Enfilade

Call for Papers | Art, Anatomy, and Medicine since 1700

Posted in Calls for Papers by Editor on April 14, 2015

Art, Anatomy, and Medicine since 1700
Columbia Museum of Art, Columbia, South Carolina, 31 March — 1 April 2016

Proposals due by 1 July 2015

The symposium organizer seeks proposals for papers that address visual, theoretical, cultural, historical and/or contemporary connections, relationships, conflicts and/or collaborations among the visual arts, anatomy/dissection, and medicine from the eighteenth century to the present. Participants may be historians of art, medicine, science or technology, art educators, medical professionals, artists (who may propose to contextualize their own work), etc. Successful papers may also be invited for publication in an edited volume of the same theme.

Broad topics may include (but are certainly not limited to):
· The role of anatomy in artists’ training (past, present and/or future)
· Artists’ roles in the creation/dissemination of anatomical knowledge
· Artistic representation of anatomical and medical professionals
· Anatomical and medical models: from écorché figures to nano-imagery
· Anatomy as art, art as anatomy
· Anatomical displays, exhibitions (e.g. Body Worlds), and collections: from curious to educational to controversial
· Corpses, dissection and grave-robbing in art, literature and medical history
· Imaging bodily surface and anatomical depth: from sculpture to M.R.I.s and beyond
· Beyond human, superhuman, inhuman(e)?: technological ‘improvements’, additions and extensions of human anatomy from prosthetics/implants to Google glasses
· Zombies and vampires, and the creative/fantastic defiance of or resistance to anatomical, medical and worldly reality
· The evolutionary human in art and science: looking backward and looking ahead
· Parts vs. whole: the functions of specificity and generality in aesthetics and visual medical information

Please send cover letter, abstract (no more than 3 pages, double-spaced typed), and CV to:
Dr. Andrew Graciano, Associate Professor of Art History and Associate Director
School of Visual Art & Design
University of South Carolina
Columbia, SC 29208
or by email to: graciano@mailbox.sc.edu

Colloquium | Ces architectes qui ont bâti l’Europe

Posted in conferences (to attend) by Editor on April 13, 2015

From H-ArtHist:

Les Européens: Ces architectes qui ont bâti l’Europe, 1450–1950
Institut national d’histoire de l’art, Paris, 23–25 April 2015

Organisé avec le soutien de LabEx EHNE : Ecrire l’Histoire Nouvelle de l’Europe (Université de Paris-Sorbonne); Centre André Chastel (CNRS, Université de Paris-Sorbonne); et Centre Jean Pépin, THETA (CNRS-ENS, Paris)

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9.30  Ouverture du colloque par Alexandre Gady, directeur du centre André Chastel et Dany Sandron, responsable du LabEx EHNE pour le centre André Chastel

10.00  Olga Medvedkova (CNRS, centre Jean Pépin, Paris), Les « vitae» des architectes-migrants et la notion de l’Europe architecturale

10.30  L’Europe face à l’Europe à l’époque de la Renaissance
Président de séance : Alexandre Gady
• Marco Folin (Université de Gènes), Le cosmopolitisme d’un artiste de la Renaissance: Léonardo da Vinci (1442–1519) en France
• Sabine Frommel (EPHE, Paris), A la cour de France : Sebastiano Serlio (1475-1554) et Francesco Primaticcio (1504–1570)
• Agnieszka Wiatrzyk (EPHE, Paris), Le problème de la ville idéale : Bernardo Morando (1540–1600) et Zamosc

13.00  Pause déjeuner

14.30  Les architectes-migrants auprès des Cours européennes du XVIIe siècle
Président de séance : Claude Mignot
• Hélène Vérin (CNRS, centre Alexandre Koyré, Paris), De Princes en Monarques : Salomon de Caus (1576–1626) et l’art des grottes, fontaines et jardins
• Linnéa Tilly  (AUSser umr 3329), De maître maçon à architecte, Simon (1590?–1642) et Jean (1624-1696) de la Vallée en Suède
• Jorge Fernández-Santos Ortiz-Iribas (E.T.S.A. Universidad San Jorge, Saragosse), Un polymathe à la recherche de l’obliquité architecturale : Juan Caramuel Lobkowitz (1606–1682)
• Raphaël  Tassin (EPHE, Paris), Un Milanais, architecte du duc de Lorraine : Giovan Betto (1642–1722)

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9.30  L’Europe élargie au Siècle des Lumières
Président de séance : Pascal Liévaux
• Alexandre Gady (Université de Paris-Sorbonne), Faire l’Europe sans bouger : Robert de Cotte (1656–1735) et l’architecture royale
• Ekaterina Orekhova (Musée de l’Ermitage, Saint-Pétersbourg), Deux Italiens parisiens à Saint-Pétersbourg dans la première moitié du XVIIIe siècle : les Rastrelli, père et fils
• Jérôme de La Gorce (CNRS, centre André Chastel, Paris), Un artiste florentin dans l’Europe des Lumières : Jean Nicolas Servandoni (1695–1766)
• Dimitri Ozerkov (Musée de l’Ermitage, Saint Pétersbourg), Les antiquités romaines sans frontières : Vincenzo Brenna (1747–1820) en Pologne et en Russie

13.00  Pause déjeuner

14.30  L’Europe face au Monde Nouveau (XVIIIe et XIXe siècles)
Président de séance : Jean-Philippe Garric
• Emilie d’Orgeix (Université de Bordeaux-III), Un ingénieur, architecte, théoricien français à travers l’Amérique et l’Europe : Amédée Frézier (1682–1773)
• Alberto Garin (Universidad Francisco Marroquín Lives, Antigua Guatemala), L’ingénieur militaire espagnol, entre l’Antigua et la Nouvelle Guatemala : Luis Díez Navarro (1699–1776)
• Philippe Malgouyres (Musée du Louvre), Un architecte néoclassique espagnol au Mexique au crépuscule de l’empire espagnol : Manuel Tolsa (1757–1816)
• Pascal Dubourg-Glatigny (CNRS, centre Alexandre Koyré, Paris-Berlin), Un architecte-ingénieur français au service des méandres politiques de la Colonie du Cape : Louis-Michel Thibault (1750–1815)

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9.30  Les architectes émigrés et la modernité architecturale du XXe siècle
Président de séance : Pierre Caye
• Orfina Fatigato (Laboratoire ACS, ENSA Paris-Malaquais – DiARC, Università degli Studi di Napoli Federico II), Un ‘gothique’ devenu ‘latin’ : Le Corbusier (1887–1965)
• Nabila Oulebsir (Université de Poitiers, Centre Georg Simmel, CNRS-EHESS), Un architecte moderne méditerranéen : Léon Claro (1899–1991)
• Martin Pozsgai (Stiftung Bibliothek Werner Oechslin), Entre Bauhaus et exile : Fred Forbát (1897–1972), un architecte hongrois en Allemagne et en Suède
• Anat Falbel (Instituto de Filosofia e Ciencias Humanas. Universidade Estadual de Campinas. IFCH/UNICAMP), Architecture, histoire et engagement politique : Anatole Kopp
• Clôture du colloque par Pierre Caye, directeur du centre Jean Pépin, CNRS-ENS

 

New Book | The Cambridge Companion to the French Enlightenment

Posted in books by Editor on April 12, 2015

From Cambridge UP:

Daniel Brewer, ed., The Cambridge Companion to the French Enlightenment (New York: Cambridge University Press, 2014), 265 pages, hardback ISBN: 978-1107021488, $80 / paperback ISBN: 978-1107626140, $30.

9781107626140_p0_v1_s600The Enlightenment has long been seen as synonymous with the beginnings of modern Western intellectual and political culture. As a set of ideas and a social movement, this historical moment, the ‘age of reason’ of the seventeenth and eighteenth century, is marked by attempts to place knowledge on new foundations.

The Cambridge Companion to the French Enlightenment brings together essays by leading scholars representing disciplines ranging from philosophy, religion and literature, to art, medicine, anthropology and architecture, to analyse the French Enlightenment. Each essay presents a concise view of an important aspect of the French Enlightenment, discussing its defining characteristics, internal dynamics and historical transformations. The Companion discusses the most influential reinterpretations of the Enlightenment that have taken place during the last two decades, reinterpretations that both reflect and have contributed to important re-evaluations of received ideas about the Enlightenment and the early modern period more generally.

Daniel Brewer, Department of French and Italian, University of Minnesota, has published widely in the area of eighteenth-century French literature and culture. He is author of The Enlightenment Past: Reconstructing Eighteenth-Century French Thought (Cambridge University Press, 2008) and co-editor of L’Esprit Créateur: The International Quarterly of French and Francophone Studies.

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C O N T E N T S

Chronology
1  Daniel Brewer, The Enlightenment Today?
2  Antoine Lilti, Private Lives, Public Space: A New Social History of the Enlightenment
3  Andrew Curran, Anthropology
4  Paul Cheney, Commerce
5  J. B. Shank, Science
6  Dan Edelstein, Political Thought
7  Julie Candler Hayes, Sex and Gender, Feeling and Thinking: Imagining Women as Intellectuals
8  Charly Coleman, Religion
9  Jennifer Milam, Art and Aesthetic Theory: Claiming Enlightenment as Viewers and Critics
10  Thomas DiPiero, Enlightenment Literature
11  Stéphane Van Damme, Philosophe/Philosopher
12  Downing A. Thomas, Music
13  Anthony Vidler, Architecture and the Enlightenment
14  Anne Vila, Medicine and the Body in the French Enlightenment
15  Charles W. J. Withers, Space, Geography, and the Global French Enlightenment
Further Reading

PhD Studentship | Portraiture and the British Naval Officer

Posted in graduate students by Editor on April 11, 2015

Grindall family by R. Livesey ZBA5116

Richard Livesay, Captain Richard Grindall and His Family, ca. 1800 (Greenwich: National Maritime Museum). More information about the painting is available here»

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From AAH:

Portraiture and the British Naval Officer, ca.1740–1805
Full-time Collaborative PhD Studentship, University of East Anglia, 2015–2018

Applications due by 11 May 2015

The University of East Anglia, in partnership with the NMM and the NPG (both part of the Collaborative Doctoral Partnership, the Thames Consortium), is seeking to appoint a suitably qualified applicant for a full-time collaborative PhD studentship undertaking the first sustained critical study of British naval officers’ portraits (paintings and prints) between the period of Britain’s emergence as a world maritime power and that power’s consolidation at Trafalgar, for three years commencing 1 October 2015. The research will address the production, reception, dissemination and significance of eighteenth-century British naval officers’ portraits whilst also contributing to related online publications, research and events within the NMM and the NPG.

The successful applicant will be based at the NMM, the NPG and the Department of Art History and World Art Studies (UEA). The studentship is funded through the AHRC Collaborative Doctoral Award programme, and includes tuition fees up to the standard Home/EU amount and an annual stipend. Funding for PhD studentships from AHRC is available to successful candidates who meet the UK Research Council eligibility criteria. Applicants should hold (or expect to achieve) a Master’s degree and either a 1st Class or Upper 2nd Class Honours degree in a relevant discipline.

More information is available here»

Australia’s NPG Acquire Portrait of William Bligh

Posted in museums by Editor on April 11, 2015

Press release from the National Portrait Gallery in Canberra:

npgaus-2

Attributed to John Webber, Portrait of William Bligh, in Master’s Uniform ca. 1776 (Canberra: National Portrait Gallery)

On Tuesday, 31 March 2015, the National Portrait Gallery unveiled an exciting new acquisition of irrefutable importance to all Australians. Portrait of William Bligh, in Master’s Uniform (c. 1776), attributed to John Webber, is one of the earliest portraits of the contentious, historical figure and extends the Gallery’s remarkable collection of early colonial portraits.

On the occasion of the launch of the National Portrait Gallery Foundation, President Sid Myer announced the acquisition, made possible by a most generous act of benefaction. He paid special tribute to Canberra philanthropists, Sotiria Liangis and John Liangis, for their assistance in funding the purchase of this striking and masterful work. Director, Angus Trumble, said he was overjoyed with the purchase, one which the Gallery had been contemplating for some time. “The work, purchased by the Gallery through Christie’s in London, has a very high level of indisputable national significance to Australia, and the Gallery is immensely appreciative to the Liangis family for their support,” he said.

Portrait of William Bligh, in Master’s Uniform will take its place alongside another John Webber painting: the Portrait of Captain James Cook RN (1782), acquired in 2000 by the Commonwealth Government with the generous benefaction of Robert Oatley and John Schaeffer. Webber spent three years at sea with Cook and was the artist on the Resolution.

The life of William Bligh (1754‒1817) offers up a handful of the most remarkable episodes in the history of Britain’s maritime empire. Bligh’s epic journey to Timor with his companions in a small open boat the 3,600 miles whence they were ejected from H.M.S. Bounty remains an astonishing feat of navigation by the stars. Bligh’s misfortune was not merely to have gone through the ordeal of mutiny aboard the Bounty, but to have faced insurrection in Sydney during his tenure as fourth Governor of New South Wales. The Rum Rebellion of 1808 damaged Bligh’s reputation, but he was vindicated in London and promoted to vice-admiral of the blue. He ended his enormously eventful career by mapping Dublin Bay.

Bligh has become for Australians a mythic figure. There has been a bellwether William Bligh in every phase of Australian history—the martinet versus the brilliant cartographer and genius of navigation; the deeply misunderstood versus the merely blinkered man; the blackguard versus the gentleman and officer of the Royal Navy, steeped in its sometimes brutal disciplinary code; the angry tyrant versus the lonely husband and victim of circumstance, stoutly defended again and again, as a matter of principle, by their Lordships of the Admiralty.

Trumble said, “This portrait represents a different William Bligh. Here he is represented at the age of about 25, several years before his marriage, wearing the uniform of sailing master, already skilled in navigation and seamanship, no doubt ambitious for himself, his men and his vessel, shortly before he was hand-picked by James Cook to go aboard H.M.S. Resolution, on which the artist John Webber also sailed.”

Exhibition | George Morland: In the Margins

Posted in books, catalogues, conferences (to attend), exhibitions by Editor on April 10, 2015

Easy_Money_WYR_KLMUS_1985_2056

George Morland, Easy Money, 1788 (Huddersfield Art Gallery)

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Now on view at the University of Leeds:

George Morland: In the Margins
The Stanley & Audrey Burton Gallery, University of Leeds, 18 March — 11 July 2015 

Curated by Nicholas Grindle

This exhibition looks at migrants and margins in the work of the painter George Morland (1763–1804), a popular painter whose lifestyle and early death earned him lasting notoriety. Over 250 of his works are held by public collections in the UK and US alone. His paintings of smugglers, gypsies, pedlars, soldiers, and families, which represent some of his best compositions, as well as how they mirrored his own life, raise compelling questions about who, and where, is ‘marginal’ in society. There has been no exhibition of his work since a small show in Reading in 1975 and no substantial discussion of his work since a thesis written in Stanford in 1977 and a chapter in John Barrell’s book Dark Side of the Landscape in 1980. His pictures resonate with contemporary issues such as migration and marginality in a way that was not evident thirty years ago.

The exhibition will run at The Stanley & Audrey Burton Gallery from 18 March 2015 until 11 July 2015, with a possible UK tour from August 2015 onwards.

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A symposium is scheduled for the end of May:

Bohemians and Marginal Communities in the 18th Century: George Morland in Context
The Stanley & Audrey Burton Gallery, University of Leeds, 29 May 2015

The Stanley & Audrey Burton Gallery presents a free symposium, bringing together academic discussion of the work of late 18th-century English painter George Morland. To coincide with our current exhibition George Morland: In the Margins, the Gallery is delighted to welcome experts and academics from a range of fields, to discuss the wider context of Morland’s work. These speakers will include the exhibition’s guest-curator Dr Nick Grindle (UCL); Professor of History of Art at Oxford Brookes University, Christiana Payne; social geographer, Dr Martin Purvis; independent art historian, Dr Anthony Lynch; and UEA MPhil student Francesca Bove.

The speakers will address representations of social margins in Morland’s artistic output and look at the parallels between his life and works. What can his representation of gypsies, smugglers, pedlars and families tell us about the societal conditions of the late 1800s and how do they reflect our own times?  Morland was living on the brink of industrialisation, witnessing an increasingly capitalist culture and significant, sudden movements of people around the country; conditions which are still relevant to modern-day Britain. The worries of Morland’s contemporaries about the moral character and palatability of his works raises questions surrounding class relations and art’s role as social commentary and criticism.

Friday, 29 May 2015, 9:00–17:00. Free, though booking is essential. This event is kindly supported by the Paul Mellon Centre for Studies in British Art.

More information about programming for the exhibition is available here»

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The catalogue is available from the University of Leeds online bookstore:

Nicholas Grindle, ed., with essays by David Alexander, Kerry Bristol, Sue Ecclestone, Nicholas Grindle, and Martin Purvis, George Morland: Art, Traffic and Society in Late Eighteenth-Century England (Leeds: The Stanley & Audrey Burton Gallery, 2015), 99 pages, ISBN: 978-1874331544, £12.

Screen Shot 2015-04-09 at 9.50.45 AMGeorge Morland: Art, Traffic and Society in Late Eighteenth-Century England looks at the life and work of popular painter George Morland (1763–1804), whose remarkable talent, prodigious output, bohemian lifestyle and early death earned him lasting notoriety. Morland was the most infamous artist in Britain at the time of his death in 1804. His paintings enjoyed a stellar reputation, which was enhanced by stories about his fabulous earnings, prodigal spending, legendary drinking, and staggering debt. He was renowned for his associations with smugglers, gypsies and pugilists, as well as his constant attempts to evade his creditors. His best work is breathtaking in its ambition and execution, while the popularity of his drawings, paintings, and the prints after his work rose throughout his lifetime. Within months of his death, no fewer than four books had been published packed with anecdotes—many apocryphal—about his life and work. No other artist of the late eighteenth and early nineteenth centuries commanded such a profile.

Morland was reputed to have painted thousands of canvases and made hundreds of drawings. But in spite of his immense popular and critical stature, recent scholarly attention has been patchy, and this is the first publication to seriously review the artist in over thirty years. It includes five new essays which use recent perspectives in historical geography and studies of print and exhibition culture to help us look in new ways at his work and practice, as well as catalogue entries that bring scholarship on his paintings up to date.

Lecture | Philippe Blanchard on the Tombs of the Dukes of Épernon

Posted in lectures (to attend) by Editor on April 10, 2015

From Inrap:

Philippe Blanchard | Étude historique et archéologique du caveau
des ducs d’Épernon, XVIIe–XVIIIe siècle, Eure-et-Loir

Musée du Louvre, Paris, 21 May 2015

Crânes sciés, famille des ducs d’Épernon (1661-1690), église Saint-Pierre d’Épernon. © Philippe Blanchard,Inrap.

Crânes sciés, famille des ducs d’Épernon (1661–1690), église Saint-Pierre d’Épernon © Philippe Blanchard, Inrap.

Cette conférence est donnée dans le cadre du cycle de conférences Actualité de la recherche archéologique.

Sous l’égide des départements du musée du Louvre, des spécialistes sont invités à présenter leurs plus récentes découvertes et les orientations de la recherche archéologique. En partenariat média avec Archéologia le magazine de l’actualité archéologique.

Auditorium du Louvre
Cour Carrée et Pyramide du Louvre
75058 Paris
Jeudi 21 mai 2015, à 12 h 30. Durée : 1 h
Entrée libre

New Book | La Peinture des Lumières: De Watteau à Goya

Posted in books by Editor on April 10, 2015

From the publisher:

Tzvetan Todorov, La Peinture des Lumières: De Watteau à Goya (Paris: Éditions du Seuil, 2014), 216 pages, ISBN: 978-2021108828, 45€.

71SxLYMOX1LLa peinture ne naît jamais dans un monde isolé, elle entre en résonance avec les mouvements social et intellectuel de son époque, et participe elle-même de la pensée. Il s’agit là d’un échange à double sens : les artistes sont imprégnés de l’esprit de leur temps, que pourtant ils transforment et enrichissent. Au XVIIIe siècle, le mouvement des Lumières bouleversera l’ordre de la société ; notre modernité en est issue.

La peinture des Lumières place l’être humain comme objet central de la représentation. Elle renonce à figurer les surhommes (dieux, personnages mythologiques, héros légendaires), pour se tourner vers des personnes ordinaires, engagées dans leurs activités quotidiennes. Elle met en scène leur variété, montrant hommes et femmes, enfants et vieillards, riches et pauvres, de toutes professions, y compris ceux qui se trouvent en marge de la société, fous, criminels et prostituées. Elle représente les facettes multiples de la nature humaine : l’amour sous toutes ses formes, mais aussi la violence, les réjouissances et les désespoirs, les activités religieuses et politiques. Parallèlement les règles de la représentation se transforment.

Cet ouvrage, illustré par une centaine de tableaux, dessins et gravures en couleurs, analyse la peinture des Lumières dans deux séries de chapitres. Les uns sont consacrés à la figure de quatre grands peintres européens : Antoine Watteau, Alessandro Magnasco, William Hogarth, Francisco Goya. Les autres chapitres examinent quelques sujets révélateurs : les personnages situés aux marges de la vie sociale (enfants, gueux, étrangers), les activités illustrant les marges de l’esprit (fantasmes, érotisme, travestissements), ou encore certains sous-genres picturaux, comme les portraits, les paysages, ou les natures mortes.

Tzvetan Todorov est historien des idées et essayiste, directeur de recherche honoraire au CNRS. Auteur d’une trentaine d’ouvrages, il a consacré plusieurs livres à l’étude de la peinture, dont Eloge du quotidien (1993, sur la peinture hollandaise du XVIIe siècle), Eloge de l’individu (2000, sur la peinture flamande du XVe siècle) et Goya à l’ombre des Lumières (2011). Il est également l’auteur d’un essai intitulé L’esprit des Lumières (2006).

Conference | Motion and Emotion in the French Enlightenment

Posted in conferences (to attend) by Editor on April 9, 2015

From the conference program:

Body Narratives: Motion and Emotion in the French Enlightenment
Department of Art History, The University of Chicago, 10 April 2015

Organized by Susanna Caviglia

Screen Shot 2015-04-08 at 10.51.37 PM8:30  Welcome, Christine Merhing, University of Chicago

8:40  Introduction, Susanna Caviglia, University of Chicago

9:00  Body Language: Narrative and Metaphor
Chair: Anne Leonard, Smart Museum of Art
• Anti-Pygmalion: Jean-Bernard Restout’s Diogenes Asking for Alms (1767) and the Question of Body Movement, Étienne Jollet, Université Paris 1 Panthéon-Sorbonne/Columbia University
• The Body Speaks: Anatomical Narratives in French Enlightenment Sculpture, Dorothy Johnson, University of Iowa

10:30  Coffee

11:00  The Mobile Body: Social Identity and Visual Dynamics
Chair: Nina Dubin, University of Illinois at Chicago
• Engaging Tapestries at the Hôtel de Soubise: Attention, Mobility, Intercorporeality, Mimi Hellman, Skidmore College
• Watching Her Step: Women and the Art of Walking after Marie-Antoinette, Melissa Hyde, University of Florida

12:30  Lunch

2:00  Body Temporality: Aesthetics of Walking
Chair: Robert Morrissey, University of Chicago
• Movement and Stasis: Mapping Cythera, Mary D. Sheriff, University of North Carolina at Chapel Hill
• Strolling Time, Ewa Lajer-Burcharth, Harvard University

3:30  Coffee

4:00  Roundtable
Chair: Rebecca Zorach, University of Chicago
• Basile Baudez, Université Paris-Sorbonne, Paris IV
• Richard Neer, University of Chicago
• Larry Norman, University of Chicago
• Andrei Pop, University of Chicago

5:30  Conclusions

6:00  Reception

Poster Image: Pierre Subleyras, Charon Ferrying the Shades (Paris: Louvre).

Exhibition | El Retrato en las Colecciones Reales

Posted in books, catalogues, exhibitions, reviews by Editor on April 9, 2015

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Now in its final weeks, this portrait exhibition contains over 100 objects spanning the past five hundred years. Rocío Martínez provides an extremely useful review (in English) for the Royal Studies Journal Blog. The exhibition website provides one of the finest virtual experiences I’ve ever encountered in terms of documenting an exhibition visually. Finally, thanks to Jennifer Germann for pointing all of this out to me (my apologies that it didn’t appear back in December!). CH

El Retrato en las Colecciones Reales: De Juan de Flandes a Antonio López
The Portrait in the Royal Collections: from Juan de Flandes  to Antonio López
Royal Palace, Madrid, 4 December 2014 — 19 April 2015

Curated by Carmen García-Frías Checa and Javier Jordán de Urríes

La exposición El Retrato en las Colecciones Reales. De Juan de Flandes a Antonio López ofrece una visión general del retrato de corte en España, tanto en tiempos de la Casa de Austria como de la Casa de Borbón, desde el siglo XV al XXI, trazando un recorrido por la evolución de la imagen de los monarcas en ese largo medio milenio. Un itinerario jalonado por obras maestras de la pintura y del género del retrato, con los mejores ejemplos conservados en las colecciones de Patrimonio Nacional, que se exponen en doce salas de la planta baja del Palacio Real de Madrid, con el acompañamiento de algunas esculturas, pequeños bronces, varios dibujos y grabados, y un par de tapices-retrato. La exposición se estructura en dos grandes secciones, Casa de Austria y Casa de Borbón, con diferentes apartados que siguen un orden cronológico por reinados.

Giuseppe Bonito, Carlos Antonio de Borbón as the Child Hercules, 1748. Oil on canvas, 128.5 x 102.5 cm. El Pardo, Royal Palace, National Heritage.

Giuseppe Bonito, Carlos Antonio de Borbón as the Child Hercules, 1748, oil on canvas, 128.5 x 102.5 cm (Madrid: Royal Palace)

La primera sección abre con los inicios de la dinastía habsbúrgica en España, mostrando como antecedentes retratos fundamentales de sus antepasados, el Retrato del duque de Felipe el Bueno del taller de Rogier Van der Weyden (de la Casa de Borgoña) y la imagen más fidedigna de la reina Isabel la Católica de Juan de Flandes (de la Casa de los Trastámara). A los grandes retratos oficiales de Carlos V de Jakob Seisenegger y de Felipe II en versión pictórica de Antonio Moro y escultórica de Pompeo Leoni, se une una importantísima muestra de retratos familiares por los pintores más famosos de la corte española de los siglos XVI y principios del siglo XVII, como Alonso Sánchez Coello, Joris Van der Straeten, Juan Pantoja de la Cruz, Bartolomé González o Rodrigo de Villandrando, así como de otras cortes europeas, como Frans Pourbus el Joven o Marcin Kover. Ya en pleno siglo XVII, la magnífica miniatura del conde-duque de Olivares de Diego Velázquez, o el grandioso retrato ecuestre de Juan José de Ribera, sin olvidar a los dos grandes retratistas del reinado de Carlos II, con varios ejemplares de Juan Carreño de
Miranda y Claudio Coello.

En la segunda sección dedicada a la Casa de Borbón desde el siglo XVIII hasta el presente, se exponen los mejores ejemplos del retrato borbónico en Patrimonio Nacional, como el monumental retrato ecuestre de Felipe V, por Louis-Michel van Loo; el de Carlos III con el hábito de su Orden, por Mariano Salvador Maella, también retratos de Giuseppe Bonito y Anton Raphael Mengs; una de las parejas de Carlos IV y María Luisa de Parma, por Francisco de Goya, la espléndida del rey de cazador y la reina con mantilla; destacados ejemplos del retrato decimonónico, con obras de Vicente López, Federico de Madrazo o Franz Xaver Winterhalter, y, finalmente, retratos de Alfonso XIII por Ramón Casas y Joaquín Sorolla para llegar al reinado de Juan Carlos I con El Príncipe de ensueño de Salvador Dalí y el retrato de La familia de Juan Carlos I pintado por Antonio López, que se presenta al público con motivo de esta exposición.

Junto a esas obras maestras de la pintura se exhiben, como complemento, algunos pequeños bronces, un par de tapices-retrato y destacadas esculturas, desde un Felipe II por Pompeo Leoni hasta el retrato doble de los reyes Alfonso XIII y Victoria Eugenia, por Mariano Benlliure. Esas piezas entran así en relación con la pretensión de tridimensionalidad de la pintura.

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The catalogue is available from ArtBooks.com:

Carmen García-Frías Checa and Javier Jordán de Urríes, eds., El Retrato en las Colecciones Reales: De Juan de Flandes a Antonio López (Madrid: Patrimonio Nacional, 2014), 536 pages, ISBN: 978-8471204981, $85.

133769Fundación Banco Santander colabora con Patrimonio Nacional en la preparación de esta muestra títulada El retrato en las Colecciones Reales. De Juan de Flandes a Antonio López. La importancia del género retratístico en las Colecciones Reales se comprende fácilmente, teniendo en cuenta que los mejores artistas de cada momento, han sido grandes retratistas de la Monarquía Española, por lo que las grandes obras de estos excelentes pintores forman parte de los fondos de Patrimonio Nacional. En este exposición contaremos con artistas de la talla de Juan de Flandes, Sánchez Coello, Rubens, Velázquez, Goya, Sorolla, Dalí o Antonio López.

 

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