Tag Archives: america

CFP: Sacred Images in the Iberian Americas until 1700: Processes, Strategies and Agents, Renaissance Society of America Annual Meeting, Toronto, 17-19 March 2019

1024px-our_lady_of_guadalupeSACRED IMAGES IN THE IBERIAN AMERICAS UNTIL 1700: PROCESSES, STRATEGIES AND AGENTS

This panel proposes an approach to the phenomenon of sacred images through three main elements: processes, strategies and agents. The mark of the sacred and the miraculous was achieved by different procedures: hierophanies, thaumaturgy, paranormal phenomena (sweating, weeping, mobility). Definitely, the agency of the sculpture or the painting of religious images blossomed in the Iberian Americas, in need of tradition and sacralization.
Texts about the inventio, the hierophany and other manifestations of the image relate the processes of creation and the evolution of these images until marked by the sacred. In most cases, they follow patterns, repeated to the point of being able to establish a rhetoric of the sacred image. In many cases, these stories, regardless of their historical veracity, provide us valuable information about the strategies devised by the agents. Empowered by their sacred image, these agents (religious orders, patrons…) are in a position to get economic benefits (charity, exemptions), political ones (preferential treatment), and they can build an identity at various levels (territorial, ethnic, political…). The huge amount of textual and visual sources allows to deal with case studies in order to understand the crucial role of the image, through the sacred, in the Ibero-American space of this time.
We invite submissions of proposals for 20 minutes presentations that explore case-studies or some of the many aforementioned aspects of sacred images in the Iberian Americas (also Iberian Asia can be considered) between 16th and 17th century.
Please submit abstracts (200 words maximum), along with a title and a CV (300 word maximum including full name, current affiliation and email address) to Escardiel González (escardielge@gmail.com) and Daniel Expósito Sánchez (daniel.exposito@upr.edu) by August 10, 2018.

More information in: https://www.rsa.org/blogpost/1696697/Art-History-CfPs-for-RSA-2019-Toronto

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News: Meadows Museum acquires last painting by Spanish master Mariano Fortuny y Marsal

 

Mariano Fortuny y Marsal (Spanish, 1838–1874), Beach at Portici, 1874. Oil on canvas, 27 x 51 ¼ in. (68.6 x 130.2 cm). Meadows Museum, SMU, Dallas.

Beach at Portici by Mariano Fortuny y Marsal (1838- 1874)
Oil on canvas, 27 x 51 ¼ in. (68.6 x 130.2 cm). Meadows Museum, SMU, Dallas.

The Southern Methodist University’s Website announced today that The Meadows Museum has acquired Beach at Portici, the last painting of famed Spanish artist Mariano Fortuny y Marsal (1838-1874).

This large-scale, unfinished work depicts the carefree atmosphere of a bbeautiful summer day at the beach, demonstrating Fortuny’s hallmark ability to capture light in paint.

Fortuny was an especially popular artist with 19th-century American collectors and audiences, as revealed by the American provenance of this work. Indeed, it was featured prominently in the American Pavilion’s “Loan Collection of Foreign Masterpieces Owned in the United States” at the 1893 World’s Columbian Exposition in Chicago, one of the most important international exhibitions of the 19th century.

Beach at Portici will be on view at the Meadows Museum beginning January 19, 2018. From June 24 through September 23, it will be the subject of a focused exhibition, At the Beach: Mariano Fortuny y Marsal and William Merritt Chase. 

 

New Publication: El Greco comes to America: the Discovery of a Modern Old Master (CEEH, Center for Spain in America and Frick Collection, 2017)

greco-666x800El Greco comes to America: The Discovery of a Modern Old Master, directed by Inge Reist and José Luis Colomer
Este libro es un homenaje a los soberbios ejemplos de la obra del Greco
conservados en Estados Unidos. El estilo tan personal del artista tenía
un aire de modernidad que atraía a los coleccionistas de aquel país,
gracias a lo cual los museos americanos poseen muchos de los mejores
Grecos que hay fuera de España. Once especialistas abordan el estudio
de coleccionistas particulares como Arabella Huntington, Louisine
Havemeyer, Henry Clay Frick, Peter Widener y Duncan Phillips, pero
analizan también el impacto de las exposiciones en las que pudieron
verse obras del cretense y el papel que desempeñaron artistas-asesores
como Mary Cassatt, John Singer Sargent y Roger Fry.

Partiendo de una rica documentación de archivo, en gran parte inédita
hasta ahora, los autores de este volumen demuestran el denuedo con el
que los coleccionistas americanos compitieron por las obras del Greco y
el lugar tan destacado que concedieron en sus casas a los cuadros del
cretense, que a menudo colgaron junto a otros de pintores más modernos
como Degas o Manet. Al hacerlo, y al fomentar la compra de cuadros del
Greco por parte de las instituciones públicas que financiaban, forjaron
la reputación internacional de este artista entre el público
contemporáneo, garantizando un aprecio por su estilo único que se
mantiene todavía.

SOBRE LOS DIRECTORES [10]

INGE REIST, doctora por la Universidad de Columbia, donde dio clase
durante unos años, es directora del Center for the History of
Collecting de la Frick Art Reference Library. Dirigió también el
Archivo Fotográfico de la Frick Collection y fue presidenta de la
Association of Research Institutes in Art History. Es experta en
historia del coleccionismo, tema sobre el que ha publicado trabajos y
dado conferencias en numerosos museos y congresos. Ha coeditado con Gail
Feigenbaum _Provenance: An Alternative Art History_ (2012), aunque sigue
interesándose por otras cuestiones, como prueba su «_All the World’s a
Stage: The Theater Conceit in Early Modern Italy_» para el Blackwell
Companion to Renaissance and Baroque Art (2012).

JOSÉ LUIS COLOMER es doctor en Literatura Comparada por la Universidad
de Bolonia y licenciado en Historia del Arte por la Sorbona. Actualmente
dirige el Centro de Estudios Europa Hispánica y el Center for Spain in
America. Sus investigaciones abordan las relaciones culturales entre
España e Italia en el siglo XVII a través de agentes diplomáticos y
del intercambio de regalos artísticos entre las cortes europeas y los
reyes de España, así como el segundo viaje a Roma de Velázquez y sus
vínculos con personajes italianos en la corte de Madrid. En 2012
codirigió con Inge Reist el libro Collecting Spanish Art: Spain’s
Golden Age and America’s Gilded Age.

264 páginas; 156 ilustraciones
ISBN: 978-84-15245-73-5
50 €
Until 15 December, 10% online discount, http://www.ceeh.es

Call for contributions: The idiosyncrasy of indigenism in Latin America. Plurality of sources and extra-Latin American appropriations

marina-nunez-del-prado-plegariaCall for contributions: Artelogie Journal, ‘The idiosyncrasy of indigenism in Latin America. Plurality of sources and extra-Latin American appropriations’
Deadline: March 30, 2018

Coordinated by Michele Greet (George Mason University), Anahi Luna (UNAM, Mexico), Fernanda Sarmento (Sao Paulo University), Elodie Vaudry (Paris Nanterre University)

In the mid-1920s, Peruvian intellectual José Carlos Mariátegui introduced the term “indigenism” and defined it as a Latin American avant-garde trend that manifested as a literary genre, a political ideology, and an artistic classification. Nevertheless, as Michele Greet demonstrates in Beyond National Identity: Pictorial Indigenism as a Modernist Strategy in Andean Art, 1920-1960, indigenism is also the result of a paradoxical dialectic between the national and the international spheres. This “negotiation” between the national and the international is at the heart of the problem to be addressed in the next issue of Artelogie, which invites investigations of this Latin American trend as a strategy of transculturation between Latin America and the rest of the world. Mainly studied as a centripetal movement in Latin America, we propose a consideration of indigenism as a centrifugal, plurisecular and cross-cultural phenomenon.
Indeed, it seems that in foreign cities such as Paris, indigenism was also constructed and deployed in a transnational way in response to political and cultural schema. In the 20th and 21th centuries, Europe and then the United States, among others regions, were the locations where indigenism found its intellectual, political and visual inspiration and/or the cites, where it could find its purpose. Consequently, in the post-war period, Ecuadorian Oswaldo Guayasamín (1919-1999) defends the Indian in paint via a re-reading of the works of Picasso and Bernard Buffet. Sculptors such as Marina Núñez del Prado (1910-1992), architects such as Pedro Ramírez Vásquez (1919-2013), musicians such as Theodore Valcárcel (1900-1942) also appropriate methods, techniques, and materials from outside Latin American to design buildings and compose melodies in support of the Native American cause. To these examples, we can add of course the appropriations of native traditions, in particular those from the Amazon, as well as multiple contemporary creations, both in the field of design and the visual arts.
By approaching Latin American and European art history within the framework of a simultaneously conflictive and collaborative modernity, rather than “opposing insular nationalism and alienating internationalism,” this cultural history project would reveal their common dynamics and highlight the diachronic and diasporic hybridization of contemporary visual culture. The purpose is thus to approach indigenism – or indigenisms – chronologically from the 20th to the 21st century. The aim is to analyze its construction as it has been elaborated outside of the borders of Latin America, in travel to and from foreign countries and nations with cultural indigenism and in connection with other contemporary movements addressing or related to identity politics.

Exploring the productive tensions surrounding indigenist art and considering different perceptions of this long cultural history will facilitate a rethinking of the fights for representation and self-representation undertaken by diverse cultures in Latin America. Moreover, we could correlate these analyses with other cultural phenomena dealing with identity formation, such as those in North America, Oceania and Africa.

The theme of this forthcoming issue of Artelogie deals with transfers between cultures, which are very different at different moments in history – – i.e. the pre-Colombian era- and in the space. Thus, a multidisciplinary approach seems essential, linking art history, the history of the ideas, and anthropology. In this study it is also necessary to consider the themes of political, diplomatic, and economic exchange between France and Latin American countries.

Suggested themes:

– How dialogue(s) between ” western culture ” and native groups took place
– Sources – models and counter-models – of indigenism outside Latin America
– Inversions: native portraits through the eyes of Westerners / Westerners portraits through the eyes of natives
– Indigenism and the artistic avant-garde, processes of appropriation and fracture
– Cites of the formation of indigenism outside Latin America
– How the diasporic processes of indigenism in the 19th and 20th centuries served the internal politics of Latin America
– Model and counter-model: indigenism as a reaction to and an appropriation of western models
– How the processes of hybridization interact with the concepts of heritage, tradition and innovation
– Native artistic expressions that reflect cultures founded on other values and beliefs, what are the ways to validate and interact with this diversity?

How to apply: 

-Deadline for official acceptance of original unpublished work: 30th of March 2018
– Total length of the text: characters (no more than 50000 characters or 35 pages), including title, authors’ bibliographic data and e-mails, summary, introduction, all other paragraphs considered appropriate, conclusion, acknowledgements (if necessary) and references.
– Please follow closely the style guide for authors of Artelogie: https://artelogie.revues.org/621
– Please send articles to: artelogie@gmail.com

Featured Exhibition: Hélio Oiticica: To Organize Delirium

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Hélio Oiticica (b. 1937), Tropicália, 1966–67. Plants, sand, birds, and poems by Roberta Camila Salgado. César and Claudio Oiticica Collection, Rio de Janeiro. © César and Claudio Oiticica, Rio de Janeiro. Image courtesy Carnegie Museum of Art, Pittsburgh. Photograph by Bryan Conley

Hélio Oiticica. To Organize Delirium, Whitney Museum of American Art, New York. Closes 1 October 201

Final venue of a tour around America for this exhibition, considered to be the first comprehensive retrospective in the USA of the Brazilian artist (1937-1980). Ranging from geometric paintings to immersive interactive environments and wearable works of art, the exhibition is also the first to explore in depth his New York years (1971-78) and his return to Rio (1978-80).  It includes a restaging of his installation Eden, which was first revealed at the Whitechapel Art Gallery, London, in 1969, and which included a pool of water, a sand-box in which visitors were encouraged to sit and a tent where the audience could listen to music and read magazines. Eden was an expression of Oiticica’s view that in order to encourage creativity one needed time to relax and think. The installation is reconstructed with help from the artist’s nephew César Oiticica Filho, the curator of the Project Hélio Oiticica in Brazil. A fully illustrated catalogue covering the artist’s entire career with essays by authors from the USA and Latin America accompanies the exhibition.