Tag Archives: Santander

Closing Soon: Lightness and Boldness. Goya’s Drawings

 

962b4ed1-3c56-4f33-b464-8072e75a2d5f

Francisco de Goya, I am still learning. Album G, 54
Ca. 1826. Black chalk, Lithographic crayon on grey laid paper, 192 x 145 mm.

Ligereza y atrevimiento. Dibujos de Goya, Centro Botín, Santander. Closes 24 September 2017.
One of the first exhibition’s in the  recently opened Renzo Piano designed Centro Botín, this show is curated by the Prado’s Head of Drawings and Prints, José Manuel Matilla, and the Chief Curator of the Goya and 18th-century Art Department, Manuela Mena. The exhibition includes 80 drawings, from the Prado’s holdings of some 520, selected as representative of the different periods of Goya’s artistic activity from 1796 to his death in 1828. Also shown are preparatory drawings for a selection of prints from his series, Sueños, Caprichos, Desastres de la guerra, Tauromaquia and Disparates. This exhibition is the result of an ambitious research and cataloguing project based on the drawings of Francisco de Goya, thanks to the collaboration agreement entered into by the Fundación Botín and  Prado Museum in 2014. The first volume of the catalogue raisonné is due to appear later in 2017 and a larger exhibition is provisionally scheduled at the Prado in 2019.

 

Advertisements

Featured Exhibition: Lightness and Boldness. Goya’s Drawings

 

962b4ed1-3c56-4f33-b464-8072e75a2d5f

Francisco de Goya, I am still learning. Album G, 54
Ca. 1826. Black chalk, Lithographic crayon on grey laid paper, 192 x 145 mm.

Ligereza y atrevimiento. Dibujos de Goya, Centro Botín, Santander. Closes 24 September 2017.
One of the first exhibitions in the  recently opened Renzo Piano designed Centro Botín, this show is curated by the Prado’s Head of Drawings and Prints, José Manuel Matilla, and the Chief Curator of the Goya and 18th-century Art Department, Manuela Mena. The exhibition includes 80 drawings, from the Prado’s holdings of some 520, selected as representative of the different periods of Goya’s artistic activity from 1796 to his death in 1828. Also shown are preparatory drawings for a selection of prints from his series, Sueños, Caprichos, Desastres de la guerra, Tauromaquia and Disparates. This exhibition is the result of an ambitious research and cataloguing project based on the drawings of Francisco de Goya, thanks to the collaboration agreement entered into by the Fundación Botín and  Prado Museum in 2014. The first volume of the catalogue raisonné is due to appear later in 2017 and a larger exhibition is provisionally scheduled at the Prado in 2019.

 

2015-05-Itinerarios

Itinerarios XXI, Fundación Botín, Santander, 28 March – 31 May 2015
Exhibition of works by nine Spanish, Portuguese and Latin American contemporary artists who are the recipients of the 21st Fundación Botín Visual Arts Grants for 2013-2014. Carles Congost (Gerona, 1970), Albert Corbí (Valencia, 1976), Patricia Esquivias (Caracas, 1979), Jon Mikel Euba (Vizcaya, 1967), Rodrigo Oliveira (Portugal, 1978), Wilfredo Prieto (Cuba, 1978); Julia Spínola (Madrid, 1979), Justin Randolph Thompson (Peekskill, NY, 1979) and Jorge Yeregui (Santander, 1975).
A downloadable leaflet –at http://www.fundacionbotin.org/89dguuytdfr276ed_uploads/2015_03_26_06_31_03.pdf –illustrates examples of the artists’ works including sculptures, photographs and artist’s books.

José de Madrazo y Agudo (1781-1859) Drawings, Santander

2014-06-Jose de MadrazoJosé de Madrazo y Agudo (1781-1859) Drawings, Fundación Botín, Santander, 12 June – 14 September. Exhibition of a previously unpublicized aspect of Madrazo’s work, including many drawings from the hundreds of previously unknown works recently discovered by the Prado in the hands of Madrazo’s descendants. The exhibition includes 61 drawings, four prints and four oils and a bust portrait of the artist by Ponciano Ponzano. Apart from the 58 works lent by the Prado there are also loans from the Museo Nacional de Romanticismo, Madrid; Lille’s Musée des Beaux Arts; the Kunstsammlungen, Dresden; and the Hispanic Society of New York. José de Madrazo was the patriarch of the artistic Madrazo clan and trained in the neoclassical style in Paris under David (1748-1825). The exhibition is curated by Carlos G Navarro, from the Department of 19th-century painting at the Prado, who will also be working on a future Madrazo catalogue raisonné. This is a further example in the series of monographic exhibitions organized since 2007 by the Fundación Botín to showcase the work of Spanish master draughtsmen.