Six remarkable paintings by one of the most celebrated painters of the Spanish Golden Age, Bartolomé Esteban Murillo (1617–1682), have been conserved and researched at the National Gallery of Ireland. They depict the parable of the Prodigal Son. Fascinating details uncovered during the conservation project and a number of related prints will be displayed alongside the series, revealing the secrets of the artistic process of this master storyteller.
This event will feature an afternoon of presentations and a special exhibition preview in celebration of the opening of Murillo: The Prodigal Son Restored at the National Gallery of Ireland.
Showcasing a unique series of works by one of the most celebrated artists of the Spanish Golden Age, Bartolomé Esteban Murillo (1617-1682), this in-focus exhibition explores themes of sin, repentance and forgiveness across six remarkable canvases. Donated to the National Gallery of Ireland by the Beit family in 1987, the six works have not been displayed together publicly for several decades. Murillo: The Prodigal SonRestored will celebrate the recent conservation of the series, which has revived the splendour of Murillo’s colours, brushwork, and mastery of narrative.
12pm – 1.15pm
Exhibition preview (Present your ticket for admission) Hugh Lane Room, Beit Wing, Level 3
1.15pm – 1.25pm
Registration Lecture Theatre, Beit Wing, Level -1
Welcome Sean Rainbird, Director, National Gallery of Ireland
Introduction Dr Aoife Brady, Curator, National Gallery of Ireland
Murillo: The Prodigal Son Revisited Muirne Lydon, Conservator, National Gallery of Ireland
The Prodigal Son series. “Quatro cuadritos” by Murillo in the Museo del Prado. Elena Cenalmor Bruquetas, Researcher, Museo del Prado
Discoveries and Display: Murillo’s Virgin and Child in Glory Kate O’Donoghue, Curator, National Museums Liverpool, Walker Art Gallery
Questions and discussion
Tea / coffee Courtyard
Introduction Prof. Stefano Cracolici, Director, Zurbarán Centre
“All rooms are furnished with great works of art” – the Beit collection Pauline Swords, Curator, Russborough, Co. Wicklow
A Painter of Street Urchins and Beggars? The perception of Murillo in Britain. Isabelle Kent, Independent scholar
“Something of immortal value”: Murillo at the Meadows Museum Dr Amanda Dotseth, Curator, Meadows Museum, Dallas
Questions and discussion
Click here for more information and to book tickets (Full price €25, students/OAPs €22.50,Friends €20)
Juan Martínez Montañés (Alcalá la Real, 1568–Seville, 1649) marked a milestone in Spanish Baroque sculpture and a timeless model in the Sevillian school. This exhibition provides an insight into a select representation of 44 sculptures and reliefs by the brilliant artist, of a total of 58 works on display. Divided into three sections, the itinerary presents an exceptional repertoire of works that bear witness to the ambition of the major commissions he undertook, the sublime quality of his devotional images and the novelty of his iconographic models. The first section features works from his most outstanding groups or altarpieces, such as those from San Isidoro del Campo and the convent of San Leandro. The second one offers key examples of his magnificent religious imagery, such as Saint Christopher and Saint Jerome, and the third one highlights his most significant contributions to Sevillian Baroque iconography, as exemplified by the Infant Jesus from the Cathedral Side Chapel, ‘La Cieguecita’ (Little Blind One), and the Christ of Clemency.
The connections with the artistic and intellectual world of the day reveal the collaboration between Montañés and other artists, also represented here by paintings that formed part of altarpieces or were the pictorial expression of the new iconographies which the sculptor helped to establish. Many of the works on display have undergone conservation and restoration works specifically for the exhibition, enabling us to appreciate the extraordinary quality and beauty of the grand masterís work in all its glory. Thanks to the generous collaboration of the Archbishopric of Seville, the exhibition also includes works which the general public rarely have the opportunity to admire, either because they are located high up on altarpieces or hidden away in convents and monasteries.
The call for papers is open for the DR-DS 2020 International Congress, which will be hosted in the cities of Seville and Granada, from the 11th to the 15th of May, 2020. The congress will include inaugural and closing conferences by professors Amadeo Serra, from the Universitat de València, and Fernando Marías, from the Universidad Autónoma de Madrid, as well as a number of highly qualified guest speakers.
The great transformation experienced by Spanish architecture during the reign of Emperor Charles V finds a brilliant and diverse expression in the activity of Diego de Riaño and Diego Siloé. Both masters, one working in the Sevillian metropolis and the other in the former Nasrid capital, the last bastion of Islam on the Peninsula, defined two very different models of operation. Both produced some of the first Spanish buildings with a fully Renaissance language.
This congress proposes to approach these two great architects in the context of the transition to the Renaissance in Spain. They will also serve as a pretext for tackling similar phenomena from a broader perspective, incorporating methodological and historiographic problems within a European framework. The organisers invite national and international researchers to an event that builds a cooperative space for interdisciplinary dialogue, offering an attractive and exciting programme of keynotes and plenary sessions given by experts in the field, with the presentation of unpublished papers selected by a scientific committee. All contributions will be published in an edited volume. Papers are subject to evaluation using a double-blind peer reviewed system to ensure scientific quality.
The congress will be hosted in Seville and Granada. The organization will be responsible for the transport between the two cities. The conference will open on 11 May in Seville. Paper sessions will be accompanied by special visits, for example to the sacristy of Seville cathedral and the city’s town hall, both works by Diego de Riaño. On 13 May sessions will take place in Granada, including a visit to the cathedral, designed by Diego Siloé, and Charles V’s palace, designed by Pedro Machuca.
The conference will focus on the following themes: General: – Theoretical and historiographic approaches. – Graphic and documentary testimonials.- Science and technology. – Architecture and city. – Promoters, patrons, ideologists, artificers. Specific: – Diego de Riaño and Lower Andalusia. – Diego Siloé and Eastern Andalusia. – The transition to Renaissance in other areas.
The National Gallery holds one of the finest paintings collections by the Spanish 17th–century artist Francisco de Zurbarán in the world. They have also recently acquired a painting by his son, Juan. Zurbarán lived in Seville, the main European port to the Americas from which he sent over 100 paintings.
Akemi Herráez Vossbrink, The CEEH Curatorial Fellow in Spanish Paintings, discusses the history of collecting Zurbarán, including paintings in their Spanish context, collecting practices in the UK, and the circulation of his work in the Americas.
This event is free and no booking is required. Spaces are limited and available on a first-come, first-served basis.
The next meeting of the Maius Workshop will take place on 18 February, 5–6pm, in the Research Forum, Courtauld Institute of Art, Vernon Square, Penton Rise, Kings Cross, London WC1X 9EW (*Please note the change of address).
Alex Letvin, Andrew W. Mellon and Maude de Schauensee Postdoctoral Curatorial Fellow in the Department of European Painting and Sculpture at the Philadelphia Museum of Art, will discuss work-in-progress research on Spanish Golden Age painters Zurbarán and Murillo.
Maius is a friendly platform for informal dialogue and collaborative research. Our sessions are open to all, and research in early stages of development is especially welcome. We look forward to seeing you at Alex’s presentation, and please feel free to email us with ideas and suggestions for future events.
The 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 Crucifixionwhich decorated the collegiate church’s high altar for almost a century.