Tag Archives: Spanish Art

Bermejo in Barcelona and Online

Previously at the Prado, a monographic exhibition of some 48 works by Bartolomé Bermejo, one of Spain’s leading 15th-century painters, has recently re-opened at the MNAC in Barcelona. It will be on show until 19 May. Click here for more information.

To complement the exhibitions, two 50-minute lectures given at the Prado during the Bermejo exhibition are available on You Tube. The first lecture (click here) was given by Laura Alba, head of the Prado’s conservation studio, and Maite Jover. It focuses on Bermejo’s skilled technique. The second (click here) features the lead curator of the collaborative Prado/MNAC exhibition, Juan Molina of Gerona University.

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Maius Workshop Meeting: Alex Letvin, ‘Baroque Rivals? Zurbarán and Murillo Between Seville and Madrid’

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.

News from ARTES Scholars

ARTES warmly congratulates Ana Dias on a successful viva of her PhD thesis, ‘The Apocalypse in early medieval Iberia: the function and impact of the illuminated “Beatus”’. Ana’s research at Durham University was supported by ARTES through a PhD Scholarship (2015) and an ARTES Coll&Cortes Travel Scholarship (2017).

We are also pleased to announce the publication of Las portadas de la catedral de Jaca. Reforma eclesiástica y poder real a finales del siglo XI (Huesca: Instituto de Estudios Altoaragoneses, 2018), by Francisco de Asís García García. In 2017 Francisco was awarded an ARTES Coll y Cortés Post-doctoral Scholarship to support research on the V&A’s collections of medieval Iberian textiles as an Erasmus + Visiting Fellow.

ARTES accepts applications for a number of awards each year, including an essay prize and travel scholarships. We also collaborate with CEEH to support PhD scholarships at The Courtauld Institute of Art and Durham University. Click here for more information on our awards.

ARTES is a Registered Charity (no. 1112883) dedicated to raising awareness and understanding of Iberian and Latin American Visual Culture. You can support our work by becoming a member of our friendly, enthusiastic and international community.

Opens Today: Fortuny: Friends and Followers, Meadows Museum, Dallas, until June 2, 2019

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Mariano Fortuny y Marsal (Spanish, 1838–1874), The Choice of a Model, 1868–74. Oil on wood. National Gallery of Art, Washington. Corcoran Collection (William A. Clark Collection), 2015.143.12.

A painting by Mariano Fortuny y Marsal (1838–1874), The Choice of a Model (1868–74), is on long-term loan from the National Gallery of Art, DC, to the Meadows Museum. In honor of this prestigious loan, the Museum will host an exhibition dedicated to Fortuny and his world, drawing from its rich holdings of works on paper as well as key loans from private and public collections, including the Dallas Museum of Art and the Museum of Fine Arts, Houston, in order to showcase many of the friends, family, and followers who engaged with the popular Spanish painter’s work. Fortuny’s paintings were especially prized by nineteenth-century American collectors as well as by contemporaneous artists. The legacy of that popularity resonates with the distinctly American provenance of both the Meadows’s Beach at Portici and the National Gallery’s The Choice of a Model, and their current ownership by American museums.

 

Though today Fortuny is lesser known outside the country of his birth, the Spanish painter was extremely popular in both Europe and the United States during his lifetime and well into the early twentieth century. Imitators of his characteristically proto-Impressionist, painterly style and eclectic, “exotic” genre scenes were so plentiful that their style came to be described with its very own “ism”: “Fortunismo” (Fortuny-ism). Fortuny: Friends and Followers explores that legacy by bringing together a diverse group of artists, including the important French artists Jean-Léon Gérôme (1824–1904), James Tissot (1836–1902), Jean Louis Ernest Meissonier (1815– 1891). Fortuny’s sphere of influence is explored through a variety of themes including intimate representations of family and home, trends of modern life in European cosmopolitan centers like Paris and Venice, cultural arts from Spain and beyond, and much more.

Click here for more information.

200 Years of the Museo del Prado, 1819–2019

On 19 November 1819 Ferdinand VII of Spain inaugurated the Museo Real de Pinturas. Over the following two centuries, the new institution would turn into the Museo Nacional del Prado, one of the world’s most visited museums with an unparalleled collection of around 8,200 drawings, 7,600 paintings, 4,800 prints, and 1,000 sculptures.

The Museum will celebrate its anniversary with several exhibitions and events over the course of the year. Highlights of the programme are:

Current exhibitions

Museo del Prado 1819–2019. A place of memory, Museo Nacional del Prado, Madrid, until 10 March 2019

lmd8988This exhibition opens the anniversary celebrations by offering a survey of the museum’s history that focuses on the dialogue between the Museum and society; heritage policies in Spain; the trends that have guided the growth of the museum’s collection and its transformation into a place that has allowed Spanish and foreign writers, intellectuals and artists to reflect on the country’s past and its collective identity.

Velázquez and the Golden AgeCaixaForum, Barcelona, until 3 March 2019

1aec4fcf-3625-450e-bf34-d074d781c69bArt at the court of Philip IV was an international language devoid of local boundaries. The work of Velázquez after 1623 is best understood in this international context. He was deeply influenced by paintings in the royal collections, especially works by Titian, Tintoretto and Rubens. One of his key experiences was the trip to Rome in 1629 where he encountered classical and Renaissance art and established contacts with his contemporaries in Italy. The exhibition underscores such internationalism through a selection of 61 paintings associated with Velázquez, the Spanish royal collections and the Spanish Golden Age. More than twenty of these works were painted by Italian, Flemish and French artists, including Titian, Rubens, Luca Giordano, Jan Brueghel, Anthonis Mor, Giovanni Lanfranco, Claude Lorrain, Salvator Rosa, Massimo Stanzione and Guido Reni. Spanish artists are represented through works by Ribera, Zurbarán, Murillo, Alonso Cano, Pereda, Maíno, Sánchez Coello, Mazo, Van der Hamen and others.

Forthcoming exhibitions

El maestro de papel. Cartillas españolas para aprender a dibujar de los siglos XVII y XVIII [The paper teacher. Spanish Drawing Manuals of the 17th and 18th Centuries], Museo Nacional del Prado, Madrid, from 15 October 2019 to 2 February 2020

2f86f58c9a8eaae8237c3c1faff98bc8This exhibition focuses on Spanish drawing manuals of the 17th and 18th centuries, locating them in their international context. These rare and innovative manuals responded to changing trends in the theory and practice of art. While such learning aids were produced across Europe, this exhibition will highlight the unique features of Spanish examples through works by José de Ribera, Pedro de Villafranca y Malagón, José García Hidalgo, Friar Matías de Irala and José López Enguídanos.

Solo la voluntad me sobra. Drawings by Goya, Museo Nacional del Prado, Madrid, from 19 November 2019 to 16 February 2020

d70b6af5-5b03-b189-cd11-ca0040d4325fThis exhibition is the result of the research undertaken for the publication of a new catalogue raisonné of Goya’s drawings, a subject to which the Museo del Prado has always devoted particular attention and which is one of the keystones of its collection. The exhibition will bring together more than 100 drawings by Goya from the Prado’s own collections and from public and private ones around the world. It will be presented as an extensive chronological survey of the master’s oeuvre, ranging from the Italian Sketchbook to the Bordeaux Albums. It will also offer an up-to-date vision of the ideas that recurrently appear in Goya’s work, revealing the ongoing and long-lasting relevance of his thinking.

Sofonisba Anguissola y Lavinia Fontana. Dos modelos de mujeres artistasMuseo Nacional del Prado, Madrid 22 October 2019 to 2 February 2020

39265f92-e9b3-6f56-3ee3-54fcbb8bab6cThe exhibition will reveal the artistic personality of two of the most outstanding women artists in western art. Through a total of 60 works and for the first time, the Museo del Prado will jointly present the most important paintings by Sofonisba Anguissola (c. 1535–1625) and Lavinia Fontana (1552–1614). The two artists achieved recognition and fame among their contemporaries for and despite their status as female painters. Both were able to break away from the prevailing stereotypes assigned to women in relation to artistic practice and the deep-rooted scepticism regarding women’s creative and artistic abilities. In particular, Sofonisba Anguissola had close connections with the Spanish court as tutor to Queen Elizabeth of Valois and later official court painter to King Philip II.

Their Majesties’ Retiring Room, Museo Nacional del Prado, Madrid 9 April 2019 to 24 November 2019

bfb4ca28-f763-c08f-97af-55b7416e5c2eThis exhibition project will recreate the original aspect of Room 39, known as Their Majesties’ Retiring Room. First opened in 1828, it was intended as a portrait gallery of the Bourbon Dynasty. The images on display were accompanied by still lifes, floral compositions and landscapes and by other paintings that depict events from the reigns of Charles III and Ferdinand VII. This installation will recreate the hanging of the paintings at different heights and will include some of the furnishings made for this space, including Ferdinand VII’s toilet.

Velázquez, Rembrandt, Vermeer. Miradas afines en España y Holanda [Velázquez, Rembrandt, Vermeer. Shared perspectives in Spain and the Low Countries], Museo Nacional del Prado, 25 June 2019 to 29 September 2019

0c80874a-3a0c-89ed-ff82-003ecc34c090This exhibition on late 16th- and early 17th-century Dutch and Spanish painting is the result of an extensive and important research project on the part of the Museum arising from a collaborative agreement with the Rijksmuseum in Amsterdam, which will be lending a significant group of works. The exhibition will offer a reflection on the pictorial traditions represented by Spain and the Low Countries. While Dutch art-historical literature has considered these traditions as essentially different, this exhibition will aim to juxtapose the historical myths and artistic realities of the two countries and to reflect on the numerous traits that they share. In order to appreciate these parallels the exhibition will include major works by artists such as Velázquez, Rembrandt, Ribera, Frans Hals and Vermeer.

Permanent Displays and Other Projects

Prado 200Museo Nacional del Prado and online, from 1 November 2019

6a2874c8-2b1b-2995-ea7b-6a627c68ad6aPrado 200 is a new feature within the museum’s permanent display. This installation is presented as nine chronological sections which will present the museum’s history with an emphasis on its architecture, public image and its principal exhibitions and activities. Curated by Victor Cageao, it will include works of art and documentary material from the permanent collection and from the holdings of the Museum’s archive and library (paintings, sculptures, prints, photographs, documents, architectural models, plans, etc.), displayed in Rooms 100, 101 and 102 of the Villanueva Building. It will be accompanied by a specially designed online timeline providing access to graphic and technical documentation on the Museum’s history.

Memoria audiovisual del Museo del Prado and Voces del Prado. Una historia oral 

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The video Memoria audiovisual del Museo del Prado present a selection of films and other television programmes filmed in the Museo del Prado, from 1907 to today. Voces del Prado. Una historia oral collects the oral history of the museum through interviews with employees, from the 1940s to today.

 

 

On Tour through Spain, various locations, until 8 December 2019screenshot 2019-01-22 at 12.19.26

As part of the project De gira por España, important works from the Prado collection will be on loan to a series of provincial museums, one for each of Spain’s autonomous regions or autonomous cities. Click here to find an interactive map of the loans.

 

 

And ARTES?

ARTES plans to join the party and organise events to celebrate the Prado’s birthday, for example in this year’s Glendinning lecture, by Javier Barón, Two Masters of the Prado: Velázquez, El Greco and Modern Painting. We have also changed our cover image to El Museo Del Prado, a painting by José Franco Cordero dated to c. 1890. The work, in the collection of the Madrid’s history museum, shows the Museum’s north façade before the construction of a new entrance designed by Francisco Jareño and completed around 1892. The church of San Jerónimo el Real is visible in the background. Click here for more information on this work.

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José Franco Cordero, El Museo Del Prado, c. 1890, Museo de Historia, Madrid. Creative Commons – Reconocimiento-NoComercial 2.5 España (CC BY-NC 2.5)

 

 

 

 

 

 

Featured Exhibition: Futuruins, Palazzo Fortuny, Venice, until 24 March 2019

palazzofortunyinterniBorn in Granada in 1871, Mariano Fortuny trained as a painter in Paris before settling in Venice at 18. Moving in international artistic circles, he befriended Gabriele D’Annunzio, Hugo von Hofmannsthal, Marchesa Casati and Prinz Fritz Hohenlohe-Waldenburg, among others. He was fascinated by the idea of the Gesamtkunstwerk, a total union of music, drama and visual presentation which he strove to realise in his set designs. In addition to his work for the theatre, he decorated aristocratic homes and museums. His luxury textiles were produced in a factory on the Guidecca in Venice and sold in shops in all European capitals. Towards the end of the 1930s Mariano Fortuny retired to a palace in the San Beneto district of Venice. Decorated by the artist, the palazzo now hosts the Fortuny Museum.

04-muve-san-pietroburgo-web-banner-quadrato-mobile-px-443-x-443Currently on show at the museum is Futuruins. The exhibition focuses on the the multiple meanings attributed to ruins through the centuries. Works from Venetian Civic Museums, the State Hermitage Museum and other international collections explore the architectural and sculptural remains of the Greco-Roman, Egyptian, Assyrian-Babylonian and Syrian civilisations. Contemporary art looks at the physical and moral ruins of today’s society. This is an exploration of the ruins of architecture, cities and suburbs, but also of men and ideas, as the result of time, negligence, degeneration, natural or political tragedies such as war and terrorism.

Ruins are an allegory for the inexorable passage of time, always uncertain and changeable, disputed between past and future, life and death, destruction and creation, Nature and Culture. The aesthetics of ruins is a crucial element in the history of Western civilisation. The ruin as concept symbolises the presence of the past but at the same time contains within itself the potential of the fragment. Fragments of antiquity, covered by the patina of time, hold cultural and symbolic implications that turn them into valid ‘foundation stones’ for building the future. Coming from the past, they confer a wealth of meaning on the present and offer an awareness to future projects.

Curated by Daniela Ferretti, Dimitri Ozerkov with Dario Dalla Lana, the exhibition includes works by such modern artists as Acconci Studio, Giorgio de Chirico,  Jean Dubuffet, Anselm Kiefer, Alberto Burri. Franco Guerzoni, Christian Fogarolli, Giuseppe Amato, Renato Leotta and Renata De Bonis have realised new commissions for the event. In addition, the State Hermitage Museum has lent more than 80 pre-modern works,  including paintings by Albrecht Dürer, Monsù Desiderio, Giovanni Paolo Pannini, Jacopo and Francesco Bassano, Parmigianino, Veronese, Jacob van Host the Elder, Arturo Nathan and Alessandro Algardi.

Click here for more information.

Featured Exhibition: After ’68. Art and artistic practices in the Basque Country 1968–2018, Museo de Bellas Artes, Bilbao, until 28 April 2019

exposicion-2-800-268Survey 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.