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.
The City of Agen and its Fine Arts Museum, located between Bordeaux and Toulouse in the South-west of France, will present, over the winter of 2019–2020, an outstanding exhibition with a fresh and unexpected view on Francisco de Goya y Lucientes (1746–1828) and his work.
Through a selection of works in several media (paintings, drawings, engravings), the exhibition will demonstrate the essential characteristics that remain constant in Goya’s work and reveal the role played by his collaborators in his studio.
The Museum’s scientific team is assisted in this project by one of the specialists of Goya’s work, Juliet Wilson-Bareau, and the event has received personal support from the French Minister of Culture.
Nearly 90 works loaned by museums and private collections around the world (France, Germany, Hungary, Spain, Switzerland, UK, USA) will be on display in the Jacobins’ Church (Église des Jacobins), an Agen architectural jewel and an emblematic place for the Museum’s temporary exhibitions.
Click here for an exhibition leaflet, and here for practical information.
Juan Martínez Montañés (Alcalá la Real, 1568–Seville, 1649) marked a milestone in Spanish Baroque sculpture and a timeless model in the Sevillian school. This exhibition provides an insight into a select representation of 44 sculptures and reliefs by the brilliant artist, of a total of 58 works on display. Divided into three sections, the itinerary presents an exceptional repertoire of works that bear witness to the ambition of the major commissions he undertook, the sublime quality of his devotional images and the novelty of his iconographic models. The first section features works from his most outstanding groups or altarpieces, such as those from San Isidoro del Campo and the convent of San Leandro. The second one offers key examples of his magnificent religious imagery, such as Saint Christopher and Saint Jerome, and the third one highlights his most significant contributions to Sevillian Baroque iconography, as exemplified by the Infant Jesus from the Cathedral Side Chapel, ‘La Cieguecita’ (Little Blind One), and the Christ of Clemency.
The connections with the artistic and intellectual world of the day reveal the collaboration between Montañés and other artists, also represented here by paintings that formed part of altarpieces or were the pictorial expression of the new iconographies which the sculptor helped to establish. Many of the works on display have undergone conservation and restoration works specifically for the exhibition, enabling us to appreciate the extraordinary quality and beauty of the grand masterís work in all its glory. Thanks to the generous collaboration of the Archbishopric of Seville, the exhibition also includes works which the general public rarely have the opportunity to admire, either because they are located high up on altarpieces or hidden away in convents and monasteries.
Marking the 50th anniversary of the Gulbenkian Museum, this exhibition takes as its starting point the display solutions found for the opening of the Museum in 1969. It also recreates different exhibition design ideas created by Franco Albini and Franca Helg, Carlo Scarpa, Lina Bo Bardi, Aldo van Eyck and Alison and Peter Smithson in other countries.
This exhibition takes the museography of the Calouste Gulbenkian Museum as its starting point, marking its 50th anniversary.
The Italian designer Franco Albini advised the Calouste Gulbenkian Foundation on the most contemporary examples of good museum design. The museum, which opened in 1969, was strongly influenced by his background in contemporary Italian design, notably that of Carlo Scarpa.
The exhibition recreates some of the period’s classic solutions to the display of art, contrasting the stasis and fixity of 1950s’ design with some of the more playful and immersive designs, by Aldo van Eyck and the Smithsons, which had already emerged by the time the Museum opened.
This exhibition allows the viewer to experience these different ways of looking at and being with art. It is accompanied by archival photographs and drawings, revealing display solutions conceived for the Museum.
The exhibition is an associate project of the Lisbon Architecture Triennale 2019. In 2020, it will also be held at the Het Nieuwe Instituut, Rotterdam.
Curators: Penelope Curtis (Calouste Gulbenkian Museum) and Dirk van den Heuvel (Jaap Bakema Study Centre/Het Nieuwe Instituut)
In association with: Het Nieuwe Instituut, Rotterdam
VALENTÍN CARDERERA Y SOLANO (Huesca, 1796 – Madrid, 1880) was a painter, scholar, communicator, collector and traveller. His life was marked by his efforts to safeguard Spain’s historical heritage and he journeyed around much of the Spanish mainland to bear witness in his drawings and watercolours to significant monuments, many at risk of disappearance as a result of the modernising drive ushered in by the new liberal order. Member of the Romantic generation and friends with the Madrazo family, Carderera was also in contact with some other figures like Richard Ford and Prosper Mérimée, with whom he shared the same nostalgia for the past and the need to define his position in the complex debate between tradition and progress.
The exhibition—featuring more than a hundred pieces including paintings, drawings, engravings, manuscripts, books, maps and objects—pays tribute to Carderera’s work and the significant legacy he left in the Biblioteca Nacional de España. In 1867 the Spanish State adquired his collection of drawings and prints: more than 45.000 pieces which enriched the department of Fine Arts with engravings of Mantegna, Dürer and Rembrandt, among others, along with one of the very few drawings attributed to Velázquez. Click here for more information.
The exhibition opens on 27 September in the Biblioteca Nacional de España’s Sala Hipóstila. It was curated by José María Lanzarote Guiral and organised by the Biblioteca Nacional de España and Centro de Estudios Europa Hispánica.
It is accompanied by a an exhibition catalogue which reconstructs Carderera’s intense life in six thematic sections, published by CEEH. Until 25 September, the catalogue can be purchased from the CEEH website at special discount price. Click here for more information.
A version of the V&A’s exhibition Balenciaga, Shaping Fashion is now showing at the Bendigo Art Gallery, Bendigo, Victoria, Australia, until 10 November 2019. The Spanish couturier, whose female dress and master tailoring was admired by Coco Chanel and Christian Dior, was one of the most innovative and influential fashion designers of the 20th century. The Australian exhibition shows highlights of the V&A’s display including garments crafted by Balenciaga from the 1950s and 1960s—arguably the most creative period of his career, when he dressed some of the most renowned women of the time—through to pieces designed by protégés and contemporary designers working in the same innovative way today. The exhibition features examples of Balenciaga’s revolutionary shapes—the tunic, sack, baby doll and shift dresses—all of which remain style staples today, and marks the centenary of the opening of Balenciaga’s first fashion house in San Sebastian, and the 80th anniversary of the opening of his famous fashion house in Paris.
20 works of Spanish religious sculpture and painting are currently on display in the monumental wards of the ancient hospital of Bruges. It is a rare opportunity to become acquainted with some lesser-known aspects of Spain’s Golden Age. The highlight of the exhibition, in addition to paintings by famous Spanish masters like Murillo and Zurbaran, is a group of six hyper-realistic sculptures by the greatest sculptor of the Spanish Baroque, Pedro de Mena. This project is in collaboration with the Luxemburg Musée National d’Histoire et d’Art and the exhibition will travel to this museum in 2020. The exhibition is accompanied by a catalogue in English, with texts by Ruud Priem, Sibylla Goegebuer, Malgorzata Nowara, Gilles Zeimat, and Noël Geirnaert. Click here for more information on the exhibition and here for the catalogue.