Tag Archives: Rome

BSR Online Lecture: The Iberian and the Other in early modern Rome, TOMORROW, Wednesday 3 June, 18.00–19.30 CET (17.00 UK time)

Click here to register, places are limited (NB 17.00 UK time)

From the British School at Rome:

We are delighted to launch this series of #BSROnlineLectures for all our friends and followers and in the hope of making new ones. Thanks go to all of those who have agreed to contribute to this first series and to colleagues at the BSR who have pulled the series together with such skill and speed. Although we cannot gather here in Rome, we take consolation in coming together online. – Stephen Milner, Director

For different communities, at different times and for different reasons, Rome has always formed an important locus; this discussion will focus on one particular such early modern group.  As the sixteenth-century progressed into the seventeenth, many individual Spanish and Portuguese had made their way to Rome, not only because of its geo-political significance, but also because for a large minority of them it offered a freedom of action that was unobtainable in their own countries. These were the Conversos, Iberians of Jewish descent, who were being gradually and effectively excluded from playing a role in church and state in Spain and Portugal, two countries that were briefly united from 1580. Drawing on our research in Rome, undertaken as historian and art historian respectively, we shall discuss the kind of lives these men (and occasionally women) were able to make for themselves in Rome, what roles they played there, and their importance, out of scale to their number, as patrons of the visual arts both at home and abroad, ranging from El Greco to Velazquez.

Piers Baker-Bates is currently a Visiting Research Associate at The Open University, United Kingdom, having previously been a Leverhulme Early Career Fellow at the same institution. He is also chair of ARTES, the Iberian & Latin American Visual Culture Group. He received his Ph.D. from the University of Cambridge in March 2006 and has since held fellowships at a number of institutions, including the British School at Rome and the Dutch Institute in Florence and was an Ailsa Mellon Bruce Visiting Senior Fellow at CASVA in Autumn 2019. This was for his new project: ‘In the Spanish Fashion: Italian Material Culture and Spanish Devotional Practice in the Sixteenth Century’. His book on Sebastiano del Piombo, Sebastiano del Piombo and the World of Spanish Rome was published in September 2016, while articles on Sebastiano have appeared in both edited collections and in journals.  He has also co-authored two edited volumes, The Spanish Presence in Sixteenth-Century Italy: Images of Iberia, with Dr Miles Pattenden, which was published by Ashgate, supported by the CEEH, in January 2015 and “Un nuovo modo di colorire in pietra”: Paintings on Stone and Material Innovation, with Dr Elena Calvillo, which was published by Brill in March 2018. More recently he has contributed an essay and entries to the catalogue of the National Gallery, London, exhibition, Sebastiano del Piombo and Michelangelo, which ran from March to June 2017 and the Uffizi, Florence, exhibition, Spagna e Italia in Dialogo nell’Europa dell Cinquecento, which ran from February to May 2018.

James W. Nelson Novoa is Associate Professor in the department of Modern Languages and Literatures and Medieval and Renaissance studies at the University of Ottawa (Canada). He received his doctorate in Spanish philology from the University of Valencia in Spain in 2003 under the direction of Professor Julio Alonso Asenjo, with a European thesis co-directed by Professor Michele Luzzati of the University of Pisa. He was a postdoctoral fellow of the Foundation for Science and Technology of Portugal (2006–10) and (2011–14). Between 2014 and 2015 he was a researcher in the research project funded by the European Research Council and led by Professor Yosef Kaplan at the Hebrew University of Jerusalem: a transitional diaspora: cultural and religious changes in the Sephardic western communities during the period Modern, Faculty of Humanities, Hebrew University. He is the author of the book Being the Nação in the Eternal City: Portuguese New Christian Lives in Sixteenth Century Rome, Peterborough: Baywolf Press, 2014, of more than 30 peer-reviewed articles and 25 book chapters. Among his areas of academic interest are Italo-Iberian cultural relations in the modern period and the New Christian diaspora in Italy in the sixteenth and seventeenth centuries.

Summer course: “Romanization and Islamization in the Western Mediterranean”, Casa Árabe, Córdoba, Monday 23– Saturday 28 July 2020

Specialists from different academic institutions will guide a select group of students in a series of seminar-style intensive classes throughout a week-long course.

INTRODUCTION AND OBJECTIVES
The image above speaks for itself: in the background, built as the Friday Mosque of Cordoba, an extraordinary example of medieval Arab architecture and a popular tourist destination, which is at the same time the embodiment of the civilization of al-Andalus itself; in the foreground, the Roman bridge crossing the Guadalquivir since 2000 years reminds that Cordoba was the capital of one of the richest provinces of the Roman Empire.

This IV Intensive Summer Course held in Casa Árabe Cordoba will introduce English speakers to the fascinating history of two empires: the Roman and the Islamic one. Specialists from different academic institutions will guide a select group of students in a series of seminar-style intensive classes throughout a week-long course.
This year, the course will focus on the processes of Romanization and Islamization that led to the formation of the Western Mediterranean first as a Roman and later on as an Islamic society. Together we will explore issues related to the sources at our disposal to reconstruct such processes (including literary sources and archaeological evidence) as well as the debates regarding their interpretation.

VENUE
The choice of the Casa Árabe in Córdoba as the venue for the course hardly needs any explanation. It is housed in the beautiful Casa Mudéjar, a 14-16th century building whose restoration received the World Heritage City Award 2011 from the Spanish Ministry of Education, Culture and Sports. The Casa is located at a three-minute walk from the Mosque-Cathedral.

THE STUDENTS AND COURSE STRUCTURE
The course is directed at university students and scholars who – regardless of their specialization – want to become familiar with the most relevant issues related to the history of al-Andalus. Taught in English, it aims at guiding the participants to the wide range of scholarly research on al-Andalus. Thirty students will be selected from among the applicants (for the application procedure see below).
Students are not required to have knowledge of Arabic or any other language except English; for those who are proficient in Arabic, guidance in the Arabic sources will be provided as a complement.
A basic bibliography of studies in English will be provided once the selection of students has been made and registration has been finalized. The students selected are expected to become familiar with that bibliography before the beginning of the course. A more comprehensive bibliography, including the most relevant studies in a variety of languages, will be provided during the course.
As the course is intensive and text-oriented, students are required to be present at each class. An attendance certificate will correspondingly be provided. For those interested in producing a research paper, assignments will be given and upon submission (within six months) an examination certificate can be obtained.

SCHEDULE
The course will take place during the fourth week of July, from Monday 23 to Saturday 28, with a total of 34 hours. On Friday, class will be held in the Umayyad palatine town of Madinat al-Zahra’. The course will be completed with two Archeological Workshops on Tuesday and Thursday morning.

LODGING AND MEALS
Coffee will be provided in the morning breaks and the fee includes as well a welcome reception and a dinner on Thursday. Students should arrange for the rest of their meals and lodging. Córdoba has many hotels and restaurants. A selection of the different options available around Casa Árabe will be provided upon registration.

APPLICATION AND FEE
Those interested are requested to send an e-mail message to infocordoba@casaarabe.es, indicating in the message subject line: Intensive Summer Course Al-Andalus IV. They need to provide a brief introduction about the candidate’s profile, including first and last names (maximum 300 words), and a letter expressing their interest in the course. The deadline is July 1th 2020. Those 30 selected will be contacted by July 3rd 2020. 

Once confirmation of admittance is received, registration must be completed using the application form that will be sent. The fee for the course is 300 €.

Further information: Calle Samuel de los Santos Gener, 9.
From Monday-Friday, 9:30 a.m. to 14:00 p.m. (infocordoba@casaarabe.es).

Closing Soon: ‘Olga Picasso’, Museo Picasso Málaga, until 2 June

Pablo Picasso, Olga Pensive (winter 1923), Musée national Picasso-Paris (c) RMN-Grand Palais (Musée national Picasso-Paris)/Mathieu Rabeau, Sucesión Pablo Picasso, VEGAP, Madrid, 2018

The Museo Picasso Málaga presents Picasso’s first wife Olga Khokhlova and her story in the first show of its 2019 exhibition calendar. The exhibition Olga Picasso was inspired by the letters and photographs found in the travel trunk of the Russian dancer, Bernard Ruiz-Picasso’s grandmother. The exhibition focuses on the years of Olga’s relationship with Picasso. It offers context on the creation of some of Picasso’s greatest works, connecting them with a personal story that developed alongside another, political and social, story.

Olga Khokhlova (Nezhin, Ukraine, 1891– Cannes, France, 1955) was the daughter of a colonel in the Russian Imperial Army. In 1911 she joined the prestigious and innovative Ballet Russes company, which was at that time highly successful in Europe under the direction of Serguei Diaghilev. She first met Pablo Picasso in Rome in the spring of 1917, when the artist was designing the sets and costumes for the ballet Parade. They were married in Paris, on 12th July 1918, and their first and only child, Paul, was born in February 1921. The couple separated in 1935, although they remained married until Olga’s death in Cannes, in 1955.

The Russian ballerina’s travel trunk, which her son received when he inherited the chateau of Boisgeloup—currently owned by the Fundación Almine y Bernard Ruiz-Picasso para el Arte (FABA)—contained previously unseen letters and photographs. For many years, the drawers harboured Kodak envelopes full of photos that told the story of Bernard’s grandparents, their life together, their travels, Picasso’s ateliers and more. In other compartments lay hundreds of letters in French and Russian, tied with little pink or blue silk ribbons. Olga’s trunk, engraved with her initials, also held her dance attire, ballet shoes, tutus, programmes and such personal objects as a Crucifix and a Russian Orthodox Bible. The contents of the trunk, which was the only personal belonging Olga kept after her separation from Picasso, revealed new aspects of the artist’s work during their relationship.

Approximately 350 items will be shown in the exhibition, including paintings, works on paper, photographs, letters, documents and films. It has been jointly curated by Émilia Philippot, conservator of the Musée national Picasso-Paris; Joachim Pissarro, professor of art history and director of Hunter College Art Gallery (New York); and Bernard Ruiz-Picasso, co-chair of the Fundación Almine y Bernard Ruiz-Picasso para el Arte, FABA, president of the Executive Board of Museo Picasso Málaga and member of its Board of Trustees. The exhibition has been adapted for Museo Picasso Málaga by José Lebrero, the museum’s artistic director, and Sofía Díaz, its exhibitions coordinator.

Click here for more information.

The exhibition will travel from Málaga to Madrid, where it will be on show at the CaixaForum from 19 June to 22 September 2019. Click here for details.

Job: Assistant Professor (Research): Pemberton Fellowship for the Study of Spanish Art, Zurbarán Centre for Spanish and Latin American Art, University of Durham, UK

NNP-DURHAM_CONGREGATION_48This post is full-time and fixed term (1 September 2018 – 31 August 2019).

The Zurbarán Centre for Spanish and Latin American Art seeks to appoint an outstanding candidate to a one-year fixed-term Research Fellowship in Spanish and/or Neapolitan Art of the early modern period (1550-1750). This posts offer an exciting opportunity to make a major contribution to the development of research at the Zurbarán Centre in relation to Durham Castle (University College) at Durham University. The successful candidates will be expected to undertake internationally excellent research. There will also be the opportunity to contribute to teaching in the School of Modern Languages and Cultures, with which the candidate will be administratively associated, to a maximum of 6 hours per week. The appointment is tenable from 1 September 2018 or as soon as possible thereafter.

We welcome applications from exceptional scholars with research interests Spanish art of the Golden Age and/or Italian art of the Classical and Baroque period, with a particular focus on major artistic centres such as Rome and Naples; in addition to painting, sculpture and architecture, we welcome applications centred also on decorative arts and garden history. The Pemberton Fellow will be associated with University College, located in Durham Castle, which houses a remarkable artistic collection which includes Spanish and Italian 17th-century art. The candidate will enjoy full board at Durham Castle (including meals and accommodation, subject to income tax and National Insurance deductions) as well as a contribution towards research related expenses.

Click here for more information

Conference: Inmaculada Hispánica. Imaginarios visuales en una monarquía confesional, EEHAR, Rome, 6 June 2018

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The Catholic Church did not define the mystery of the Immaculate Conception of Mary as a dogma until 1854. Yet as early as 1616 Felipe III created the Real Junta de la Inmaculada and proclaimed the Spanish Crown as the greatest supporter of the doctrine. Ever since, the Spanish Monarchy was at the centre of an intense propaganda campaign intended to promote belief in the immaculate conception. Art played a key role in this project.

This seminar will explore the different aspects of this marketing operation in the Iberian kingdoms, in the Italian Viceroyalties and in Rome itself. From Madrid, Palermo and Seville, the speakers will unveil the images of one of the most striking campaigns of visual propaganda in history.

Coordinator: Rafael Valladares (EEHAR-CSIC)

Director: Pablo González Tornel (Universitat Jaume I)

Participants:

Pablo González Tornel (Universitat Jaume I): Inmaculada Hispánica. Propaganda y persuasión en la España del Seiscientos.
Piers Baker-Bates (Open University, London): Inmaculada Hispánica in Rome: visual propaganda in the service of doctrine.
Maurizio Vitella (Università degli Studi di Palermo): Iconografia della Purissima Regina nel Viceregno di Sicilia.
Benito Navarrete Prieto (Universidad de Alcalá): La Inmaculada como instrumento político desde Murillo al nacionalcatolicismo.

Location: Escuela Española de Historia y Arqueología en Roma. Via di Sant’Eufemia 13. 00187 Roma.
Date and time: miércoles 6 de junio de 2018, 16:00 horas.

Click here for the programme in Spanish and Italian.

New Publication: Roma Hispánica, by Pablo González Tornel

Pablo González Tornel (Universitat Jaume I, Castellon)

Roma Hispánica. Cultura festiva española en la capital del Barroco

Madrid: Centro de Estudios Europa Hispánica (CEEH), 2017

ISBN 9788415245582
392 pp, 130 colour, pb.
33.66€ + VAT

A study of the canonisations, religious festivals, political celebrations and royal funerals commemorated by the Spanish community in Rome from the late fifteenth century and throughout the Baroque period.

Professor González Tornel’s previous publications are:

Los Habsburgo: Arte y propaganda en la colección de grabados de la Biblioteca Casanatense de Roma (2013)

La fiesta barroca: los reinos de Nápoles y Sicilia (2014)

Cuatro reyes para Sicilia: Proclamaciones y coronaciones en Palermo 1700-1735 (2016).

Book Launch – Sebastiano del Piombo & the World of Spanish Rome by Piers Baker-Bates

ARTES Committee Member Dr Piers Baker-Bates has published an examination of Sebastiano’s career as a transcultural artist through an analysis of his Spanish patrons in Rome.

This book will prove to be an important tool to the greater appreciation of the artist in advance of the National Gallery London’s forthcoming exhibition Michelangelo & Sebastiano (see link) curated by Matthias Wivel, from 15 March – 26 June 2017.

A discount is available to those ARTES members who would like to buy a copy. Please contact artesiberia@gmail.com for details.

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Applications deadline, 18 March 2016: EEHAR-CSIC / Museo Nacional del Prado

Abierta la convocatoria de ayudas EEHAR-CSIC / Museo Nacional del Prado

EEHAR-CSIC / Museo Nacional del Prado

Deadline: Friday, 18 March 2016!

La Escuela Española de Historia y Arqueología en Roma-CSIC y el Museo Nacional del Prado comienzan una colaboración científica para promover iniciativas dirigidas a jóvenes investigadores en los campos de la Historia, la Historia del Arte y las Ciencias Humanas. La primera de ellas es la organización de un Taller dedicado a las Geografías de la pintura barroca, un encuentro entre especialistas de este campo y jóvenes investigadores que tendrá lugar en la Escuela Española de Historia y Arqueología en Roma entre los días 10 y 12 de mayo de 2016.
For more information, click here.

Frida Kahlo, Rome

2014-05-FridaKahlo-Rome
Frida Kahlo, Scudiere del Quirinale, Rome, 20 March – 13 July 2014. Exhibition incorporating major paintings by Kahlo alongside photographs of the artist (taken mainly in the 1940s) and focussing especially on the theme of ‘self-depiction’ both in the form of traditional self-portraits and in the development of the Kahlo iconography and ‘legend’. Both the exhibition and the accompanying catalogue are by Helga Prignitz-Poda, one of the three authors of the Kahlo catalogue raisonne published in 1988.