Tag Archives: Painting

Opens Today: The Young Picasso, Blue and Rose Periods, Fondation Beyeler, Basel, until 26 May 2019

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PABLO PICASSO, FAMILLE DE SALTIMBANQUES AVEC UN SINGE, 1905
Gouache, watercolour and ink on cardboard, 104 x 75 cm
Göteborg Konstmuseum, Purchase 1922
© Succession Picasso / 2018, ProLitteris, Zurich
Photo: © Göteborg Konstmuseum

In 2019, as an exceptional cultural highlight, the Fondation Beyeler is mounting a unique exhibition devoted to Pablo Picasso’s masterpieces of his early Blue and Rose periods. This will be the most comprehensive presentation ever seen in Europe of Picasso’s paintings and sculptures from 1901 to 1906, each one of which is a milestone on the road to recognition as the twentieth century’s paramount artist. Picasso’s pictures from this period are counted among the most beautiful examples of modern art and are certainly some of the most valuable art works anywhere in the world.

At the age of just twenty, the aspiring genius Picasso (1881 – 1973) was already engaged in a restless search for new themes and forms of expression, which he immediately brought to perfection. One artistic revolution followed another, in a rapid succession of changing styles and visual worlds. The forthcoming exhibition at the Fondation Beyeler places the focus on the Blue and Rose periods, and thus on a central phase in Picasso’s work. It also sheds fresh light on the emergence, from 1907 onward, of Cubism, as an epochal new movement that was nevertheless rooted in the art of the preceding period.

In these poignant and magical works, realized in Spain and France, Picasso – the artist of the century – creates images that have a universal evocative power. Matters of existential significance, such as life, love, sexuality, fate, and death, find their embodiment in the delicate beauty of young women and men, but also in depictions of children and old people who carry within them happiness and joy, accompanied by sadness.

The exhibition features around 75 masterpieces on loan from major museums and private collections worldwide. In a multimedia space, fascinating and interactive books and a film allow visitors to immerse themselves in the young artist’s life and work.

Click here for more information.

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Opens Today: Fortuny: Friends and Followers, Meadows Museum, Dallas, until June 2, 2019

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Mariano Fortuny y Marsal (Spanish, 1838–1874), The Choice of a Model, 1868–74. Oil on wood. National Gallery of Art, Washington. Corcoran Collection (William A. Clark Collection), 2015.143.12.

A painting by Mariano Fortuny y Marsal (1838–1874), The Choice of a Model (1868–74), is on long-term loan from the National Gallery of Art, DC, to the Meadows Museum. In honor of this prestigious loan, the Museum will host an exhibition dedicated to Fortuny and his world, drawing from its rich holdings of works on paper as well as key loans from private and public collections, including the Dallas Museum of Art and the Museum of Fine Arts, Houston, in order to showcase many of the friends, family, and followers who engaged with the popular Spanish painter’s work. Fortuny’s paintings were especially prized by nineteenth-century American collectors as well as by contemporaneous artists. The legacy of that popularity resonates with the distinctly American provenance of both the Meadows’s Beach at Portici and the National Gallery’s The Choice of a Model, and their current ownership by American museums.

 

Though today Fortuny is lesser known outside the country of his birth, the Spanish painter was extremely popular in both Europe and the United States during his lifetime and well into the early twentieth century. Imitators of his characteristically proto-Impressionist, painterly style and eclectic, “exotic” genre scenes were so plentiful that their style came to be described with its very own “ism”: “Fortunismo” (Fortuny-ism). Fortuny: Friends and Followers explores that legacy by bringing together a diverse group of artists, including the important French artists Jean-Léon Gérôme (1824–1904), James Tissot (1836–1902), Jean Louis Ernest Meissonier (1815– 1891). Fortuny’s sphere of influence is explored through a variety of themes including intimate representations of family and home, trends of modern life in European cosmopolitan centers like Paris and Venice, cultural arts from Spain and beyond, and much more.

Click here for more information.

Lecture: Dr Edward Payne, ‘Le noir Valencian’: Ribera, Gautier and the French Taste for Violent Painting, Durham University, 7 February 2019

frenchsemiinar7thfeb1200x4007th February 2019, 16:00 to 17:00, Room 146, Elvet Riverside 1, Durham University

Paintings by the Spanish Baroque artist, Jusepe de Ribera (1591–1652), prompted a range of contradictory responses in the nineteenth century. Poets, travel writers, critics and artists reacted to his work, especially his striking depictions of violent subjects, at once with admiration and displeasure. In his epic poem Don Juan (1823), Lord Byron declares that ‘Spagnoletto tainted / His brush with all the blood of all the sainted’, and in 1845, Théophile Gautier published two poems on the artist, referring to Ribera as ‘le noir Valencian’, and ‘plus dur que Jupiter’. While Byron and Gautier are often quoted in the literature on the artist, scholars have been swift to dismiss these responses as ‘muddying the waters’ of Ribera’s œuvre, and thus his reception during the nineteenth century has, until recently, received scant scholarly attention.

Through a close, comparative study of Ribera’s paintings and Gautier’s poems, this lecture will explore nineteenth-century attitudes towards extreme imagery in the context of the revival of the Spanish School in France. It will provide a more contextualised and nuanced account of Ribera’s reception during the nineteenth century, and demonstrate that Gautier’s poetic responses are not, in fact, distorting, but revealing. The lecture will argue for the significance of these poems by suggesting that Gautier calls attention to the problematic relationship between the act of inflicting torture and the art of representing pain, a tension which is central to an understanding of Ribera’s violent imagery, and to the myth-making of Ribera as a ‘violent’ artist.

Click here for more information, or contact zurbaran.centre@durham.ac.uk

Conference: Las mujeres y las artes en la corte española, Madrid, 20–22 February 2019, Universidad Complutense, Madrid

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Programme

MIÉRCOLES, 20 DE FEBRERO

09:30 Registro de participantes

10:00 Inauguración. Jaime M. de los Santos. Consejero de Cultura, Turismo y Deporte. Comunidad de Madrid. Presentación.  Miguel Luque. Decano de la Facultad.

MESA I. MUJERES PROTAGONISTAS DE LAS ARTES.
MODERA FÉLIX DÍAZ MORENO (UCM)

10:30 Plautilla Bricci: cronaca di un oblio. Consuelo Lollobrigida (Univ. of Arkansas – William J. Fulbright School of Arts and Sciences)

11:00  Pintoras flamencas en los siglos XVI y XVII: las sagas familiares y el talento. Ana Diéguez-Rodríguez (Instituto Moll. Centro de investigación en pintura flamenca Univ. de Burgos)

11:30  Pausa café

12:30  Vidas y afanes de las dos impresoras novohispanas del siglo XVIII: Rosa Teresa Poveda y Manuela de la Ascensión Cerezo. Marina Garone Gravier (Instituto de Investigaciones Bibliográficas, Univ. Nacional Autónoma de México)

13:00  Mujeres artistas en la Real Academia de Bellas Artes de San Carlos de Valencia. Mariángeles Pérez-Martín (Univ. de València)

13:30  Debate. Comida

MESA II. IDENTIDADES FEMENINAS, GENERADORAS DE ESPACIOS.
MODERAN CONCEPCIÓN LOPEZOSA APARICIO (UCM) Y SARA FUENTES LÁZARO (UNIV. A DISTANCIA DE MADRID)

16:00 De la casa al hogar. Aposentos femeninos en la Edad Moderna. Gloria Franco Rubio (UCM)

16:30 “Fare scena della casa”. Isabel de Farnesio y la arquitectura pintada en La Granja de San Ildefonso. Sara Fuentes Lázaro (Univ. a Distancia de Madrid)

17:00 Sociabilidad, ciudad y género en la crisis del Antiguo Régimen. Aproximaciones desde la cultura visual y material. Álvaro Molina (Univ. Nacional de Educación a Distancia)

17:30 “Mujeres en el límite”. Presencias femeninas en el Paseo del Prado de Madrid. Concepción Lopezosa Aparicio (UCM)

18:00 Debate

JUEVES, 21 DE FEBRERO

MESA III. LAS ARTES Y LA PRÁCTICA DEL PODER
MODERAN MAGDALENA DE LAPUERTA (UCM) Y MIGUEL HERMOSO CUESTA (UCM)

10:00 Il mecenatismo di Bona Sforza alla corte di Bari nella prima metà del ‘500. Mimma Pasculli (Univ. degli Studi di Bari Aldo Moro. Dpto. Lettere, Lingue e Arti)

10:30 Sofonisba Anguissola y la construcción de una imagen femenina para la familia Habsburgo. Jorge Sebastián Lozano (Univ. de València)

11:00 Patrimonio y encargos artísticos de Juana Cortés, II duquesa de Alcalá. Sergio Ramiro Ramírez (UCM)

11:30 Debate

12:00 Pausa café

12:30 La perla de la Monarquía hispana: Margarita de Austria y el retrato cortesano. Magdalena de Lapuerta Montoya (UCM)

13:00  Sor Ana Dorotea de Austria y la exaltación de las mujeres fuertes. Cipriano García-Hidalgo Villena (UCM)

13:30  María Isabel de Braganza y la música. Judith Ortega Rodríguez (ICCMU-UCM)

14:00  Debate. Comida

WORKSHOP (LUGAR: SALA DE JUNTAS). CUARTOS DE MUJERES. ESPACIOS DONDE VIVIR Y TRABAJAR EN EL SIGLO XVI

16:30  Presentación a cargo de Beatriz Blasco Esquivias (UCM). Intervienen: Elena Díez Jorge (Univ. de Granada), Ana Aranda Bernal (Univ. Pablo Olavide, Sevilla), María Núñez – González (Univ. de Sevilla)

18:00  Debate

VIERNES, 22 DE FEBRERO

MESA IV. EL ARTE EN SUS MANOS.  LOS MUSEOS Y LA GESTIÓN DEL PATRIMONIO
MODERA JONATAN JAIR LÓPEZ MUÑOZ (UCM)

10:00 Las mujeres y la arqueología en Europa: de la aristocracia a las clases medias. Margarita Díaz-Andreu (ICREA y Univ. de Barcelona)

10:30 Mujeres y museos en Europa  del Este. Laura Coltofean-Arizancu (Univ. de Barcelona)

11:00 Las profesionales de museos en España, una historia envuelta en silencios. Margarita Moreno Conde (Museo Arqueológico Nacional)

11:30 Debate. Pausa café

WORKSHOP
INVESTIGACIONES PREDOCTORALES
Presentación a cargo de María Ángeles Toajas Roger (UCM)

12:00 Aproximación al estudio de las mujeres en los talleres artísticos de la Villa de Madrid (1561–1700). Alba Gómez de Zamora Sanz  (UCM)

12:20 La decoración del Cuarto de la Reina en el Alcázar Real de Madrid bajo Isabel de Borbón- Introducción y reflexiones. Audrey-Caroline Michielon (UCM / Univ. de Toulouse –  Jean Jaurès )

12:40 El estudio de la moda femenina en la corte: Cuestiones metodológicas. María Redondo Solance  (UCM)

13:00 Las mujeres y las artes en “la hora navarra del XVIII”. Sergio Rodero Jiménez (UCM)

13:20 Mujeres en las actas de la Real Academia de Bellas Artes de San Fernando. Daniel Lavín González (UCM)

13:40 Debate y conclusiones del Segundo Seminario. Comida

VISITA GUIADA: REAL MONASTERIO DE LA ENCARNACIÓN
16:30 Encuentro frente al Monasterio. Plaza de la Encarnación, 1 (28013 Madrid)

Practical information 

Location: Salón de Grados y Sala de Juntas, Facultad de Geografía e Historia, Universidad Complutense de Madrid, February 20–22, 2019

Registration deadline: Feb 20, 2019

Scientific committee:
Antonio Bonet Correa, Rosario Camacho, Benito Navarrete, Mª Ángeles Pérez Samper, Javier Rivera Blanco.

Organisers:
Gloria Del Val, Sara Fuentes, Daniel Lavín, Jonatan Jair López, Sergio Ramiro, Sergio Rodero.

Supported by the Proyecto de Investigación I+D+i FEMENINO SINGULAR. Las mujeres y las artes en la Corte española de la Edad Moderna (reinas, nobles, artistas y empresarias) [HAR2015-65166-P MINECO/FEDER]

Email the organisers: lasmujeresylasartes@gmail.com

Website: https://www.ucm.es/femenino_singular/

Featured exhibition: Hermen Anglada-Camarasa. Una revisión pictórica de la colección, Caixaforum, Palma de Mallorca, until 30 August 2020

AngladaCamarasaRevisioPictorica_cartell_desktop-v3-esThroughout his career the Catalan painter Hermen Anglada-Camarasa (Barcelona 1871–1959 Pollença) worked mainly in the ‘modernista’ style. During WWI he travelled to Mallorca for the first time and eventually settled for the rest of his life in the north of the island, where in 1967, following the artist’s wishes his house in Pollença was turned into a museum. This exhibition in Palma de Mallorca displays a wide range of his paintings alongside his collection of costume, furniture and Japanese prints, in a setting evocative of his house. 

Click here for more information.

Featured Exhibition: Roma en México/México en Roma: las academias de arte entre Europa y el Nuevo Mundo (1843–1867), Museo Nacional de San Carlos, Mexico City, until April 28, 2019

cop_0174The exhibition Roma en México/México en Roma: las academias de arte entre Europa y el Nuevo Mundo (1843–1867) presents the academic and artistic exchange between Italy and Mexico through 93 nineteenth-century works. It focuses on the relations between the Accademia de San Luca and the Academia de San Carlos, and presents the results of an extensive research project by Professor Stefano Cracolici, Director of the Zurbarán Centre for Spanish and Latin American Art at Durham University, and Professor Giovanna Capitelli, of the Università della Calabria in Italy.

Roma en México/México en Roma is divided in eight sections: La fábrica del prestigio discusses Rome’s legitimising power; Obras de viaje is dedicated to the import of exemplary paintings and sculptures from Rome to Mexico; Dramatis personae presents the portrait as the most sought-after genre in the period; Virtud de los clásicos focuses on the importance of Greek and Latin literature in inspiring iconographies; La riqueza del pueblo is a display of works after the live model; La escuela del paisaje includes landscapes by the Hungarian painter Károly Markó El Viejo, among others; La internacional del arte sacro contains religious paintings by students of the Academia de San Carlos; El espectáculo de la historia concludes the exhibition with major historical works.

The show foregrounds works by Mexican artists, from the lesser-known Tomás Pérez, Primitivo Miranda, Tiburcio Sánchez and Epitacio Calvo, to better-known personalities such as Juan Cordero. Francesco Coghetti, Francesco Podesti and Giovanni Silvagni are examples of Roman painters whose works arrived in Mexico and were used to illustrate the art of painting to students of the Academia.

A major publication by Campisano Editore accompanies the exhibition, acting as both an exhibition catalogue and a scholarly introduction to this under-researched topic.

 

Featured Exhibition: Nápoles en Osuna: José de Ribera en el legado artístico de los duques de Osuna (1618-2018), Colegiata de Osuna (Seville), until 18 April 2018

ribera-osunaThe collegiate church of Osuna, established in the 16th century by Juan Téllez-Girón, 4th Count of Ureña, contains important artworks commissioned and donated by the Dukes of Osuna. Several members of the family held important position in the government of such Spanish imperial domains as Sicily, Milan and Naples.

Works acquired in the latter city are the focus of a fascinating exhibition in the collegiate church, Nápoles en Osuna: José de Ribera en el legado artístico de los duques de Osuna (1618-2018). Curated by Pedro Jaime Moreno de Soto, the exhibition is open until 28 April 2018. Stars of the exhibition are five paintings by the Spanish-Neapolitan artist Jusepe de Ribera. They were commissioned by Pedro Téllez Girón, 3rd Duke of Osuna, and donated to the church by his widow Catalina Enríquez de Ribera. Among the works on show is a breathtaking Crucifixion which decorated the collegiate church’s high altar for almost a century.

The exhibition in the collegiate church is complemented by a small display of Italian artworks in the nearby Monasterio de la Encarnación.

Click here for opening hours and more information.