With Gabriele Finaldi (Director, The National Gallery) & Edward Payne (Senior Curator: Spanish Art, Auckland Castle Trust)
at Colnaghi, 26 Bury Street, London SW1Y 6AL
ARTES welcomes Gabriele Finaldi, curator of Ribera: Master of Drawing at the Museo Nacional del Prado, Madrid (22 November 2016 – 19 February 2017), in conversation with Edward Payne, curator of the exhibition’s second incarnation Between Heaven and Hell: The Drawings of Jusepe de Ribera at the Meadows Museum, Dallas (12 March – 11 June 2017). They will be discussing the genesis of the exhibition which celebrates the publication of the first complete catalogue raisonné of Ribera’s drawings. The event will take place in the stunning new Colnaghi gallery in Bury Street, followed by wine and jamón provided by Spanish restaurateurs Brindisa.
ARTES would like to thank the Instituto Cervantes and its Director, Julio Crespo Maclennan for their support with this event.
Exhibition of 129 Spanish drawings from the sixteenth to the eighteenth centuries selected from the Uffizi’s holdings in Florence by Professor Benito Navarrete. The exhibition is the result of two years of research among drawings some 77 of which were previously considered to be Italian or north European and are now published for the first time as of Spanish authorship.The most important of these discoveries is a drawing, formerly considered German, and now attributed to Juan de Juanes for his lost painting Dead Christ supported by Angels. Other new works include drawings by Alonso de Berruguete, Vicente Carducho, Francisco Pacheco and Herrera the Younger all discovered among the ‘Italian’ works.
The origin of the Uffizi’s Spanish drawings was a collection put together in Madrid around 1745 by a Florentine merchant Giovanni Filippo Michelozzi; the rest were donated in 1866 by the sculptor Emilio Santarelli (1801-1886). Artists represented range from Gaspar Becerra to Meléndez and include works by Luis de Vargas Alonso Cano and Ribera.
The Coll & Cortés Medieval Spain Seminar in the Research Forum South Room in the Courtauld Institute of Art, London. By Dr Encarna Montero, University of Valencia
6-7pm, Monday 18th January, followed by a drinks reception. Free attendance, open to all
Model for a pinnacle, Valencia, c. 1442. Valencia Municipal museum
A significant number of sources for the study of architectural practise survive from medieval Spanish kingdoms when compared to other European territories. Apprenticeship contracts, drawings, sketches and masons’ inventories shed light on the means by which architectural knowledge was transmitted in the Iberian peninsula between 1370 and 1450. This body of evidence – much of it newly discovered – also challenges many long-held assumptions, even if several key problems remain unresolved: the training requirements for masons’ apprentices, the specific skills that defined a master, or the role of drawing in the building process.
This is the second in the Coll & Cortés Medieval Spain Seminars, which take the theme of ‘Gothic Architecture, New Approaches’ from 2015-17. The first lecture in the series was delivered by Eduardo Carrero in October 2015.
Drawings by Rosario Weiss from the Lazaro Collection, Museo Lázaro Galdiano, Madrid
14 May – 29 June 2015
Exhibiting some 36 drawings (from a collection of 58) by the goddaughter and follower of Goya, who learned her drawing and lithographic print-making skills alongside Goya in the 1820s in Madrid and Bordeaux. Her miniature portraits and copies after Goya’s paintings are also on display. Several of the drawings by the short-lived artist were acquired by José Lázaro Galdiano from the nieces and heirs of Rosario.
Vicente Carducho: teoría y práctica del dibujo en el Siglo de Oro, Biblioteca Nacional de España, Madrid, 29 May – 6 September 2015. Major exhibition of drawings, many never shown before, by Vicente Carducho (Florence 1576-1638 Madrid), a key artist at the Spanish court. Accompanied by contextualizing documents and prints by Carducho’s contemporaries drawn from the Biblioteca Nacional, and other public institutions and private collections in Spain and Italy. The display is the result of a detailed cataloguing process of the library’s collection of works by Vicente Carducho and is divided into six sections, covering his career from its beginning in the Escorial, where he worked alongside his brother Bartolomé, to his commissions from Philip III and Philip IV in Valladolid, El Pardo, and culminating in his pictorical cycle for the Carthusian monastery of El Paular (1626-1632). The final sections feature the artist’s theoretical writings and the influence of Carducho’s workshop and studio assistants.