Bibliografías temáticas / Painting, spanish – exhibitions

Literatura académica sobre el tema "Painting, spanish – exhibitions"

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Publicado: 25 de julio de 2024

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Artículos de revistas sobre el tema "Painting, spanish – exhibitions"

1

Portús, Javier. "[SPA] PERIFERIA Y PERIFERIAS: ESCUELA ESPAÑOLA Y ESCUELAS LOCALES EN EL MUSEO DEL PRADO (XIX) // PERIPHERY AND PERIPHERIES: THE SPANISH AND LOCAL SCHOOLS IN THE MUSEO DEL PRADO IN THE NINETEENTH CENTURY". Librosdelacorte.es, n.º 5 (29 de mayo de 2017): 88–95. http://dx.doi.org/10.15366/ldc2017.9.m5.005.

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Aunque ya se ha hecho frecuente el uso del concepto de "escuela española"de pintura, lo cierto es que se trata de una noción que se extendió relativamente tarde,desde finales del siglo XVIII. Durante un tiempo fue necesario dar visibilidad a loscuadros españoles y reivindicar a sus autores, que habían ocupado un lugar marginalen el imaginario de la pintura europea. El estudio de los criterios expositivos y de lapolítica de adquisiciones en las primeras décadas de vida del Museo del Pradopermite corroborar, por una parte, ese estado de marginalidad, y, por otra, conocercómo la institución adquirió conciencia del importante papel que le tocaba jugar en lareivindicación de la pintura española.PALABRAS CLAVE: escuela española, museo, pintura ** Even though the concept of a “Spanish School” of painting is now acommonplace, it developed rather late, from the end of the eighteenth century. For atime it was necessary to give Spanish paintings greater visibility and to champion theirauthors, since they had to date occupied a marginal place in the wider context ofEuropean painting. From analyzing the criteria for exhibitions and acquisition policiesin the first decades of the Museo del Prado, it is possible to gauge, on the one hand,the marginal situation of the school and, on the other, how the institution acquired agreater awareness of the importance of its role in championing Spanish painting.KEY WORDS: Spanish school, Prado Museum, painting
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Kalenska, Inna. "The concept of a bullfight in the painting cycle «Ole!» by Les Podervianskyi". Text and Image: Essential Problems in Art History, n.º 2 (2021): 124–30. http://dx.doi.org/10.17721/2519-4801.2021.2.07.

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The review of Les Podervianskyi’s exhibition “Ole!”, which was presented at the Dymchuk Gallery in Kyiv in autumn 2021, focuses on the concept of bullfighting as a universal artistic plot. Many artists of different generations, including such eminent as P. Picasso or F. Goya, have repeatedly reproduced the bullfight, as a phenomenon of Spanish culture, in their artworks. Recently, some contemporary Ukrainian artists have turned to the symbolism and aesthetics of this Spanish plot, which is evidenced by the appearance of thematic exhibitions, including “Ole!” The text considers the phenomenon of L. Podervianskyi’s personality as an artist in the context of the history of contemporary Ukrainian art. It analyzed the variations of interpretations of torero and bull images from the standpoint of bullfighting philosophy, which allows us to comprehend the metaphorical depiction of the Spanish traditional battle in painting. The presented series of paintings is considered from different angles: 1) color and compositional solution; 2) the matador and the bull as multi-valued symbols of the universal plot; 3) the system of the exhibition project in the gallery space. One of the highlights is on the connection between text and image, in particular in the combination of the title and the image itself. Separately, it is covered the topic of Japanese culture, which is one of the central ones in L. Podervianskyi’s work: similar features in the construction of Japanese poetry and compositional techniques in painting are analyzed; the interchangeability of the use of bullfighting and kung fu plots as an artistic technique is explained. Mixing and layering the Ukrainian experience of the artist, images of the bullfighter and the bull and Japanese traditions creates a new system in the artistic dimension, in which the confrontation between the individual and the external world and the inner self becomes the central point.
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Zagorskaya, S. G. "Spanish Paintings From Russian Collections. The Pushkin State Museum of Fine Arts will open an exhibition of Spanish painting from the collections in Russia". Cuadernos Iberoamericanos 11, n.º 2 (18 de julio de 2023): 14–29. http://dx.doi.org/10.46272/2409-3416-2023-11-2-14-29.

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Russia holds the first largest collection of canvas by great Spanish masters outside of Spain, including paintings by El Greco, Murillo, Ribera, Zurbaran, Goya, and others. In November 2023 the Pushkin State Museum of Fine Arts presents an exhibition of Spanish paintings from its own collections, as well as the works of art from the Hermitage and regional museums. In this interview, Svetlana Zagorskaya, curator of Spanish painting at the Pushkin Museum, talks about the collections of Spanish painting in Russia, the history of their acquisition and meticulous work of attributing paintings. Particular attention is paid to Svetlana Zagorskaya’s discoveries of the authorship of the canvas by Jusepe de Ribera «Saint James the Greater» and the painting by Bartolomeo Murillo «Saint Catherine of Alexandria», which open the exposition of old masters in the main building of the Museum. The purpose of the upcoming exhibition, apart from being educational, is to show the cultural attraction of Spain and Russia, two countries at the extreme ends of Europe. Since the end of the 19th century many Russian artists visited Spain and looked for new motives for inspiration, at the same time Russian collectors bought a lot of works by Spanish artists. Thus, an invisible but strong cultural bridge was being built between the two countries, and it still exists in our time.
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Boone, M. Elizabeth. "“A renewal of the fraternal relations that shared blood and history demand”: Latin American Painting, Spanish Exhibitions, and Public Display at the 1910 Independence Celebrations in Argentina, Chile, and Mexico". RACAR : Revue d'art canadienne 38, n.º 2 (2013): 90. http://dx.doi.org/10.7202/1020796ar.

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Degler, Janusz. "Witkacy around the World". Tekstualia 1, n.º 2 (2 de enero de 2014): 105–28. http://dx.doi.org/10.5604/01.3001.0013.5944.

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Fifty years have passed since the publication of the first translations of Witkiewicz. Today, the number of translations and the languages in which his work functions is more than impressive. Plays, novels, theoretical dissertations, and philosophical treatises have been translated into 25 languages: English, Arabic, Bulgarian, Croatian, Czech, Danish, Dutch, Estonian, Finnish, French, Greek, Spanish, Dutch, Japanese, German, Norwegian, Portuguese, Romanian, Russian, Serbian, Slovak, Slovenian, Spanish, Swedish, Ukrainian, Hungarian and Italian. There have been over three hundred productions in twenty-six countries and sixteen exhibitions of paintings, portraits and photographs have been organized in ten countries. There are several factors that have turned out to be decisive for Witkiewicz’s international fame.
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6

Carson, Margaret. "Remedios Varo: The World Beyond". philoSOPHIA 13, n.º 1 (2023): 183–91. http://dx.doi.org/10.1353/phi.2023.a919602.

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Abstract: In 1956, as a young art critic, the Mexican philosopher Juliana González first encountered the paintings of the Spanish surrealist Remedios Varo at the artist’s breakthrough solo exhibition in Mexico City’s Galería Diana. González, greatly impressed, soon befriended the much older Varo and became a regular visitor to her studio, where they talked about her paintings and their shared intellectual interests in literature, psychoanalysis, and philosophy, a conversation that ended with Varo’s untimely death in 1963 at age 54. A few years later, González contributed this essay-homage to the 1966 catalog Remedios Varo . She opens with an evocation of Varo’s masterpiece, the triptych To the Tower , Embroidering the Earth’s Mantle and The Escape —a magnet for viewers at the recent “Surrealism Beyond Borders” exhibition in New York and London—and finds in it keys to the artist’s life and to her attempts through art “to flee this inexorable order toward another reality.” González’s close examination of the contradictions and ambiguities in Varo’s artistry, of “her wise, poetic humor,” and of her quest “to comprehend the universe” remains an essential read almost 60 years later. The catalog in which it first appeared is long out of print, and, to the best of my knowledge, González’s essay has never been republished in Spanish, making the text that follows as much an act of recovery as it is a translation.
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Santos López, Pascual, Manuela Caballero González y Laura Santos Caballero. "Discurso ilustrado como defensa de la obra artística: «que es destreza del arte y no pintura deshonesta»". Cuadernos de Estudios del Siglo XVIII, n.º 28 (7 de diciembre de 2018): 191. http://dx.doi.org/10.17811/cesxviii.28.2018.191-218.

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RESUMENEn el presente trabajo analizamos diferentes casos de censura inquisitorial sobre pinturas deshonestas, obras artísticas y representaciones consideradas indecentes por la Inquisición a finales del siglo XVIII y principios del XIX, tanto en la Península como en sus reinos de Indias, además de la evolución de la percepción en este tipo de obras desde el XVI. Estudiamos las resistencias, motivaciones y razones expuestas por acusados para justificar su libre posesión, comercialización y exhibición y su relación con el discurso y el pensamiento ilustrado, permeado ya en esta época a niveles populares de la sociedad española. Mostramos también las diferentes influencias y apropiaciones culturales, los cambios en la axiología, el gusto estético y el pensamiento de los españoles, así como los intentos de control de la moral por parte de los inquisidores y sus reacciones.PALABRAS CLAVEIlustración, Discurso ilustrado, Percepción del arte, Inquisición, Censura. TITLEEnlightened speech as a defense of artistic work: «that is art dexterity and not dishonest painting»ABSTRACTIn the present work we analyze different cases of inquisitorial censorship on dishonest paintings, artistic works and representations considered indecent by the Inquisition at end of the 18th century and beginning of the 19th century, both in Peninsula and in its kingdoms of Indies, besides the evolution of perception on this kind of works from 16th century. We study the resistances, motivations and reasons exposed by defendants to justify their free possession, commercialization and exhibition and their relationship with the enlightened discourse and thought, permeated at this time at popular levels of Spanish society. We also show the different influences and cultural appropriations, the changes in the axiology, the aesthetic taste and the Spanish thought, as well as the attempts of moral control by inquisitors and their reactions.KEY WORDSEnlightenment, Enlightened speech, Perception of art, Inquisition, Censorship.
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8

Paine, Crispin. "The sacred made real: spanish painting and sculpture, 1600–1700 exhibition at the national gallery, london, 2009". Material Religion 6, n.º 2 (julio de 2010): 265–67. http://dx.doi.org/10.2752/175183410x12731403773390.

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Frankel, Nicholas. "The Designer’s Eye: Ancient Spanish Ballads, Poetry, and the Rise of Decorative Design". Articles, n.º 54 (15 de diciembre de 2009): 0. http://dx.doi.org/10.7202/038759ar.

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AbstractIn 1841 John Murray published a sumptuously ornamented edition of John Gibson Lockhart’sAncient Spanish Ballads.Murray’s new edition, printed using the very latest bookmaking technologies and pitched at a readership newly accustomed to paying exorbitant prices for book ornaments and illustrations, was radically different from the first edition of Lockhart’s ballads, which had appeared without accompanying ornament in 1823. Illustrated by the leading illustrators of the day and decorated throughout in multiple colors by the architect Owen Jones (who would go on to become famous as a Superintendent of the Great Exhibition and the author ofThe Grammar of Ornament), Murray’s edition represents a stunning departure in Victorian printing and a highpoint in mid-Victorian design generally. At the same time, it crystallizes a debate about the nature and application of artistic design that was beginning to emerge in the early years of Victoria’s reign and that would erupt with maximum vigor ten years later in the confrontation between John Ruskin and the South Kensington School. The tension between flat, stylized design and what Ruskin was later to term “truth to nature” is already palpable in the conflict between illustrations and ornaments to Murray’s book. However, it was the involvement of Owen Jones that especially distinguished the volume, as it gave Jones the opportunity to demonstrate in a practical way ideas about design, color, and style that he would theorize fifteen years later inThe Grammar of Ornament. Those ideas are especially resonant today, given recent work on the history of the book and the “bibliographic codes” of literature, since the effect of Jones’s work is to expose the textual condition of Lockhart’s poetry itself and to harness the eye as an active constituent in the act of reading. Fifty years before the work of William Morris at the Kelmscott Press, Jones and Murray showed Victorian readers that a printed book might be a thing of real beauty and that poetry, no less than painting or architecture, is dependent on the perceptual structure of its textual vehicle.
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Malej, Izabella. "Geniusz rozkładu. Nikołaj Bierdiajew wobec sztuki Pabla Picassa". Slavia Orientalis, 17 de julio de 2024, 51–69. http://dx.doi.org/10.24425/slo.2024.150660.

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Picasso occupied a very special place within Nicolai Berdyaev’s philosophical considerations. What motivated him to assess avant-garde art was an exhibition at the art gallery owned by Sergey Shchukin in 1914. The Russian thinker became personally acquainted with the exhibition. In his attitude towards Picasso’s art, Berdyaev shows the universal category of assessment which he had applied earlier to random artistic phenomena. The philosopher gives avant-garde art the status of the verifier of spiritual changes, at the same time pointing to the evolution of people’s attitude towards both the surrounding reality and themselves. By paying so much attention to the works of the Spanish artist, Berdyaev formulates a thesis concerning the spiritual crisis of the culture occurring in statu nascendi. That is to say that he perceives avant-garde art as, on the one hand, the foreshadowing of inevitable socio-political changes and, on the other hand, a graphic equivalent of the spiritual changes which are about to happen. In the role of category which should present the direction of assessing not only Picasso’s works, but also, in a broader sense, the historical and cultural changes, Berdyaev uses the terms of crisis, freedom, beauty, humanism and spirituality. The Russian philosopher considers Picasso a helpless exposer of illusions of materialized and synthesized beauty, whose paintings are the proof of the crisis occurring in art, self-awareness and, in a broader sense, also within humanity.
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Libros sobre el tema "Painting, spanish – exhibitions"

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Valdés, Manolo. Manolo Valdés: Painting and sculpture. New York: Art of this Century, 2002.

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2

1959-, Cherry Peter y National Gallery (Great Britain), eds. Spanish still life from Velázquez to Goya. London: National Gallery Publications, 1995.

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3

Azketa, Pello. Pello Azketa: Sala de Cultura Juan Bravo, del 10 de febrero al 7 de marzo de 1998 : Sala de Cultura Carlos III, del 12 de marzo al 3 de abril de 1998. Pamplona: Caja de Ahorros de Navarra, 1998.

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4

Charris, Ángel Mateo. Ángel Mateo Charris: IVAM Centre del Carme, 7 octubre 1999-9 enero 2000. [València]: Generalitat Valenciana, Conselleria de Cultura, Educació i Ciència, 1999.

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5

Salón de Outono de Pintura (6th 2006 La Coruña, Spain). Sexto Salón de Outono de Pintura: A Coruña, 2006. A Coruña: Deputación Provincial da Coruña, 2006.

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6

Paneque, Guillermo y Fernando Zóbel. Zóbel: Contrapuntos. Makati City, Philippines: Ayala Foundation, 2017.

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Zóbel, Fernando. Zóbel. Madrid: Museo Nacional Centro de Arte Reina Sofía, 2003.

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8

Iriarte, Fernando. Fernando Iriarte: Del 10 de marzo al 4 de abril de de 1998. Pamplona: Caja de Ahorros de Navarra, 1998.

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9

Osés, Pedro. Pedro Osés: Del 13 de mayo al 13 de junio de 1998. Pamplona: Caja de Ahorros de Navarra, 1998.

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10

Biennal Martínez Guerricabeitia (4th 1996 Valencia, Spain). 4a. biennal Martínez Guerricabeitia Universitat de València. València: Universitat de València, 1996.

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Actas de conferencias sobre el tema "Painting, spanish – exhibitions"

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Morozova, Anna V. "TRAVELLING EXHIBITIONS OF SPANISH PAINTING IN THE CONTEXT OF FRANCO�S POLICY". En 7th SWS International Scientific Conference on ART and HUMANITIES - ISCAH 2020 Proceedings. STEF92 Technology, 2020. http://dx.doi.org/10.5593/sws.iscah.2020.7.1/s22.08.

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Informes sobre el tema "Painting, spanish – exhibitions"

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Highlights from the Collection of the Art Museum of the Americas of the Organization of American States (OAS): Outstanding works by artists from the Spanish, English, French, and Dutch Speaking Caribb. Inter-American Development Bank, agosto de 2007. http://dx.doi.org/10.18235/0008217.

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This paper presents a selection of 39 important works (paintings, sculptures, drawings, engravings and photographs) by recognized Caribbean artists from Barbados, Jamaica, The Bahamas, Trinidad and Tobago, Haiti, Dominican Republic, Puerto Rico, and Suriname, and early Cuban masters such as Amelia Peláez, Juan José Sicre and Mario Carreño, in the collection of the OAS Art Museum of the Americas, on loan to the IDB Cultural Center for this exhibition.
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