Museo Thyssen-Bornemisza, Madrid
9 June – 13 September 2015
The exhibition will include the recently conserved St Serapion — click here for video (before its redisplay in the new European galleries at Wadsworth Atheneum, Hartford, Connecticut), and aims to provide a new insight into the artist’s work by showing, for the first time in Spain, recently rediscovered works alongside paintings by the best of his pupils including his son Juan de Zurbarán’s still lives. Curated by Zurbarán specialist Odile Delenda and Mar Borobia, Head of Old Master Paintings at the Museo Thyssen-Bornemisza.
Exhibition: Rogier van der Weyden (c.1399-1464) , Prado Museum, 24 March – 28 June 2015.
Exhibition devoted particularly to the important influence of the fifteenth-century Flemish artist’s work in Spain and inspired by the recent completion of the conservation of his Escorial Crucifixion, which has been at the royal monastic palace since 1574. The exhibition, curated by Lorne Campbell (formerly of the National Gallery, London), will bring together for the first time Van der Weyden’s Crucifixion with other masterpieces with a Spanish provenance including the Prado’s Descent from the Cross and The Miraflores Triptych, now in Berlin as well as his Antwerp Seven Sacraments Triptych and some 15 other works including large paintings, sculptures and tapestries.
A symposium, ‘Rogier van der Weyden and the Iberian Peninsula‘, will be held on 5-6 May and address issues such as the significance of the Escorial Crucifixion and the relationships between Rogier’s paintings and sculpture produced in the Low Countries and in Castile, the career of the Brussels sculptor Egas Cueman, who settled in Castile, and the impact of Rogier’s work on the artists of the Iberian kingdoms.
Registration fee: General 120€; Students 60€; Scholars professionals 75€.
Curators: Manuela Mena, Head Curator of the Goya and 18th Century Art Department, and Gudrun Maurer, Curator of the Goya and 18th Century Painting Department at the Museo del Prado
The exhibition of over 140 works proposes a new approach to Goya’s tapestry cartoons by treating them as illustrating the artist’s thought processes and development at the beginning of his career. Cartoons are shown alongside the tapestries for which they were made in the Escorial and Pardo palaces. They are compared with the work of contemporaneous and historic artists to illustrate Goya’s sources and inspiration.