https://www.facebook.com/groups/prestapagina/
ARTES members are invited to join this Facebook group, to request and share scans (insofar as they do not violate U.S. or international copyright laws) of scholarly texts and primary sources in aid of remote research by independent and affiliated scholars of early modern Spain. The focus of this group is history and history of art, but all scholars of early modern Spain are welcome.
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.
A book launch and Q&A will be held on the 23 November, 3–5pm, at the Peltz Gallery, Birkbeck University of London.
In this book launch, Birkbeck scholar Mpalive Msiska will interview Dr Carmen Fracchia, from the Department of Cultures and Languages, about her new book Black but Human: Slavery and Visual Arts in Hapsburg Spain, 1480–1700 (OUP, 2019). This will be followed by a brief conversation between the author and the visual artist Victoria Burgher, who will give a short presentation of her work.
Carmen Fracchia is a Paraguayan academic trained originally in Italian and Spanish Art History at the Universities of Siena and University College London. She is a Reader in Hispanic Art History at Birkbeck. Her work focuses on the visual articulations of Hispanic intellectual, political, and religious thought about local Spanish and transatlantic slavery, freedom, subjectivity, race, and hybridity, with special emphasis to the visual representations of Africans and Afro-Hispanic enslaved and liberated people, such as Juan de Pareja (Antequera, c.1610-Madrid, c.1670).
Mpalive Msiska is a Malawian academic who is a Reader in English and Humanities at Birkbeck where he teaches courses and supervises research work on Post-colonial and Global literatures as well as interdisciplinary subjects. He has previously taught at Bath Spa University and the University of Malawi, among others. His publications include Post-Colonial Identity in Wole Soyinka (2007), Wole Soyinka (1998), Writing and Africa (1997) and The Quiet Chameleon: A Study of Poetry from Central Africa (1992) and the most recent chapter ‘Divine Ways of Cognition: the Burden of the Poet-Seer in Soyinka’s Idanre,’ in The Soyinka Impulse, eds Duro Oni and Bisi Adigun. He is a member of the Caine Prize Advisory Board, the Council of the British Institute in Eastern Africa as well as the Editorial Board of the Journal of Southern African Studies.
Victoria Burgher is a multi-disciplinary artist who lives and works in East London. She studied at Goldsmiths College (MA) and her politically engaged practice ranges from sculptural installations and site-specific interventions to collaborative community projects. She is interested in art’s ability to challenge histories and a fascination with materials and process inform her approach to making. Current work uses colonial commodities to decolonise the nostalgic narrative of Empire. She exhibits regularly in the UK and Europe.
Attendance is free but booking is necessary. Please click here to book and here for more information.
This new exhibition features a diverse selection of more than 100 outstanding works produced by leading artists from Spain and its global territories.
Spain’s Golden Age may be defined as the extraordinary moment when the visual arts, architecture, literature, and music all reached unprecedented heights.
Art & Empire: The Golden Age of Spain is the first exhibition in the United States to expand the notion of “Golden Age” to include the Hispanic world beyond the shores of the Iberian Peninsula. Such far-flung Spanish-controlled centers as Antwerp, Naples, Mexico, Lima, and the Philippines are represented by paintings, sculpture and decorative arts of astounding quality and variety from the pivotal years of about 1660 to 1750.
Artists featured in the exhibition include Diego Velázquez, Peter Paul Rubens, Bartolomé Esteban Murillo, Francisco de Zurbarán, Jusepe de Ribera, El Greco, Juan de Valdés Leal, Juan Sánchez Cotán, and many more. This exhibition also marks the first time in the Museum’s history that all five of the Spanish masters represented on the Museum’s building façade —Velázquez, Murillo, Zurbarán, Ribera and El Greco— will be shown together at the Museum.
Also on display is a contemporary response to Art and Empire: The Golden Age of Spain, featuring a group of 12 encaustic-on-canvas “portraits” of Christ’s disciples by contemporary Spanish artist José-María Cano.
Click here for more information
Organised by Stefano Cracolici and Edward Payne (Zurbarán Centre for Spanish and Latin American Art, Durham University)
Free, but please register at this link: https://www.eventbrite.co.uk/e/canons-and-repertoires-constructing-the-visual-arts-in-the-hispanic-world-registration-62569293441
The visual arts in Spain have long been haunted by the spectres of six giants: El Greco, Ribera, Velázquez, Murillo, Goya and Picasso. Still today, these canonical figures tower over all others and continue to shape the story of Spanish art, which has been traditionally told in monographic form. Although the strength of the Spanish canon has informed different disciplines (literature, aesthetics, performing arts), given the recent ‘material turn’, the prosopographical dimension of the visual arts in Spain poses a disciplinary challenge. Similarly, following the ‘global turn’, the visual arts of Iberia pose a geographical challenge, intersecting with the Mediterranean, Arabic, Latin American, British and continental European worlds. The notions of ‘Spain’ and ‘Spanish art’, therefore, are necessarily nebulous and problematic, raising a host of questions: To what extent does Spanish art exist before the establishment of Spain as a nation state? To what extent is the art of the Habsburg and Bourbon empires a Spanish art outside Spain? What is the role of Spain in the wider canon of European art? Who has exploited the visual arts of the Hispanic world, geographically, politically and intellectually? These questions ultimately point to a tension between canons and repertoires; between centres and peripheries; and between consolidating the ‘core’ and expanding the ‘remit’ of the so-called Spanish school.
This conference will explode the disciplinary, material and geographical limits of Spanish art, inaugurating the Zurbarán Centre as a critical and innovative research institution for the study of Spanish and Latin American art in the twenty-first century. Papers will challenge the canonical construction of Spanish art, which can be traced back to writings from Palomino’s Lives of the Eminent Spanish Painters and Sculptors (1724) to Stirling Maxwell’s Annals of the Artists of Spain (1848), to more recent publications by scholars in the field. Papers will also probe the chronological, geographical and material boundaries of the ‘El Greco to Goya’ survey, interrogating the ways in which academics, curators, scholars and teachers narrate this material through various platforms, including publications, museum displays, exhibitions, lectures, gallery talks and academic courses. Speakers will address the various ‘terrains’ of Spanish art, from geographical constructions of Iberia as Europe’s frontier or edge, to exchange with all that lies beyond the Pillars of Hercules.
PROGRAMME
Thursday 20 June 2019
| 09.30 – 10.00 | Registration & Coffee |
| 10.00 – 10.05 | Introduction & Welcome |
| 10.05 – 11.20 | Session 1: Historiographies Chair: Stefano Cracolici (Durham University) |
| 10.05 – 10.25 | Why El Greco to Goya? Edward Payne (Durham University) |
| 10.25 – 10.45 | Frederic Leighton’s Vision of Spain Véronique Gerard Powell (Sorbonne Université, Paris) |
| 10.45 – 11.05 | Nigel Glendinning and the Hispanic Research Journal: A Unique Voice in Spanish Cultural History Sarah Symmons (University of Essex) |
| 11.05 – 11.20 | Discussion |
| 11.20 – 11.50 | Tea & Coffee |
| 11.50 – 12.50 | Keynote Lecture: Passion and Prejudice: Attitudes to Spanish Sculpture in Nineteenth-Century Britain Holly Trusted (Victoria & Albert Museum, London) |
| 13.00 – 14.00 | Lunch |
| 14.00 – 15.15 | Session 2: Geographies Chair: Edward Payne (Durham University) |
| 14.00 – 14.20 | Beyond El Greco: The Travelling Artist between Italy and Spain—Artistic Translation and the Sixteenth-Century Hispanic Canon Piers Baker-Bates (The Open University) |
| 14.20 – 14.40 | Maestros españoles en Chile: Espacios y repertorios Marcela Drien (Universidad Adolfo Ibáñez, Santiago de Chile) |
| 14.40 – 15.00 | Geographic Limits and the History of the Spanish Avant-Garde Maite Barragán (Albright College, Reading PA) |
| 15.00 – 15.15 | Discussion |
| 15.15 – 16.30 | Session 3: Strategies Chair: Tom Stammers (Durham University) |
| 15.15 – 15.35 | Genaro Pérez Villaamil: Navigating Stereotypes Claudia Hopkins (University of Edinburgh) |
| 15.35 – 15.55 | Imaginary Architecture as Imagined Community: ‘The Market’ by Jenaro Pérez Villaamil Matilde Mateo (Syracuse University) |
| 15.55 – 16.15 | Hieroglyphs of Providence: Pelegrín Clavé and Isabella I of Castile Stefano Cracolici (Durham University) |
| 16.15 – 16.30 | Discussion |
| 16.30 – 17.00 | Tea & Coffee |
| 17.00 – 18.00 | Keynote Lecture Canons and Repertoires in Hispanic Art: What does Stirling Maxwell have to do with them? Hilary Macartney (University of Glasgow) |
Friday 21 June 2019
| 9.30 – 10.00 | Tea & Coffee |
| 10.00 – 11.15 | Session 4: Identities Chair: Giovanna Capitelli (Università Roma Tre) |
| 10.00 – 10.20 | El arte español más allá de la península ibérica: ¿Qué significa ser un ‘artista español en la Nueva España’? Luis Javier Cuesta Hernández (Universidad Iberoamericana, Ciudad de México) |
| 10.20 – 10.40 | Constructing the Monuments of the Nation: Victor Balaguer and the Struggle to Shape Monasteries as Spanishness Josep-Maria Garcia-Fuentes (Newcastle University) |
| 10.40 – 11.00 | Thinking Spain from Barcelona: The Iconographic Repertoire of Spanish Art (1918–1922) Lucila Mallart (Universitat Pompeu Fabra, Barcelona) |
| 11.00 – 11.15 | Discussion |
| 11.15 – 11.45 | Tea & Coffee |
| 11.45 – 13.00 | Session 5: Remediations Chair: Ludmilla Jordanova (Durham University) |
| 11.45 – 12.05 | Thinking through Painting: Artistic Practice as Metaphor in the Early Modern Hispanic World Adam Jasienski (Southern Methodist University, Dallas TX) |
| 12.05 – 12.25 | From Mimesis to Montage: Sergei Eisenstein on El Greco Dušan Radunović (Durham University) |
| 12.25 – 12.45 | ‘Ese Velázquez sí que era un genio’: el canon del arte español y la ficción televisiva Luis Vives-Ferrándiz Sánchez (Universitat de València) |
| 12.45 – 13.00 | Discussion |
| 13.00 – 14.00 | Lunch |
| 14.00 – 14.20 | Concluding Remarks Amaya Alzaga Ruiz (Universidad Nacional de Educación a Distancia, Madrid) |
| 14.20 – 15.00 | Roundtable Discussion |
| 15.00 – 16.00 | Refreshment |
The Maius Workshop’s next event will take place at 4:30–5:30 pm on 3 June 2019 at QMUL (Arts Two, room 2.18).
We are delighted to welcome Emily Floyd, Lecturer in Visual Culture and Art before 1700 at UCL, for a conversation on her forthcoming article, ‘The Word as Object in Colonial South America’. A draft of the article will be pre-circulated, and Emily looks forward to the group’s comments and questions.
Please email maiusworkshop@gmail.com to sign up to this free event.
***How to find Arts Two, room 2.18: the Arts Two building is number 35 on the campus map at this link. The campus is best accessed through the East Gate entrance. Please note that the Arts Two building does not have an entrance on Mile End Road.
Programme
MIÉRCOLES, 20 DE FEBRERO
09:30 Registro de participantes
10:00 Inauguración. Jaime M. de los Santos. Consejero de Cultura, Turismo y Deporte. Comunidad de Madrid. Presentación. Miguel Luque. Decano de la Facultad.
MESA I. MUJERES PROTAGONISTAS DE LAS ARTES.
MODERA FÉLIX DÍAZ MORENO (UCM)
10:30 Plautilla Bricci: cronaca di un oblio. Consuelo Lollobrigida (Univ. of Arkansas – William J. Fulbright School of Arts and Sciences)
11:00 Pintoras flamencas en los siglos XVI y XVII: las sagas familiares y el talento. Ana Diéguez-Rodríguez (Instituto Moll. Centro de investigación en pintura flamenca Univ. de Burgos)
11:30 Pausa café
12:30 Vidas y afanes de las dos impresoras novohispanas del siglo XVIII: Rosa Teresa Poveda y Manuela de la Ascensión Cerezo. Marina Garone Gravier (Instituto de Investigaciones Bibliográficas, Univ. Nacional Autónoma de México)
13:00 Mujeres artistas en la Real Academia de Bellas Artes de San Carlos de Valencia. Mariángeles Pérez-Martín (Univ. de València)
13:30 Debate. Comida
MESA II. IDENTIDADES FEMENINAS, GENERADORAS DE ESPACIOS.
MODERAN CONCEPCIÓN LOPEZOSA APARICIO (UCM) Y SARA FUENTES LÁZARO (UNIV. A DISTANCIA DE MADRID)
16:00 De la casa al hogar. Aposentos femeninos en la Edad Moderna. Gloria Franco Rubio (UCM)
16:30 “Fare scena della casa”. Isabel de Farnesio y la arquitectura pintada en La Granja de San Ildefonso. Sara Fuentes Lázaro (Univ. a Distancia de Madrid)
17:00 Sociabilidad, ciudad y género en la crisis del Antiguo Régimen. Aproximaciones desde la cultura visual y material. Álvaro Molina (Univ. Nacional de Educación a Distancia)
17:30 “Mujeres en el límite”. Presencias femeninas en el Paseo del Prado de Madrid. Concepción Lopezosa Aparicio (UCM)
18:00 Debate
JUEVES, 21 DE FEBRERO
MESA III. LAS ARTES Y LA PRÁCTICA DEL PODER
MODERAN MAGDALENA DE LAPUERTA (UCM) Y MIGUEL HERMOSO CUESTA (UCM)
10:00 Il mecenatismo di Bona Sforza alla corte di Bari nella prima metà del ‘500. Mimma Pasculli (Univ. degli Studi di Bari Aldo Moro. Dpto. Lettere, Lingue e Arti)
10:30 Sofonisba Anguissola y la construcción de una imagen femenina para la familia Habsburgo. Jorge Sebastián Lozano (Univ. de València)
11:00 Patrimonio y encargos artísticos de Juana Cortés, II duquesa de Alcalá. Sergio Ramiro Ramírez (UCM)
11:30 Debate
12:00 Pausa café
12:30 La perla de la Monarquía hispana: Margarita de Austria y el retrato cortesano. Magdalena de Lapuerta Montoya (UCM)
13:00 Sor Ana Dorotea de Austria y la exaltación de las mujeres fuertes. Cipriano García-Hidalgo Villena (UCM)
13:30 María Isabel de Braganza y la música. Judith Ortega Rodríguez (ICCMU-UCM)
14:00 Debate. Comida
WORKSHOP (LUGAR: SALA DE JUNTAS). CUARTOS DE MUJERES. ESPACIOS DONDE VIVIR Y TRABAJAR EN EL SIGLO XVI
16:30 Presentación a cargo de Beatriz Blasco Esquivias (UCM). Intervienen: Elena Díez Jorge (Univ. de Granada), Ana Aranda Bernal (Univ. Pablo Olavide, Sevilla), María Núñez – González (Univ. de Sevilla)
18:00 Debate
VIERNES, 22 DE FEBRERO
MESA IV. EL ARTE EN SUS MANOS. LOS MUSEOS Y LA GESTIÓN DEL PATRIMONIO
MODERA JONATAN JAIR LÓPEZ MUÑOZ (UCM)
10:00 Las mujeres y la arqueología en Europa: de la aristocracia a las clases medias. Margarita Díaz-Andreu (ICREA y Univ. de Barcelona)
10:30 Mujeres y museos en Europa del Este. Laura Coltofean-Arizancu (Univ. de Barcelona)
11:00 Las profesionales de museos en España, una historia envuelta en silencios. Margarita Moreno Conde (Museo Arqueológico Nacional)
11:30 Debate. Pausa café
WORKSHOP
INVESTIGACIONES PREDOCTORALES
Presentación a cargo de María Ángeles Toajas Roger (UCM)
12:00 Aproximación al estudio de las mujeres en los talleres artísticos de la Villa de Madrid (1561–1700). Alba Gómez de Zamora Sanz (UCM)
12:20 La decoración del Cuarto de la Reina en el Alcázar Real de Madrid bajo Isabel de Borbón- Introducción y reflexiones. Audrey-Caroline Michielon (UCM / Univ. de Toulouse – Jean Jaurès )
12:40 El estudio de la moda femenina en la corte: Cuestiones metodológicas. María Redondo Solance (UCM)
13:00 Las mujeres y las artes en “la hora navarra del XVIII”. Sergio Rodero Jiménez (UCM)
13:20 Mujeres en las actas de la Real Academia de Bellas Artes de San Fernando. Daniel Lavín González (UCM)
13:40 Debate y conclusiones del Segundo Seminario. Comida
VISITA GUIADA: REAL MONASTERIO DE LA ENCARNACIÓN
16:30 Encuentro frente al Monasterio. Plaza de la Encarnación, 1 (28013 Madrid)
Practical information
Location: Salón de Grados y Sala de Juntas, Facultad de Geografía e Historia, Universidad Complutense de Madrid, February 20–22, 2019
Registration deadline: Feb 20, 2019
Scientific committee:
Antonio Bonet Correa, Rosario Camacho, Benito Navarrete, Mª Ángeles Pérez Samper, Javier Rivera Blanco.
Organisers:
Gloria Del Val, Sara Fuentes, Daniel Lavín, Jonatan Jair López, Sergio Ramiro, Sergio Rodero.
Supported by the Proyecto de Investigación I+D+i FEMENINO SINGULAR. Las mujeres y las artes en la Corte española de la Edad Moderna (reinas, nobles, artistas y empresarias) [HAR2015-65166-P MINECO/FEDER]
Email the organisers: lasmujeresylasartes@gmail.com
