Survey exhibition of some 150 works, including painting, sculpture, photography, video art and works on paper, by nearly 100 artists, covering the five decades from 1968, when a new generation of Basque artists born in the 1940s was joining the art scene, to 2018 when art made by women has become increasingly prominent. It also assesses the importance that the individual and collective careers that emerged in the region have had on both Spanish and international art. The show’s point of departure will be the collection of the Bilbao Fine Arts Museum, which will be joined by important loans from private collections and fellow public institutions—such as the Museo Nacional Centro de Arte Reina Sofía, the Museu d’Art Contemporani de Barcelona, ARTIUM and the Kunstmuseum of Basel—that have placed particular emphasis on acquiring contemporary Basque art. The exhibition, which is curated in-house by Miriam Alzuri, Begoña González and Miguel Zugaza, will be accompanied by a catalogue. Click here for more information.
After ’68. Art and Practices in the Basque Country 1968–2018 is completed in gallery 33 by an exhibition space curated by the musician, producer, journalist and sound artist Xabier Erkizia. This gallery presents original materials—record covers, posters, sound recordings, etc.—which provide a historical view of the musical and sound practices in the Basque Country over these past five decades. This section of the exhibition can be explored through a dedicated microsite at this link.
Throughout 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.
This seminar will be dedicated to Tomàs Harris (1908–1964). Harris was a MI5 spy, but also a painter of Spanish landscapes and a scholar of Spanish art. His outstanding collection of prints by Goya is now at the British Museum.
The lecture will take place in Seminar Room 3, UCL History of Art, 20 Gordon Square, London, 6–8pm. Works made or collected by Harris will be on display at UCL Art Museum on the afternoon on the lecture, 2–5:30pm.
In 1966, Samuel Shore, head of Shorewood Publishers in New York, commissioned Salvador Dalí (1904–1989) to commemorate the twentieth anniversary of the founding of the State of Israel in 1948. Such a commission was not uncommon for the artist. In fact, from approximately 1965 to 1979, the artist’s output was largely comprised of painted works on paper, completed on commission and made expressly for production as limited-edition prints.
The Shore commission was for a series of twenty-five paintings depicting the renewal of the Jewish people. Dalí completed his mixed media paintings in gouache, watercolour, and Indian ink on paper; the paintings were then reproduced as lithographs and published in a limited edition of 250 sets of twenty-five lithographs each. Dalí took inspiration from both the Hebrew Bible as well as contemporary history to address a variety of subject matter related to Jewish history and diaspora, spanning the course of over 2,000 years. Titled Aliyah, a Hebrew word that literally means ‘migration to the land of Israel’, the series was completed in 1968 in time for the celebration of Israeli Independence Day on April 3. Following their exhibition in 1968 the paintings and prints were offered for sale and dispersed; there are only a handful of complete sets known today. This rare complete set is shown for the first time since its acquisition by the Meadows Museum in 2017.
The set was generously given to the Museum by Linda P. and William A. Custard in celebration of Meadows Museum advisory council member Janet Pollman Kafka, and her twentieth year as Honorary Consul of Spain in Dallas.
The painter’s study. Estudio del pintor. Private collection, Madrid. Photo: María Bisbal.
Hernán Cortés Moreno (Cádiz, 1953) has succeeded in renewing the genre of Spanish portraiture by introducing to it elements of abstraction, pop art and cinematography. This exhibition of some 130 portraits of key individuals important to the history, politics and culture of Spain over recent decades and includes a portrait of Sir John Elliott, the historian of Spain and the Americas and Emeritus President of ARTES. Other sitters include the former Socialist prime minister, Felipe González, the historian, physician and philosopher Gregorio Marañón and the British-born architect Norman Foster as well as friends and family members from the 1980s onwards.
Click here for more information, and here for the artist’s website
The Centro de Estudios Europa Hispánica and the Center for Spain in America (CSA) encourage studies on Spanish history, art and literature by establishing doctoral and postdoctoral scholarships at European and American universities, as well as at research centres whose holdings are particularly relevant to the knowledge of Spanish culture. They likewise establish assistantships for curatorial work at museums with significant holdings of Spanish painting.
The following doctoral scholarships are currently open for applications:
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.