The Fundación Juan March presents to the public its on-line gateway to the complete content of each of the 205 catalogues accompanying the exhibitions held at its three venues since 1973, in Madrid, Cuenca (the Museo de Arte Abstracto Español) and Palma de Mallorca (the Museu Fundación Juan March). This collection of documents will be continually updated, and its principal aims are the dissemination and promotion of research and knowledge in the fields of art and art history and the advancement of public awareness of the institution’s history of exhibitions. Each catalogue will be published online in the languages in which it originally appeared one year following its corresponding exhibition’s conclusion or once all print copies have been sold.
At its inauguration, All Our Art Catalogues since 1973 offers readers over 34,000 pages of material, including essays by more than 500 authors and images of 18,500 works by nearly 1,900 artists and extending beyond 20th century and contemporary art. An advanced navigation tool allows for interconnected searches across the entire site and within each catalogue, and results may be filtered by date, title, language and relevance. The search engine also generates recommendations for consulting similar material in other catalogues.
In the winter of 1550 the most famous painter in Europe came face to face with the most powerful man on earth. What emerged from this encounter between Prince Philip of Spain and the Renaissance master Titian is seen as one of the most extraordinary commissions in all of Western art history.
Given almost total creative freedom, Titian was free to explore any subject he pleased. He returned with a set of increasingly dark and explicit images about sexual pursuit, assault and violence. Known as The Poesie, these pictures are admired for their groundbreaking brushwork and innovative composition – yet they remain Titian’s most disturbing and puzzling creations.
Now, coinciding with the National Gallery’s exhibition, which brought the paintings together for the first time in 300 years, we ask why this illusive, dark and often disturbing set of paintings has come to be seen as Titian’s greatest work.
This film includes scenes showing Dr. Gabriele Finaldi, Director of the National Gallery, closing the exhibition shortly after opening due to COVID-19.
First aired on 4 April 2020, the documentary is available on BBC iPlayer for the next 30 days. Click here to watch.
From the dazzling spectacle of Burgos Cathedral to the cavernous nave of Palma Cathedral or the lacy splendour of San Juan de los Reyes, Spain preserves a remarkable variety of inventive but little understood Gothic buildings. Yet Gothic architecture in Spain and the Spanish kingdoms has traditionally been assessed in terms of its imitation of northern European architecture, dismissed for its ‘old-fashioned’ or provincial quality, and condemned for its passive receptivity to ‘Islamic influence’. But did imitation really triumph over invention in the architecture of medieval Iberia? Are the two incompatible? Can inventio and imitatio offer useful or valid analytical tools for understanding Gothic architecture? And to what extent are invention or imitation determined by patrons, architects, materials or technologies? This essay collection brings together leading scholars to examine Gothic architecture from across Iberia from the thirteenth to the sixteenth century, and provides the first significant account of Spanish Gothic architecture to be published in English since 1865.
The School of Art History at the University of St Andrews is delighted to invite applications for the John Phillip Doctoral Scholarship in Spanish Art and Visual Culture, to start in September 2020.
Generously funded by the Centro de Estudios Europa Hispánica (CEEH), the doctoral scholarship is named after the nineteenth-century Scottish artist John Phillip (1817-1867), who travelled extensively in Spain, and whose work was strongly inspired by the art of Velázquez and Murillo.
The scholarship is available to both Home/EU and Overseas candidates, and is tenable for three years (full-time). It is a full scholarship, covering tuition fees, plus an annual stipend of £15,285 for living expenses, and an annual research allowance of £5,000.
The scholarship will fund a doctoral research project that focuses on the history of Spanish art and visual culture between ca. 1600 and 1700. We will also consider research projects devoted to the reception of seventeenth-century Spanish art in later periods, up to ca. 1900.
The 2020 Annual Conference and General Assembly of ICOM International Committee for Museums and Collections of Decorative Arts and Design will take place at the National Palace of Ajuda in Lisbon, Portugal, from October 14th to 16th (plus two days—October 17th and 18th—for the post conference tour to Coimbra and Porto).
The good men of every age are those who dig the old ideas deep down and bear fruit with them – the farmers of the spirit. Friedrich Nietzsche, in The Gay Science
Revivals as the socio-cultural phenomenon that has occurred many times throughout universal history and that seeks to rescue principles and traditions of times gone by. In this conference we approach the term Revivals with regard to Decorative Arts and Design.
Decorative Arts and Design are to be interpreted as any domestic or public furnishings including but not limited to textiles, silverware, furniture, wallpaper, tableware, interior decoration as a whole, graphic design, as well as personal accessories (excluding fashion). We also welcome presentations on revivals within decorative and applied art traditions (ceramics, lacquer, metalwork, textiles, woodwork, etc.) made for utilitarian or connoisseurial purposes.
Hence we encourage papers proposals on a wide variety of topics including a broad array of Asian, European or North and South American Revival styles. We also include the retro design styles of the 20th and 21st centuries, referring to the resurgence of old yet relatively recent styles.
It is fascinating how heritage is being used and valued, reconsidered both from the positions of a curator, artist or a designer. We are interested in the examples, phenomena and notions that reflect upon the relation to the past, treating it with both unsentimental and sentimental nostalgia, introducing ways of dealing with the recent past from different periods in history.
The conference will feature presentations of 15 minutesinEnglish.
Please send an abstract of 250–300 words, including your name, title, institution and ICOM membership number to:
Maria José Gaivão Tavares, Curator of the Furniture Collection at National Palace of Ajuda and ICDAD Secretary:
Picasso didn’t just draw on paper – he tore it, burnt it, and made it three-dimensional. From studies for ‘Guernica’ to a 4.8-metre-wide collage, this major exhibition, open until 13 April 2020 at the Royal Academy, brings together more than 300 works on paper spanning the artist’s 80-year career. Click here for more information.
In conjunction with the exhibition, the Instituto Cervantes has organised a programme of talks and concerts paying homage to the famous Spanish artist.
We look forward to celebrating the life and work of the first Spaniard to graduate from Oxford with you!
Osma Centenary 7 February Bodleian Library Pembroke College
Guillermo J. de Osma was the first Spaniard to study at Oxford after the Universities Test Act 1871, which opened Oxford, Cambridge and Durham universities to non-Anglicans. Osma was a diplomat, a politician, an art historian and an art collector. He served as the first president of the Board of Trustees of the Alhambra and founded the Instituto Valencia de Don Juan, a research centre in Madrid, which contains a wide-ranging collection of art works and archival materials, including medieval manuscripts, Philipp II’s state papers, textiles, ceramics, and rare books.
He then went on to found the first Spanish scholarship at Oxford – the Osma Studentship – in 1920. The Studentship, which was open to both men and women since its foundation, is under the exclusive remit of the Vice-Chancellor of the University of Oxford and has been held over the past century by many distinguished scholars and practitioners.
The one-day symposium will be held at the Bodleian Library on 7 February 2020 to coincide with the anniversary of Osma’s death and will convene Osma Students from across the generations and countries, specialists from Spain and the UK, and de Osma’s descendants from around the globe.
The symposium will be held in the Lecture Theatre at the Weston Library on Broad Street. Lunch will be served at Convocation House in the presence of the Vice-Chancellor, Professor Louise Richardson. After the symposium, we will make our way to Pembroke, where Osma read History, for an evening reception.
Welcome Coffee: 9.45 am Start: 10.30 am Reception: 5.30–7pm
Please click here for a conference programme and practical information.
Ovid’s aphorism «Materiam superabat opus», evoked throughout the Middle Ages and beyond, reveals the special consideration given to skill, technique and craft in the artistic creation processes. Thus, ingenuity and mastery have been privileged qualities in our approach to works of art, according to a restricted vision assumed by Art History as a discipline. However, both the aesthetic reflections and the documents related to artistic commissions in the Middle Ages show the great importance given to the material and sensory aspects of artefacts and monuments. In line with this perception, once again valued in light of the «material turn» of the discipline in the last decades, the 14th Jornadas Complutenses de Arte Medieval propose to focus on materiality as an essential factor in the artistic production, as well as on the poetics of immateriality and the intangible condition of the aesthetic experience.
Beyond the technical analyses, which in recent decades have allowed us to reconsider common places in the study of the medieval artistic production, this congress aims to establish transversal debates in order to open up new perspectives. In this sense, the material conditions of artistic production (properties, supply, cost, transport or technology, among others), as well as their reflection in the written sources –from technical treatises to documentary and literary references– will be discussed. On the other hand, the congress will address issues related to the sensorial features of the medieval works of art and their relationship with intangible aspects, such as the material and chromatic qualities, the incidence of light, the acoustic and olfactory effects, and the impact of the natural environment. The poetics of the materials, their meaningful uses, and the symbolic values of the immaterial will have room in the debates. Likewise, it will be of interest to consider new interpretative concepts, such as «transmateriality» and «transmediality», which may include the morphological transformation of elements across different materials, the transfer and circulation of ornamental patterns, or the physical traces of mental, invisible or transient phenomena. Contributions that address non-hegemonic and / or under-treated practices and media in historiography are especially welcomed.
Proposed topics include (but are not limited to):
– Material conditions of artistic creation. – Underrated practices and media. – Poetics and semantic uses of the material and the intangible. – Cultural history of materials. – Sensoriality and immateriality. – «Transmateriality» and «transmediality».
Confirmed keynote speakers: Miquel Àngel Capellà Galmés (Universitat de les Illes Balears), Vincent Debiais (CRH – Centre national de la recherche scientifique), Beate Fricke (Universität Bern), Ruggero Longo (Bibliotheca Hertziana, Max-Planck-Institut für Kunstgeschichte), María Teresa López de Guereño Sanz (Universidad Autónona de Madrid), José Miguel Puerta Vílchez (Universidad de Granada), Laura Rodríguez Peinado (Universidad Complutense de Madrid), Elisabetta Scirocco (Bibliotheca Hertziana, Max-Planck-Institut für Kunstgeschichte), Noelia Silva Santa-Cruz (Universidad Complutense de Madrid), Ana Suárez González (Universidade de Santiago de Compostela), Jorge Tomás García (Universidad Autónoma de Madrid).
Call for papers:
Researchers interested in submitting a 20-minute paper on any of the topics listed above are invited to send their proposals in Spanish, English, French, Italian and Portuguese, including the following information:
– Title of the paper proposal.
– Name and surname of the author and email address.
– Abstract of about 500 words.
– Brief academic and research CV of about 300 words.
The proposals should be sent to the email address email@example.com by 3 April 2020. Authors will be notified of the outcome by 8 May 2020. Selected papers will be published later in a collective volume after peer review.
An annual event in honour of the great Hispanist Nigel Glendinning, supported by the Instituto Cervantes, and hosted in 2020 by the Warburg Institute.
04 March 2020, 17:30 to 20:00 The Warburg Institute, Woburn Square, London WC1H 0AB Click here to book a place
Benito Navarrete Prieto (Universidad de Alcalá): ‘Appropriation and Cultural Transfer in the Early Modern Iberian World’
In his influential work The Mediterranean and the Mediterranean World in the Age of Philip II Fernand Braudel regretted that: ‘We have museum catalogues but no artistic atlases’. Since then historians and art historians alike, such as Luisa Elena Alcalá, Peter Burke and Jean Michel Massing among others, have explored cultural appropriations to make sense of what Thomas DaCosta Kaufmann has famously called the geographies of early modern art. This lecture examines forms of assimilation and reception of images, and aims to contribute to the current scholarly conversation concerning early modern artistic circulations. The method of appropriation through which a canonical image is reinterpreted is fundamental to understanding the transferral of images within the Iberian World. This mechanism of appropriation is useful to examine the range of visual identities that configured the map of cultural circulations in the period, and is thus a useful theoretical framework for the study of global art history.
Travelling Objects, Travelling People aims to nuance our
understanding of the exchanges and influences that shaped the artistic
landscape of Medieval and Renaissance Iberia. Traditional narratives
hold that late fifteenth-century Iberian art and architecture were
transformed by the arrival of artists, objects and ideas from France and
the Low Countries, while 1492 marked a chronological rupture and the
beginning of global encounters. Challenging these perceptions, this
conference will reconsider the dynamics of artistic influence in late
medieval Iberia, and place European exchanges in a global context, from
Madeira to Santo Domingo. Bringing together international scholars
working on Spain, Portugal and a range of related geographies, it seeks
to address the impact of ‘itinerant’ artworks, artists and ideas, and
issues of migration and non-linear transfers of materials, techniques
The theme of ‘travellers’—artists who reached or departed the region,
at times more than once in their lives, but also objects and concepts
imported and exported—will expand and inflect traditional narratives of
late medieval and Renaissance art, underscoring the complexity of global
interactions and exchanges which connected the Iberian peninsula to
Europe and beyond. Bringing together international scholars working on
Iberia and a range of related geographies, the conference seeks to
address the impact of ‘itinerant’ artworks, artists and ideas, and to
expand the field of analysis beyond Europe to encompass relationships
with newly acquired dominions, from Madeira to Santo Domingo.
Topics for papers may include, but are not limited to:
Iberian artists employed abroad, from the master mason Guillelm
Sagrera in Naples, to the sculptor Juan de la Huerta at the Chartreuse
The close imitation of northern artists in such works as the Portuguese copies of Quentin Metsys’s The Angel Appearing to Saints Clara, Colette and Agnes (early 16th century, Museu de Setúbal / Convento de Jesus, Portugal)
‘Iberian’ objects produced elsewhere, for example Christian ivory
carvings made in Goa or Kongo, Afro-Portuguese spoons, and Mexican
‘feather-work’ adopting the vocabulary of northern European late Gothic
Works made for a non-Iberian audience but purchased and displayed by local patrons.
By encouraging conversations across such seemingly disparate topics and geographies, the conference aims to position the Iberian artistic landscape within the networks of artistic exchange that spanned the medieval and Renaissance worlds, challenging the significance of 1492 as a moment of rupture between the Middle Ages and Early Modern periods.
Papers should not exceed 20 minutes in length. Successful candidates will be notified by 17 February. In the first instance, applicants are encouraged to apply to their home institution for travel and accommodation funding. The organisers hope to provide financial support for travel and accommodation to speakers who require it. This conference is made possible by the kind generosity of Sam Fogg.