The exhibition Intacta María. Política y religiosidad en la España barroca, opening on 30 November 2017, analyses the process through which devotion to the Immaculate conception was created and popularised in early modern Spain. While the Immaculate Conception only became dogma in 1854, as early as 1616 the Spanish Monarchy became a staunch supporter of the theory, turning its defence into a national priority. In the following years, the Immaculate Conception became Spain’s most heartfelt devotion and a sign of national identity. Art played an important role in this process, amounting to what we may describe as a marketing campaign. This will be the focus of the Museo de Bellas Artes’ forthcoming exhibition, featuring more than 50 paintings, sculptures, prints and books borrowed from notable Spanish museums and churches such as the Museo Nacional de Escultura de Valladolid, the Cathedral of Seville, the Biblioteca Nacional de España, and many others.
Please click here for more information on the exhibition.
Call for Papers: Wider Worlds: Art and Audience Under the Spanish Crown, The Frick Collection, New York, April 5, 2018
Deadline: Dec 12, 2017
The Frick Collection, New York
The Frick Collection is pleased to invite submissions for “Wider Worlds: Art and Audience under the Spanish Crown,” a public symposium inspired by the special exhibition Zurbarán: Jacob and His Twelve Sons, Paintings from Auckland Castle (January 31 to April 22, 2018). Co-organized with the Meadows Museum, in Dallas, where the paintings are currently on view, this exhibition marks the first time that Francisco de Zurbarán’s set of thirteen monumental canvases depicting the family of the biblical prophet Jacob will be displayed in the Americas.
Zurbarán’s paintings were probably commissioned in the 1640s for a monastery in colonial Spanish Peru, where the popularity of this particular iconography drew on histories positing the indigenous inhabitants of the Americas as “lost descendants” of the twelve tribes of Israel. The works traveled to England and, in 1756, entered the collection of the bishop Richard Trevor, an advocate for the rights of Jewish people. This history, as well as the apocryphal story of the paintings’ seizure by pirates, prompts us to think seriously about the afterlives of objects, anticipated versus accidental receptions, and art’s capacity for generating multivalent, sometimes competing, interpretations. For Jacob and His Twelve Sons, those interpretations range from justifying the enterprises of one colonial empire to serving as symbols of religious tolerance in another.
We welcome proposals for twenty-minute papers on the status of the art object and the circulation of objects and ideas in the early modern Hispanic world. Please send a C.V. and 250-word abstract by Tuesday, December 12, 2017, to firstname.lastname@example.org. Submissions from emerging scholars, including early career university and museum professionals and advanced doctoral students, are particularly encouraged. Possible lines of inquiry include:
• How artists, patrons, and audiences dealt with anxieties around distance, delay, and the conveyance of meaning in the diverse and multilingual early modern Hispanic world;
• Re-signification and/or halted trajectories in the biographies of objects, especially in a global context;
• The imaging of origin myths and master narratives;
• How Iberia’s Jewish and Islamic pasts were interrogated and reinterpreted in Catholic image practices;
• The issue of workshops, masters, and authorship and their relationship to global markets;
• The global and material turns in art-historical scholarship.
“Wider Worlds: Art and Audience under the Spanish Crown” is convened by Caitlin Henningsen (The Frick Collection) and Adam Jasienski (Southern Methodist University). Susan Grace Galassi (Senior Curator, The Frick Collection) will preside.
Sacred art in the age of contact: Chumash and Latin American traditions in Santa Barbara, Art, Design & Architecture Museum, University of California, Santa Barbara, until 8 December, 2017.
Sacred Art in the Age of Contact focuses on the relationship between art and religion in both historic Chumash and Spanish traditions in the early Mission period in the eighteenth and nineteenth centuries, highlighting themes of devotion, sacred space, language and materiality. The exhibition investigates the mutually transformative interaction among these traditions. Twentieth-century and contemporary Chumash visual production will be on view alongside sacred objects. This exhibition brings together, for the first time, a diverse array of approximately 100 objects, from local collections that include the Mission Santa Inés, Mission La Purísima Concepcíon, the Santa Barbara Mission Museum and Archive-Library, the Santa Barbara Museum of Natural History, and the Repository for Archaeological and Ethnographic Collections at UC Santa Barbara.
Esther Borrego Gutiérrez and Jaime Olmedo Ramos eds., Santa Teresa o la llama permanente. Estudios históricos, artísticos y literarios (Madrid: Centro de Estudios Europa Hispánica, 2017).
424 pp, 56 illus. colour and b&w.
Paperback € 33,66 (without IVA).
Twenty essays from the proceedings of the International Congress on Saint Teresa of Avila, held in 2015 at the Universidad Complutense in Madrid. Essays include ones relating to artists associated with the saint and to the vision of women in Teresian literature, and a bibliographical appendix of all the principal works on Teresian literature from her own to the present day.