Tag Archives: Dallas

Pre- and Post-Doctoral Fellowships at the Meadows Museum, Dallas, Texas

Center for Spain in America (CSA) Curatorial Fellowship

Pre-doctoral fellowships are supported by the Center for Spain in America (CSA). The Centro de Estudios Europa Hispánica (CEEH) and the Center for Spain in America (CSA) encourage studies on Spanish history, art and literature by establishing doctoral and postdoctoral scholarships at European and American universities, as well as at research centers whose holdings are particularly relevant to the knowledge of Spanish culture. They likewise establish assistantships for curatorial work at museums with significant holdings of Spanish painting.

Requirements:

  • Pre-doctoral students who have completed their course work
  • At least one year of curatorial experience in an art museum; demonstrated knowledge in the field of Spanish art; proficient in Spanish (reading, writing, and speaking).
  • Is appointed by and reports to the director and curatorial staff of the Meadows Museum.
  • Serves a full-time appointment of one year, beginning in September 2020.
  • Performs curatorial research and is responsible for projects as assigned.
  • Travel stipend for research as well as trips to Spain and other destinations as directed by the museum director to perform research and project-based assignments.

Applicants must submit:

  • A full résumé
  • Three letters of recommendation
  • A statement (not to exceed 1500 words) specifying:
    • 1) the applicant’s research goals;
    • 2) how these goals relate to or will benefit the Meadows Museum; and
    • 3) how resources at the Meadows Museum, Southern Methodist University and travel related research might be used to accomplish those goals.
  • Applications and letters of recommendation must be received by November 22, 2019. Electronic submissions will not be accepted.

Mail to:

Anne Kindseth
Interim Director of Education
Meadows Museum
P.O. Box 750357
Dallas, Texas 75275-0357

For more information, please contact: akindseth@smu.edu

Mellon Curatorial Fellowship

Post-doctoral fellowships are supported by The Andrew W. Mellon Foundation, which seeks to strengthen, promote, and defend the centrality of the humanities and the arts to human flourishing and to the well-being of diverse, fair, and democratic societies. To this end, its core programs support exemplary and inspiring institutions of higher education and culture.

Requirements:

  • Post-doctoral students who have earned their Ph.D. within the last five years
  • At least one year of curatorial experience in an art museum; demonstrated knowledge in the field of Spanish art; proficient in Spanish (reading, writing, and speaking).
  • Is appointed by and reports to the director and curatorial staff of the Meadows Museum.
  • Serves a full-time appointment of two years, beginning in September 2020.
  • Performs curatorial research and is responsible for projects as assigned.
  • Travel stipend for research as well as trips to Spain and other destinations as directed by the museum director to perform research and project-based assignments.
  • Author a scholarly article for publication and present at least two public lectures, as well as actively participate in the research and organization of special exhibitions or projects.
  • Culminate fellowship by organizing a scholarly, international, two-day colloquium focusing on new research in Spanish art history.

Applicants must submit:

  • A full résumé
  • Three letters of recommendation
  • A statement (not to exceed 1500 words) specifying:
    • 1) the applicant’s research goals;
    • 2) how these goals relate to or will benefit the Meadows Museum; and
    • 3) how resources at the Meadows Museum, Southern Methodist University and travel related research might be used to accomplish those goals.
  • Applications and letters of recommendation must be received by November 22, 2019. Electronic submissions will not be accepted.

Click here for more information

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CSA Curatorial Fellowship at the Meadows Museum, Dallas

The Meadows Museum, SMU, Dallas, has announced that the Center for Spain in America (CSA) will support the museum’s pre-doctoral curatorial fellowship for 2019–2020. Established in 2011, the pre-doctoral fellowship provides an intensive scholarly, professional experience with the opportunity to research Spanish art at the Meadows and other national and international institutions.

CSA will also underwrite the catalog for the forthcoming exhibition Alonso Berruguete: First Sculptor of Renaissance Spain (National Gallery of Art, October 13, 2019–February 17, 2020; Meadows Museum, March 29–July 26, 2020). It will be the first general book on Berruguete published in English.

The New York-based CSA fosters the study of Spanish history, art and literature by creating and funding doctoral fellowships at European and American universities, as well as research centers with archival and bibliographical material relevant to the field of Hispanism. The Center and its Spanish counterpart, Centro de Estudios Europa Hispánica (CEEH), have collaborated with the Meadows Museum on several projects prior to this announcement, including the exhibition and catalog for The Lost Manuscripts from the Sistine Chapel: An Epic Journey from Rome to Toledo (2011); the exhibition and catalog for The Spanish Gesture: Drawings From Murillo to Goya in the Hamburger Kunsthalle (2014); Sorolla in America: Friends and Patrons (2015), a study of the major collectors of Sorolla’s work; and the catalog for Zurbarán: Jacob and His Twelve Sons, Paintings from Auckland Castle.

Students wishing to apply for the CSA Curatorial Fellowship can find more information on the Meadows Museum’s website.

Forthcoming Exhibition: ‘Memory, Mind, Matter: The Sculpture of Eduardo Chillida’ at the Meadows Museum, Dallas

peine-del-viento-9-640x471

Eduardo Chillida, Peine del Vento, 1977
San Sebastián, Guipuzkoa, Spain

This spring, the Meadows Museum will present Dallas’s first exhibition dedicated exclusively to the work of Eduardo Chillida (1924–2002). Chillida, one of Spain’s most celebrated modern sculptors, is famous for his monumental iron and stone sculptures that shape both urban and rural landscapes. This exhibition includes 66 of the artist’s works, from his sculptures, to his drawings, collages, gravitations, graphic works, and a selection of his books. Co-curated by William Jeffett, chief curator of exhibitions for The Dalí Museum, and Ignacio Chillida, the artist’s son, the works in Memory, Mind, Matter: The Sculpture of Eduardo Chillida come exclusively from the Museo Chillida-Leku in Hernani (San Sebastián, Spain); the exhibition travels to Dallas from the Salvador Dalí Museum in St. Petersburg, Florida. A complimentary exhibition, Chillida in Dallas: De Musica at the Meyerson, is curated by Meadows/Mellon/Prado Curatorial Fellow Amanda W. Dotseth and will focus on the landmark commission by Chillida at Dallas’s Morton H. Meyerson Symphony Center. The two exhibitions will open on February 4, 2018, and run through June 3.

The exhibition will be accompanied by an educational programme which will include:

FRIDAY, FEBRUARY 2, 10:30 A.M.
LUIS CHILLIDA, director, Fundación Eduardo Chillida-Pilar Belzunce
Memory, Mind, Matter: The Public Art of Eduardo Chillida in

Focus

FRIDAY, FEBRUARY 16, 12:15 P.M.
AMANDA W. DOTSETH, Meadows/Mellon/Prado curatorial fellow, Meadows
Museum
Medieval and Modern: Alabaster from Gil de Siloé to
Eduardo Chillida

THURSDAY, APRIL 19, 6:00-7:00 P.M.
BEATRIZ CORDERO, professor, Saint Louis University, Madrid
Lightness and Rightness: Eduardo Chillida and James Johnson
Sweeney in the Museum of Fine Arts, Houston

FRIDAY, APRIL 20, 12:15 P.M.
JED MORSE, chief curator, Nasher Sculpture Center
Chillida in Dallas Part I: Chillida Downtown

SATURDAY, APRIL 21, 10:00 A.M.-1:00 P.M.
FAMILY DAY

FRIDAY, APRIL 27, 12:15 P.M.
SCOTT WINTERROWD, director of education, Meadows Museum
Chillida in Dallas Part II: Chillida in Dallas

 

Art historian, philanthropist and ARTES member William Jordan has died at 77

The Dallas News reports that internationally recognised art historian William B. Jordan died Monday in Dallas after a short illness.

After obtaining a Ph.D. from the Institute of Fine Arts in New York, he helped Mr. Algur Meadows form a new collection of Spanish paintings for Southern Methodist University. Later on, he was curator at the Dallas Museum of Art, Kimbell Art Museum and, eventually, a trustee of the Nasher Sculpture Center and the DMA.

In 1986, Dianne Goode and Dr. Bill Jordan are seen in this Fete Set photo.(Joe Laird /Staff Photographer)

In 1986, Dianne Goode and Dr. Bill Jordan are seen in this Fete Set photo.
(Joe Laird /Staff Photographer)

Jordan was known for his unerring eye and outstanding ability to identify potential acquisitions and new masterpieces. Perhaps his crowning achievement was the discovery and subsequent personal gift to the Prado Museum in Madrid of the Portrait of Philip III by the greatest Spanish painter of the Golden Age, Diego Velázquez. Jordan donated the work (estimated at $6 million) to the Prado on Dec. 17, 2016 and was consequently made a trustee of the most significant museum of Spanish art in the world.

Opens Today: Murillo at the Meadows: A 400th Anniversary Celebration, December 6, 2017 – December 2, 2018

Bartolomé Esteban Murillo (Spanish, 1617–1682), "Saint Justa," c. 1665. Oil on canvas. Meadows Museum, SMU, Dallas. Algur H. Meadows Collection, MM.72.04. Photo by Michael BodycombDecember of 2017 will witness the 400th birthday of Bartolomé Esteban Murillo (1617–1682), one of the outstanding painters of Golden Age Seville. The Meadows Museum, which holds more paintings by the artist than any other collection in the United States, will celebrate his anniversary with a special exhibition. The display will celebrate the Meadows’ extraordinary holdings of artworks by the artist, and pair them with paintings by Murillo’s Sevillian contemporaries, thus highlighting the artistic context with which he remains so intimately associated.

Click here for more information on this exhibition.

 

Opens today: ‘Zurbarán: Jacob and his Twelve Sons, Paintings from Auckland Castle’

 

de Zurbaran, Francisco, 1598-1664; Levi III

Levi from the Auckland Castle Series

Zurbarán: Jacob and his Twelve Sons, Paintings from Auckland Castle, Meadows Museum, Dallas, USA, September 17, 2017 – January 7, 2018 

Francisco de Zurbarán was born in Fuente de Cantos, in Western Spain, but spent most of his working life in Seville. Like Ribera, Zurbarán is also considered a Caravaggista (a follower of the Italian painter Michelangelo Merisi da Caravaggio, active 1571-1610) particularly for his exceptional use of chiaroscuro.

These 13 paintings (12 by Zurbarán and one a direct copy of the work by Zurbarán) are a visual narrative of Jacob’s deathbed act of bestowing a blessing on each son, foretelling their destinies and those of their tribes. Although each painting holds its own as an exceptional portrait, seeing the works together provides a unique experience for viewers, transporting them across history to make them a witness to that moment. At the Meadows, the paintings will be displayed together in one gallery.

It is not known who originally commissioned the series, but they were auctioned from the collection of a Jewish merchant named Benjamin Mendez in 1756. Richard Trevor, Bishop of Durham, acquired the paintings for Auckland Castle, seeing in the public presentation of these works an opportunity to make a statement about the need for social, political and religious understanding and tolerance between Christians and Jews in Great Britain.

While in the USA, the paintings will also undergo in-depth technical study for the first time at the Kimbell Art Museum. This will include the use of infrared reflectography, ultra-violet light, x-radiography and pigment analysis. The goals of this work are twofold: first, to gain a better understanding of Zurbarán’s artistic process by exploring this unique series of related works; and second, to identify any additional needs for their ongoing conservation and care after they return to the U.K.

Accompanying the exhibition and conservation research will be an illustrated catalogue containing scholarly essays exploring the series from various historical, religious and artistic perspectives. Dr. Mark A. Roglán, Director, Meadows Museum, is the scientific director of the project and has helped to gather contributions by Claire Barry, Director of Conservation, Kimbell Art Museum; Professor John Barton, Oriel and Laing Professor of the Interpretation of Holy Scripture, Emeritus at Oxford University; Dr. Jonathan Brown, Carroll and Milton Petrie Professor of Fine Arts at New York University; Dr. Christopher Ferguson, Curatorial, Conservation and Exhibitions Director, Auckland Castle; Dr. Susan Grace Galassi, Senior Curator, The Frick Collection; Akemi Herráez Vossbrink, PhD Candidate at the University of Cambridge; Alexandra Letvin, PhD Candidate at Johns Hopkins University; and Dr. Edward Payne, Senior Curator, Spanish Art, Auckland Castle. This exhibition and study have been co- organized by the Meadows Museum, SMU; The Frick Collection; and Auckland Castle; in association with the Kimbell Art Museum. A generous gift from The Meadows Foundation has made this exhibition and study possible, with additional support from the Centro de Estudios Europa Hispánica and the Center for Spain in America.

Featured Exhibition: Picasso/Rivera: Still Life and the Precedence of Form

mm-70-1000pxPicasso/Rivera: Still Life and the Precedence of Form, Meadows Museum, Dallas, USA, until  5 November

This focused exhibition of paintings is inspired by a work in the Meadows Museum’s collection, Picasso’s Still Life in a Landscape (1915). In the early 20th century, Picasso and the Mexican artist Diego Rivera both lived and worked in Paris. Initially friends, in 1915 they fell out because Diego Rivera accused Picasso of plagiarising the foliage from one of his own paintings.

The source of Rivera’s ire was the perceived semblance between his 1915 Zapatista Landscape (The Guerrilla) and Picasso’s Seated Man (1915-16), which in its first iteration – as seen by Rivera in another visit to Picasso’s studio in August 1915 – was known as Man Seated in Shrubbery. Rivera noted acute similarities between his canvas and that of the early state of Picasso’s work; namely, both works featured a similarly structured still life set outdoors. The Mexican artist’s very specific complaint was his former mentor’s liberal borrowing of Rivera’s formulaic foliage – scumbled patches of green and white paint on a dark ground.

Picasso/Rivera: Still Life and the Precedence of Form takes as its point of departure another case study of the two artists’ works: Picasso’s Still Life in a Landscape (1915) at the Meadows, which will be displayed for the first time with Rivera’s Still Life with Gray Bowl (Lyndon Baines Johnson Presidential Library, Austin), painted in the same year. Exhibited in close proximity, these two paintings together encapsulate the two artists’ overlapping of themes and motif appropriation during that period.

Picasso/Rivera: Still Life and the Precedence of Form affords a closer look at the development of Picasso’s Still Life in a Landscape in the Meadows collection by presenting it together with its analogue from the Columbus Museum of Art as well as Rivera’s variation on the theme from Austin. The visual dialogue taking place in 1915 between these two giants of modern art will be further outlined through the display of Rivera’s 1915 Still Life with Bread Knife, a second generous loan from the Columbus Museum of Art. Beyond the rich anecdotes regarding the relationship of the two artists, this group of paintings provides an opportunity to find parallels as well as deviations between these canvases. In spite of limited wartime resources, 1914-15 proved to be a fecund era of creativity for both Picasso and Rivera.