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
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.
The first in a series of lectures on Spanish medieval architecture, hosted by the Courtauld Institute, and sponsored by Coll & Cortes
Since the late 19th century, scholarship on 13th– and 14th-century Spanish architecture has largely depended on formal analysis and systems of cataloguing. From this have emerged fundamental studies of cathedrals, including those of Burgos, León and Toledo, of monasteries such as Las Huelgas in Burgos, or of parish churches such as Santa Maria del Mar in Barcelona. But what are the premises of such approaches? As interest in gothic architecture wanes amongst early 21st-century art historians, some of Spain’s most significant buildings still lack basic analysis. And yet perhaps the biggest problem is not the absence of studies but their methods, mediated by contemporary contexts.
The lecture is open to all and free to attend, though it is recommended that you arrive by 5.20 in order to secure a seat.
Eduardo Carrero Santamaria is Professor of Art History at the Universitat Autonoma de Barcelona
Institute of Advanced Study, Palace Green, Durham Friday, 22 May 2015
To register for the event, please email the organizer (email@example.com) indicating if you have any special dietary requirements. There is no registration fee, but all participants will be asked to complete a short impact questionnaire. There are a maximum of 20 places available.
09.30–09.40 Welcome and Introduction
09.40–10.20 Edward Payne (Meadows Museum, Dallas), ‘Skin as Subject and Surface: Flaying in the Art of Ribera, Carreño and Giordano’
10.20–11.00 Yarí Pérez Marín (Durham University), ‘Skin and Markers of Disease in the Medical Literature of Early Colonial Mexico’
11.20–12.00 Andy Beresford (Durham University), ‘The Flaying of St Bartholomew in Early Spanish Altarpieces’
12.00–12.40 Tom Nickson (Courtauld Institute), ‘“Stuffed in the most artistic manner”: The Sacred Made Real in Medieval Castile’
13.40–14.20 Bogdan Cornea (University of York), ‘Skin and Surfaces in Jusepe de Ribera’s Paintings of Flaying’
14.20–15.00 Lesley Twomey (Northumbria University), ‘Decorated Exteriors and Resplendent Interiors: The Ark, the Tabernacle, and the Reliquary as Figures for the Virgin Mary’s Physical and Spiritual Beauty in Late-Medieval Spain’
15.00–15.40 Piers Baker-Bates Open University), ‘Sebastiano del Piombo: The Suffering Skin between Italy and Spain’
16.00–17.00 Round Table Discussion
Corpus of Romanesque Sculpture in Britain and Ireland (CRSBI) Annual Lecture 2015
Tuesday 28 April 2015
17.30, Kenneth Clark Lecture Theatre, Courtauld Institute of Art
Tessa Garton (Professor Emerita, College of Charleston, South Carolina):
Evidence Set in Stone? Twelfth-century Sculptors and Workshop Practices in Northern Palencia, Spain
Open to all, free admission
The northern region of Palencia, close to the pilgrimage route to Santiago de Compostela, contains a remarkable number of well-preserved and richly carved Romanesque churches, concentrated in the region around Aguilar de Campoo, and close to quarries with excellent quality stone for sculpture. The repetition of similar designs at many different locations suggests a system of professional production by a workshop engaged on multiple commissions, and the mass-production of standard motifs. Signatures and inscriptions provide evidence of the increasingly professional status of sculptors; most remarkable is the portal at Revilla de Santullan, where Micaelis depicts himself next to the apostles and in the act of carving the tablecloth for the Last Supper. The discovery of marginal engravings on a group of sculptures recently removed from the church at Santa Maria de Piasca, in Cantabria, provides further insights into the working practices of the masons.
Tessa Garton studied History of Art at the University of East Anglia with Peter Lasko and Eric Fernie, and at The Courtauld Institute of Art with George Zarnecki, writing her PhD on Early Romanesque Sculpture in Apulia. She taught at the University of Aberdeen and at the College of Charleston, South Carolina, and has recently retired. Her major area of interest is Romanesque sculpture; she served as an investigator for the Corpus of Romanesque Sculpture in Ireland, and has studied Romanesque sculpture in Apulia, Scotland, Ireland, France and Spain. Her recent research has been focused on northern Spain, on the pilgrimage route to Santiago de Compostela and the region of northern Palencia.
Alfonso Pleguezuelo (Seville), ‘Clay: more than just earth and water. The symbolic values of Spanish Baroque ceramics’
A recording of the lecture (as a .wav file) is available here
11:00 Meet in Room 63, National Gallery
Nicola Jennings (Courtauld Institute): Bartolomé Bermejo’s St Michael
Juan de Flandes’ Christ Appearing to the Virgin
Michael Sittow ‘sThe Ascension
12:00 AGM (Sainsbury Wing Conference Room)
14:00 East Wing: Room 30
Peter Schade (Head of Framing): Recent framing projects (incl. Valdes Leal)
Larry Keith (Head of Conservation and Keeper): Restoration of Velázquez’s Christ in the House of Martha and Mary
Xavier Bray: Goya’s Portrait of Andres del Peral (Room 39)
Marjorie Trusted: Velázquez’s St John on Patmos and Immaculate Conception
Letizia Treves (Head of Curatorial Department and Curator of Italian and Spanish Paintings 1600-1800): Zurbarán’s two paintings of Saint Francis in Meditation, and display plans Room 30
Susan Wilson: Zurbarán’s St Margaret of Antioch (Room 30)
Xanthe Brook: Murillo’s portraits
Closing Lecture: Ronda Kasl (Metropolitan Museum of Art, New York), The Sum of Virtues: Sovereignty and Salvation at the Cartuja de Miraflores
17:00-1800, Courtauld Institute of Art, Somerset House, Strand
Followed by a drinks reception