The Fundación Juan March presents to the public its on-line gateway to the complete content of each of the 205 catalogues accompanying the exhibitions held at its three venues since 1973, in Madrid, Cuenca (the Museo de Arte Abstracto Español) and Palma de Mallorca (the Museu Fundación Juan March). This collection of documents will be continually updated, and its principal aims are the dissemination and promotion of research and knowledge in the fields of art and art history and the advancement of public awareness of the institution’s history of exhibitions. Each catalogue will be published online in the languages in which it originally appeared one year following its corresponding exhibition’s conclusion or once all print copies have been sold.
At its inauguration, All Our Art Catalogues since 1973 offers readers over 34,000 pages of material, including essays by more than 500 authors and images of 18,500 works by nearly 1,900 artists and extending beyond 20th century and contemporary art. An advanced navigation tool allows for interconnected searches across the entire site and within each catalogue, and results may be filtered by date, title, language and relevance. The search engine also generates recommendations for consulting similar material in other catalogues.
From the dazzling spectacle of Burgos Cathedral to the cavernous nave of Palma Cathedral or the lacy splendour of San Juan de los Reyes, Spain preserves a remarkable variety of inventive but little understood Gothic buildings. Yet Gothic architecture in Spain and the Spanish kingdoms has traditionally been assessed in terms of its imitation of northern European architecture, dismissed for its ‘old-fashioned’ or provincial quality, and condemned for its passive receptivity to ‘Islamic influence’. But did imitation really triumph over invention in the architecture of medieval Iberia? Are the two incompatible? Can inventio and imitatio offer useful or valid analytical tools for understanding Gothic architecture? And to what extent are invention or imitation determined by patrons, architects, materials or technologies? This essay collection brings together leading scholars to examine Gothic architecture from across Iberia from the thirteenth to the sixteenth century, and provides the first significant account of Spanish Gothic architecture to be published in English since 1865.