Tag Archives: golden age

New Online Platform: The Arts Society Connected, launching tomorrow, 11am, with an inaugural lecture on Las Meninas by Jacqueline Cockburn

Diego Velázquez, Las Meninas, 1656, Museo Nacional del Prado

The Arts Society Connected (formerly NADFAS, the National Association of Decorative & Fine Arts Societies) is a new digital platform being launched on 7th April by The Arts Society, the UK’s leading arts education charity. 
Free to both The Arts Society’s 90,000 Members as well as the general public, The Arts Society Connected will host a series of fortnightly lectures by the UK’s leading art historians, as well as film screenings, live author Q&As and a community forum for anyone using the platform. 
The aim of the platform is to help older Members of the population stay connected, educated, entertained and informed over the next three months. The core aims of the charity are to create a better, healthier and more connected society through the power of the arts to nourish and empower. The platform will create a welcoming community for both existing Members as well as the general public.

The Arts Society has moved quickly in response to the COVID-19 crisis to create this digital platform as a large proportion of Members are aged 70 and above and will be forced to isolate over the coming months. The Arts Society consists of 380 individual Membership groups, who organise regular lectures and educational trips to museums and galleries throughout the year. With the inability of Members to meet in person, The Arts Society Connected will ensure that Members are able to stay connected online even while they remain in isolation. 
The Arts Society is working with its directory of Accredited Lecturers to create exclusive video lectures for the new platform. Lectures will be uploaded every other Tuesday at 11am. Members will be encouraged to take part in a community moment, when anyone planning on watching the talk can make a cup of tea at home and join the community forums online for a chat before and after the lecture. The lecturer will also be available to answer questions in the community forums following their lecture.

The platform features an inaugural lectureon Las Meninas by Velázquez by Arts Society Accredited Lecturer, art historian and linguist, Jacqueline Cockburn.

 

New Funding Opportunity: John Phillip PhD Scholarship in Spanish art and visual culture at the School of Art History, University of St Andrews

Deadline: Monday 25 May 2020

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.

Applicants should apply via the University of St Andrews application process: https://www.st-andrews.ac.uk/study/pg/apply/research/

The deadline for applications is Monday 25 May 2020.

For informal queries, intending applicants may contact Dr José Ramón Marcaida (jrm32@st-andrews.ac.uk).

Click here for more information.

Featured Exhibition: Murillo: The Prodigal Son Restored, Hugh Lane Room, National Gallery of Ireland, Dublin, until 30 August 2020

Six remarkable paintings by one of the most celebrated painters of the Spanish Golden Age, Bartolomé Esteban Murillo (1617–1682), have been conserved and researched at the National Gallery of Ireland. They depict the parable of the Prodigal Son. Fascinating details uncovered during the conservation project and a number of related prints will be displayed alongside the series, revealing the secrets of the artistic process of this master storyteller.

Click here for more information.

Generously supported by the Blavatnik Family Foundation

Curators| Muirne Lydon and Dr Aoife Brady

Murillo Study Day, National Gallery of Ireland, Dublin, 28 February 13.30–17.30

This event will feature an afternoon of presentations and a special exhibition preview in celebration of the opening of Murillo: The Prodigal Son Restored at the National Gallery of Ireland.

Showcasing a unique series of works by one of the most celebrated artists of the Spanish Golden Age, Bartolomé Esteban Murillo (1617-1682), this in-focus exhibition explores themes of sin, repentance and forgiveness across six remarkable canvases. Donated to the National Gallery of Ireland by the Beit family in 1987, the six works have not been displayed together publicly for several decades. Murillo: The Prodigal Son Restored will celebrate the recent conservation of the series, which has revived the splendour of Murillo’s colours, brushwork, and mastery of narrative.

12pm – 1.15pmExhibition preview (Present your ticket for admission) Hugh Lane Room, Beit Wing, Level 3
1.15pm – 1.25pmRegistration Lecture Theatre, Beit Wing, Level -1
1.30pmWelcome Sean Rainbird, Director, National Gallery of Ireland
1.35pmIntroduction  Dr Aoife Brady, Curator, National Gallery of Ireland
1.50pmMurillo: The Prodigal Son Revisited Muirne Lydon, Conservator, National Gallery of Ireland
2.10pmThe Prodigal Son series. “Quatro cuadritos” by Murillo in the Museo del Prado. Elena Cenalmor Bruquetas, Researcher, Museo del Prado
2.30pmDiscoveries and Display: Murillo’s Virgin and Child in Glory Kate O’Donoghue, Curator, National Museums Liverpool, Walker Art Gallery
2.55pmQuestions and discussion
3.10pmTea / coffee Courtyard
3.50pmIntroduction Prof. Stefano Cracolici, Director, Zurbarán Centre
4pm“All rooms are furnished with great works of art” – the Beit collection Pauline Swords, Curator, Russborough, Co. Wicklow
4.20pmA Painter of Street Urchins and Beggars? The perception of Murillo in Britain. Isabelle Kent, Independent scholar
4.40pm“Something of immortal value”: Murillo at the Meadows Museum Dr Amanda Dotseth, Curator, Meadows Museum, Dallas
5.05pmQuestions and discussion
5.20pmClose

Click here for more information and to book tickets (Full price €25, students/OAPs €22.50, Friends €20)

Zurbarán Fellow Public Lecture: Dr Luis Vives-Ferrándiz Sánchez, ‘The empire strikes back: Baroque art and Spanish contemporary culture’, 12th November at 5.30 pm, Kenworthy Hall, St Mary’s College, Durham University

Hispanic identity has been shaped during the last century by a conscious selection of historical periods of its history. After the loss of the last colonies of the former Spanish Empire at the end of the 19th century, the nation had hit rock bottom in political terms. To counterbalance this decline, writers, poets, essayists and scholars from the so-called generation of ’98 aimed for the restoration of the cultural splendor of the Spanish Golden Age, a period of flourishing in the arts and literature that spans from Philip II’s reign until the death of Charles II in 1700, the last of the Habsburg monarchs. This wish has been constant through the 20th century and is also connected with the rise of neobaroque aesthetics and postmodernism. Baroque has become a multifaceted concept and, nowadays, is more a space of reflection than a chronological or formal label. The lecture will explore the continuity of baroque art in Spanish contemporary culture such as art, photography, cinema, pop music, comics, cartoons, internet memes, football or television series, where the fascination with Spanish Golden Age is not only a matter of style or aesthetics but also political and identitary. From inspiration to appropriation, from art galleries to politics, baroque art is a powerful tool in contemporary Spain.

Click here for more information.

Lunchtime Talk: Akemi Herráez Vossbrink, ‘Zurbarán: A global perspective’, National Gallery, London, 4 November 2019

Monday, 4 November 2019, 1–1.45 pm, doors open at 12.30 pm, Sainsbury Wing Theatre

Francisco de Zurbarán, 1598–1664, A Cup of Water and a Rose, about 1630. Oil on canvas, 21.2 x 30.1 cm. Bought for the National Gallery by the George Beaumont Group, 1997. NG6566.

The National Gallery holds one of the finest paintings collections by the Spanish 17th–century artist Francisco de Zurbarán in the world. They have also recently acquired a painting by his son, Juan. Zurbarán lived in Seville, the main European port to the Americas from which he sent over 100 paintings.

Akemi Herráez Vossbrink, The CEEH Curatorial Fellow in Spanish Paintings, discusses the history of collecting Zurbarán, including paintings in their Spanish context, collecting practices in the UK, and the circulation of his work in the Americas.

This event is free and no booking is required. Spaces are limited and available on a first-come, first-served basis.

Click here for more information.


New Publication: Carmen Fracchia, ‘”Black but Human” Slavery and Visual Arts in Hapsburg Spain, 1480–1700’ (Oxford and New York: Oxford University Press, 2019)

In ‘Black but Human’ Carmen Fracchia, Reader in Hispanic Art History at Birkbeck, explores the emergence of the slave and freed slave subjects in the visual form of Imperial Spain. The book considers the links between visual regimes and early modern Spanish discourses on slavery and human diversity that are the historic roots of contemporary racism in the Hispanic world.

‘Black but Human’ is the first study to focus on the visual representations of African slaves and ex-slaves in Spain during the Hapsburg dynasty. The Afro-Hispanic proverb ‘Black but Human’ is the main thread of the six chapters and serves as a lens through which to explore how a certain visual representation of slavery both embodies and reproduces hegemonic visions of enslaved and liberated Africans, and at the same time provides material for critical and emancipatory practices by Afro-Hispanics themselves.

The African presence in the Iberian Peninsula between the late fifteenth century and the end of the seventeenth century was as a result of the institutionalization of the local and transatlantic slave trades. In addition to the Moors, Berbers and Turks born as slaves, there were approximately two million enslaved people in the kingdoms of Castile, Aragón and Portugal. The ‘Black but Human’ topos that emerges from the African work songs and poems written by Afro-Hispanics encodes the multi-layered processes through which a black emancipatory subject emerges and a ‘black nation’ forges a collective resistance. It is visually articulated by Afro-Hispanic and Spanish artists in religious paintings and in the genres of self-portraiture and portraiture. This extraordinary imagery coexists with the stereotypical representations of African slaves and ex-slaves by Spanish sculptors, engravers, jewellers, and painters mainly in the religious visual form and by European draftsmen and miniaturists, in their landscape drawings and sketches for costume books.

Click here for more information and to pre-order this book

Closing Soon: Balenciaga and Spanish Painting, Museo Nacional Thyssen-Bornemisza, Madrid, until 22 September 2019

Francisco de Zurbarán
Saint Casilda, ca. 1635
Oil on canvas. 171 x 107 cm
© Museo Nacional Thyssen-Bornemisza, Madrid

The Spanish fashion designer’s approach to his designs was informed by his lifelong love of art sparked by his youthful admiration of the paintings owned by clients of his seamstress mother, in particular the Marquis and Marchioness of Casa Torres, who spent their summers in the Palacio Aldamar (also known as Vista Ona) in Getaría. Three of the paintings on display in this exhibition, and loaned by the Prado, were in that collection: Head of an Apostle by Velázquez; Saint Sebastian by El Greco; and Cardinal Luis María de Borbón y Vallabriga by Goya. The latter establishes a dialogue with a magnificent red dress suit with a short jacket loaned from the Museo del Traje in Madrid. Balenciaga frequently drew on the heritage of his Spanish homeland, going further than adding flamenco ruffles to his dresses and seeking inspiration by re-imagining bull fighters’ jackets. The exhibition explores the influence of four centuries of Spanish painting on the couturier’s work. Zurbarán was one inspiration, his drapery influencing Balenciaga’s bold sashes. In 1939 Velázquez’s portraits of the Infanta Magarita were reinterpreted by the dress designer’s work. Also notable is the interaction between a spectacular blue silk evening gown and cape and the mantle of the same colour seen in The Immaculate Conception by Murillo from the Arango collection. The curator Eloy Martínez de la Pera, has drawn together some 90 examples of Balenciaga’s work alongside 55 paintings, including works by El Greco, Murillo, Goya and the nineteenth-century artist Antonio María Esquivel. Paintings have been lent by the Prado, Bilbao, Seville and Valencia and costumes, some of which have never been displayed before and designs have been lent by the Balenciaga Museum in his hometown in Getaría, and archives in Paris. The exhibition also explores the impact of Philip II’s court making the use of black fashionable for clothing throughout Europe, and how Balenciaga chose to transform it in his own way. As the magazine Harper’s Bazaar wrote in 1938: “at the new Spanish house Balenciaga [in Paris] the black is so black that it hits you like a blow. Thick Spanish black, almost velvety, a night without stars, which makes the ordinary black seem almost grey.”

Click here for more information.

Featured Exhibition: ‘De Mena, Murillo, Zurbarán. Masters of the Spanish Baroque’, Sint-Janshospitaal, Bruges, until 6 October and MNHA, Luxembourg, 24 January–07 June 2020

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.