniture, Textiles and Fashion Department, V&A
12.45 The20th-century Galleries at the V&A
Corinna Gardner and Johanna Agerman Ross, Design, Architecture and Digital Department, V&A
Displaying, Interpreting and conserving Spanish decorative arts
Chair: Joanna Norman, V&A
14.15 The Conservationof the Cast Courts. New Discoveries from Spanish Casts
Victor Borges, Conservation Department, V&A
14:45 Collecting in Action: Building a Spanish Gallery in Bishop Auckland
Edward Payne, The Auckland Project
15.15 Closing remarks
Joanna Norman, Head of the Victoria and Albert Research Institute (VARI)
Miguel González Suela, Directorate of the State Museum, Spanish Ministry of Education, Culture and Sports
‘‘The Art of Diplomacy: Brazilian Modernism Painted for War,’ on show at the at the Sala Brasil of London’s Brazilian Embassy until 22 June, recreates an exhibition of modern Brazilian painting held at the Royal Academy and seven regional galleries in 1944. The show was part of a concerted politic and cultural effort to cement Brazilian-British relations after the South American country’s entrance in the Allied coalition in 1942. Having successfully eluded German U-boats during the trans-Atlantic crossing and overcome the reservations of major museum directors, the paintings in the exhibitions introduced more than 100.000 visitors to the nuances of a country which was then largely unknown. Attended by such major intellectuals as T.S. Eliot and H.G. Wells, the show was a major success, resulting in several new acquisitions by British museums.
The Art of Diplomacy: Brazilian Modernism Painted for War’ is at the Sala Brasil Arts Centre, Embassy of Brazil, until 22 June.
El País reports that the Colón Towers, two high-rise buildings in the vicinity of Madrid’s Plaza de Colón and Biblioteca Nacional, may soon become listed. Designed by Antonio Lamela (December 1, 1926–April 1, 2017), the towers’ suspended structure was innovative at the time of their construction, between 1967 and 1976. In the 1990s new fire regulations resulted in the construction of an art nouveau roof, known as ‘el enchufe’ (‘the plug’), which links the towers and provides access to an emergency staircase.
According to the Asociación para la Protección de las Torres Colón, which is campaigning for the recognition of the towers’ architectural importance, ‘su valor arquitectónico, del que su sistema estructural es parte indiscutible y esencial, además de su proyección nacional e internacional, merece ser reconocido como parte del patrimonio arquitectónico madrileño.’