Who Built EL TORREÓN ?
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The Sephardi Berberisca Dress, Tradition and Symbology
37 OPEN SOURCE LANGUAGE VERSION > ESPAÑOL The Sephardi Berberisca Dress, Tradition and Symbology by José Luís Sánchez Sánchez , Bachelor’s degree in Fine Arts and PhD from the Universidad Complutense de Madrid 1 This is an Arab tradition When the Jews were expelled from Spain in 1492 by the Catholic Monarchs, that was adopted by the many of them crossed the Strait of Gibraltar and put themselves under the Jews. Arabs and Berbers attribute a power of healing protection of the Sultan of Morocco, who at the time held court in Fez. This and protection to the henna meant that the Jewish people already living in North Africa, who were either plant and its leaves are used Arabic or Berber in their language and culture, were now joined by Sephardi for aesthetic and healing purposes. On the henna night, Jews from the Iberian Peninsula who held onto Spanish as their language of women paint their hands daily life and kept many of the customs and traditions developed over centuries following an Arab practice back in their beloved Sepharad. The clothing of the Sephardim, too, had its that is supposed to bring luck. own character, which was based on their pre-expulsion Spanish roots and now GOLDENBERG, André. Les Juifs du Maroc: images et changed slowly under the influence of their new Arab surroundings. textes. Paris, 1992, p. 114. The Sephardi berberisca dress, which is also known as el-keswa el-kbira in Arabic and grande robe in French (both meaning “great dress” in English), forms part of the traditional costume of Sephardi brides in northern Morocco. -
Orientalisms the Construction of Imaginary of the Middle East and North Africa (1800-1956)
6 march 20 | 21 june 20 #IVAMOrientalismos #IVAMOrientalismes Orientalisms The construction of imaginary of the Middle East and North Africa (1800-1956) Francisco Iturrino González (Santander, 1864-Cagnes-sur-Mer, Francia, 1924) Odalisca, 1912. Óleo sobre lienzo, 91 x 139 cm Departament de Comunicació i Xarxes Socials [email protected] Departament de Comunicació i Xarxes Socials 2 [email protected] DOSSIER Curators: Rogelio López-Cuenca Sergio Rubira (IVAM Exhibitions and Collection Deputy Director) MªJesús Folch (assistant curator of the exhibition and curator of IVAM) THE EXHIBITION INCLUDES WORKS BY ARTISTS FROM MORE THAN 70 PUBLIC AND PRIVATE COLLECTIONS Francisco de Goya y Lucientes (National Calcography), Francisco Lamayer, César Álvarez Dumont, Antonio Muñoz Degrain (Prado Museum), José Benlliure (Benlliure House Museum), Joaquín Sorolla (Sorolla Museum of Madrid), Rafael Senet and Fernando Tirado (Museum of Fine Arts of Seville), Mariano Bertuchi and Eugenio Lucas Velázquez (National Museum of Romanticism), Marià Fortuny i Marsal (Reus Museum, Tarragona), Rafael de Penagos (Círculo de Bellas Artes de Madrid, Institut del Teatre de Barcelona, MAPFRE Collection), Leopoldo Sánchez (Museum of Arts and Customs of Seville), Ulpiano Checa (Ulpiano Checa Museum of Madrid), Antoni Fabrés (MNAC and Prado Museum), Emilio Sala y Francés and Joaquín Agrasot (Gravina Palace Fine Arts Museum, Alacant), Etienne Dinet and Azouaou Mammeri (Musée d’Orsay), José Ortiz Echagüe (Museum of the University of Navarra), José Cruz Herrera (Cruz Herrera -
Downloaded Or to Consider How Many of These Themes Continue to Be of Importance in Projected for Classroom Use
A Guide to the Exhibition for Teachers SPANISH PAINTING FROM EL GRECO TO PICASSO : TIME, TRUTH, AND HISTORY TABLE OF CONTENTS 4 A Note to Teachers 5 Exhibition Overview 6 Historical Overview 9 Bodegones 13 Landscape of Fire 17 Blood and Sand 21 The Domestic World 25 Weeping Women 29 Virgins and Mothers 33 Childhood 37 Knights and Ghosts 41 Ladies 45 Vocabulary 46 Chronological Listing of Artists in the Exhibition 50 Bibliography and Suggested Reading List 51 Credits and Acknowledgments A NOTE TO TEACHERS This guide for educators, which accompanies the exhibition Spanish Painting The content and design of these materials have a threefold purpose: from El Greco to Picasso: Time, Truth, and History , provides a glimpse into • To assist educators in developing a classroom unit focusing on Spanish painting the important themes and changing character of Spanish painting through the centuries as well as suggestions for how to integrate this rich history of aesthetic • To provide educators with the tools to conduct a self-guided museum visit innovation into the classroom. The presentation of works thematically (rather • To help educators prepare students for, and expand upon, themes and ideas than the more typical chronological arrangement) provides the opportunity to generated during their museum visit compare and contrast how artists from the same country, in various historical epochs, have dealt with similar subject matter. This guide concentrates on the This guide will be most useful in conjunction with a trip to the museum, exhibition themes most relevant to K–12 curriculum and provides examples of but can remain a valuable resource long after the exhibition has closed. -
Salamanca Connections Bar Down Sit Or in the Res Nections on C Th a Cafe Bar Chinitas #18—Where at Victorio, (Market) on Plaza on (Market) Mercado Has Fresh Fruits
Salamanca Connections 385 meats, several salads, and varied raciones (daily, Calle Prior 4, tel. 923-260-092). PICNIC FOOD The covered mercado (market) on Plaza Mercado has fresh fruits and veggies (Mon 8:00-14:30 & 16:00-19:00, Tue-Sat 8:00-14:30 but may be open later on Tue in summer, closed Sun, on east side of Plaza Mayor). Supermarkets: A small El Arbol grocery, two blocks west of Plaza Mayor at Iscar Peyra 13, has just the basics (Mon-Sat 9:30- 21:30, closed Sun). For variety, the big Carrefour Market super- market is your best bet, but it’s a six-block walk north of Plaza Mayor on Calle del Toro (Mon-Sat 10:00-22:00, closed Sun, across from Plaza San Juan de Sahagún and its church—see map on page 372). Sandwiches: The Pans & Company fast-food sandwich chain is always easy, with a branch on Calle Prior across from Burger King (daily 10:30-24:00). OHFF T E BEATEN PAth Locals and students head just a bit outside the old town to hit the tapa/pincho scene along a main artery called Calle Van Dyck. It’s about a 20-minute walk or a short taxi ride from the edge of the old town, but it’s worth the effort as there are several cheap and tasty options. You’ll spend, on average, €2.50 for a caña (small beer), which comes with a small tapa. To get there on foot, go to the end of Calle del Toro, cross the main drag (Avenida de Mirat), and go up Calle Maria Auxiliadora; after crossing the wide Avenida de Portugal, take the third left onto Calle Van Dyck (see map on page 372). -
Nicholas Nixon Zuloaga in Belle Époque Paris, 1889-1914 Hell According to Rodin
la fundación Fundación MAPFRE magazine#40 | September 2017 www.fundacionmapfre.org SOCIAL AWARDS 2016 Art Nicholas Nixon Zuloaga in Belle Époque Paris, 1889-1914 Hell According to Rodin Health HOW TO PREVENT AND DETECT A STROKE Road Safety DO YOU KNOW THE CAMPAIGN SLOW DOWN? Fundación MAPFRE Guanarteme TRAINING IN BIG DATA AND ANIMATION IN GRAN CANARIA Insurance THE POLICY FOR THE TITANIC VISITA NUESTRAS EXPOSICIONES VISIT OUR EXHIBITIONS Nicholas Nixon NICHOLAS NIXON NICHOLAS NIXON Hyde Park Avenue, Boston, 1982 Lugar Location Sala Fundación MAPFRE Fundación MAPFRE Bárbara Braganza Bárbara Braganza Exhibition Hall Bárbara de Braganza, 13. 28004 Madrid Bárbara de Braganza, 13. 28004 Madrid Fechas Dates Desde el 07/09/2017 From 07/09/2017 al 08/01/2018 to 08/01/2018 Horario de visitas Visiting hours #expo_nixon Lunes de 14:00 a 20:00 h. Monday from 2 pm to 8 pm. http://exposiciones.fundacionmapfre.org/ Martes a sábado de 10:00 a 20:00 h. Tuesday to Saturday from 10 am to 8 pm. nicholasnixon Domingos y festivos de 11:00 a 19:00 h. Sunday/holidays from 11 am to 7 pm. Ignacio Zuloaga ZULOAGA EN EL PARÍS DE LA BELLE ZULOAGA IN BELLE ÉPOQUE PARIS, Celestina, 1906 ÉPOQUE, 1889-1914 1889-1914 Museo Nacional Centro de Arte Lugar Location Reina Sofía, Madrid Foto: Archivo Fotográfico Museo Sala Fundación MAPFRE Recoletos Fundación MAPFRE Recoletos Exhibition Hall Nacional Centro de Arte Reina Paseo de Recoletos 23, 28004 Madrid Paseo de Recoletos 23, 28004 Madrid Sofía Fechas Dates © Ignacio Zuloaga, VEGAP, Desde el 28/09/2017 From 28/09/2017 Madrid, 2017 al 07/01/2018 to 07/01/2018 Horario de visitas Visiting hours Lunes de 14:00 a 20:00 h. -
Gallery Spanish Art, 1600-1700
Gallery Spanish Art, 1600-1700 Spain was a part of the Hapsburg realm, which also included the Dutch provinces and the Holy Roman Empire in central Europe. In the late 16th century, King Philip II began an effort to lead Spain to the forefront of European culture. He imported the talent of the Venetian painter Titian, and during the reigns of Philip III and Philip IV, artists such as Velázquez and Murillo gained renown throughout the continent, trumpeting the refinement and position of the Spanish court. Philip IV rivaled his grandfather, Philip II, commissioning magnificent portraits and decorative cycles from Italian, French, Flemish, as well as Spanish artists of rising stature. Spanish painting was heavily influenced by northern European and Italian art, and native artists responded to the predilection for naturalistic detail and form while embracing the drama and emotion of the Italian Baroque. Bold contrasts between light and shadow – a technique known as tenebroso – created dramatic settings for religious scenes. Artists used strong diagonal compositions and pulled figures to the picture plane to create the illusion that the painted canvas extended into the viewer’s space, facilitating the mystical experience of personal interaction with the divine. The Docent Collections Handbook 2007 Edition Bartolomé Estabán Murillo Spanish, 1618-1682, active in Seville Saint Joseph with the Standing Infant Christ Child, c. 1670-75 Oil on canvas Bequest of John Ringling, 1936, SN 349 Though usually depicted with the Virgin Mary, in the 17th century the Christ child was often shown with his father, St. Joseph, who had become the focus of his own cult. -
Colombian Artists in Paris, 1865-1905
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2010 Colombian Artists in Paris, 1865-1905 Maya Jiménez The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2151 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] COLOMBIAN ARTISTS IN PARIS, 1865-1905 by MAYA A. JIMÉNEZ A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2010 © 2010 MAYA A. JIMÉNEZ All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Professor Katherine Manthorne____ _______________ _____________________________ Date Chair of Examining Committee Professor Kevin Murphy__________ ______________ _____________________________ Date Executive Officer _______Professor Judy Sund________ ______Professor Edward J. Sullivan_____ ______Professor Emerita Sally Webster_______ Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Colombian Artists in Paris, 1865-1905 by Maya A. Jiménez Adviser: Professor Katherine Manthorne This dissertation brings together a group of artists not previously studied collectively, within the broader context of both Colombian and Latin American artists in Paris. Taking into account their conditions of travel, as well as the precarious political and economic situation of Colombia at the turn of the twentieth century, this investigation exposes the ways in which government, politics and religion influenced the stylistic and thematic choices made by these artists abroad. -
2021 Spain the Artists Grand Tour Chrysler Museum of Art R5.Indd
The Artist’s Grand Tour MAY 5–14, 2021 EARLY BIRD DISCOUNT $1,000 OFF PER PERSON OPTIONAL EXTENSION TO Barcelona MAY 14–17, 2021 France BARCELONA Erik H. Neil Spain Atlantic DIRECTOR Ocean MADRID Erik Neil became Director of Portugal the Chrysler Museum of Art in October 2014. Neil is known CÓRDOBA in the museum world for the SEVILLE GRANADA breadth of his artistic interests, MÁLAGA Dear Friends of the strong management skills, genial Mediterranean Sea personality, and collaborative approach to work and leadership, Algeria Chrysler Museum of Art, with a common goal of making the good even better. Past and Morocco present colleagues laud his intelligence, transparency, ability You are cordially invited to join us for Spain: The Artist’s to build community, and visionary pragmatism. Neil’s education Grand Tour, an artistic journey organized in celebration of the includes a B.A. (1986) in modern European and American Itinerary Overview history from Princeton University and both a M.A. (1991) Chrysler’s groundbreaking exhibition Americans in Spain: SPAIN: THE ARTIST’S GRAND TOUR and Ph.D. (1995) in the history of art and architecture from Painting and Travel, 1820–1920, co-organized by the Chrysler Harvard University. He also earned a certificate in museum Museum of Art and the Milwaukee Art Museum. On our tour, MAY 5 : U.S.A & MADRID, SPAIN MAY 11 : SEVILLE & management (2003) from the prestigious Getty Leadership • Overnight flight to Madrid RONDA & MÁLAGA we will follow in the footsteps of American painters like Mary Institute in Berkeley, California and has pursued leadership and • Excursion to Ronda— professional development opportunities through the American MAY 6 : ARRIVE MADRID Private walking tour Cassatt, John Singer Sargent, and William Merritt Chase. -
The Early Drawings and Prints of Santiago Ramón Y Cajal: a Visual Epistemology of the Neurosciences Miguel Ángel Rego Robles …………………………………………………………….……… 57
European Journal of Anatomy June, 2019 Vol. 23, Supplement 1 Honoring Santiago Ramón y Cajal (1852-1934), ‘an exemplary man’ Madrid, June 2019 Guest Editors: Prof. Dr. María Isabel Porras Gallo Prof. Dr. María José Báguena INDEX OF CONTENTS Honoring Santiago Ramón y Cajal (1852-1934), ‘an exemplary man’ Presentation. Reassessing the context of Santiago Ramón y Cajal and his contributions in the 21st century: from the Neuroscience to the literature María Isabel Porras, María José Báguena………………………………………………….. I Chapter 1. Albert von Kölliker, Santiago Ramón y Cajal and Camillo Golgi, the main protagonists in the Neuron Theory debate Pedro Mestres-Ventura ……………………………………………………………………….. 05 Chapter 2. The image of Santiago Ramón y Cajal through the daily press. The awarding of the Nobel Prize José L. Fresquet Febrer ……………………………………………………………..…..……. 15 Chapter 3. The new lifeblood of the Spanish nation: the Regenerationist Movement and the genesis of the Cajal Institut in the late 19th Century Ángel González de Pablo ………………………………………………………………….…. 29 Chapter 4. Cajal in Barcelona: From yesterday to today, from the neuron to the network Joaquín M. Fuster ……………………………………………………….…………………… 39 Chapter 5. Fighting with the strong Antonio Calvo Roy …………………………………………………………….……….….….. 49 Chapter 6. The early drawings and prints of Santiago Ramón y Cajal: a visual epistemology of the neurosciences Miguel Ángel Rego Robles …………………………………………………………….……… 57 Chapter 7. The role played by Santiago Ramón y Cajal in the development of other disciplines: Biology, Psychology, Anthropology and Archaeology Mariano Ayarzagüena Sanz ……………………………………………………………….…. 67 Chapter 8. Modern Spain, a myth: regeneration through reeducation in Santiago Ramón y Cajal’s Vacation Stories (1905) Ryan A. Davis ………………………………………………………………………………… 73 Author Index ………………………………………………………………………………….. 85 PRESENTATION Eur. J. -
Portraits by Joaquín Sorolla at the Bilbao Fine Arts Museum
Portraits by Joaquín Sorolla at the Bilbao Fine Arts Museum Facundo Tomás Felipe Garín This text is published under an international Attribution-NonCommercial-NoDerivs Creative Commons licence (BY-NC-ND), version 4.0. It may therefore be circulated, copied and reproduced (with no alteration to the contents), but for educational and research purposes only and always citing its author and provenance. It may not be used commercially. View the terms and conditions of this licence at http://creativecommons.org/licenses/by-ncnd/4.0/legalcode Using and copying images are prohibited unless expressly authorised by the owners of the photographs and/or copyright of the works. © of the texts: Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao Photography credits © Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao: figs. 1, 2 and 8 © Courtesy of the Hispanic Society of America, New York: figs. 3, 4 and 6 © Fundación Bancaja: fig. 7 © Museo Gustavo de Maeztu. Ayuntamiento de Estella-Lizarra: fig. 10 © Museo Nacional Centro de Arte Reina Sofía: fig. 9 © Museo Nacional del Prado: fig. 11 © Museu de Belles Arts de Valencia-Generalitat Valenciana: fig. 5 Text published in: B’09 : Buletina = Boletín = Bulletin. Bilbao : Bilboko Arte Eder Museoa = Museo de Bellas Artes de Bilbao = Bilbao Fine Arts Museum, no. 5, 2010, pp. 239-278. 2 wo portraits painted by Joaquín Sorolla now in the Bilbao Fine Arts Museum are perfect for an insight into how the artist went about painting his portraits [figs. 1 and 2]. The best known of the two, a Tportrait of Miguel de Unamuno (1864-1936), is actually unfinished1. -
L'art De Propagande En Espagne, De La Seconde
Université de Montréal L’art de propagande en Espagne, de la Seconde République au premier franquisme : affiches et portraits officiels par Myriam Barriault Fortin Département d’histoire de l’art et études cinématographiques Faculté des arts et sciences Mémoire présenté à la Faculté des études supérieures en vue de l’obtention du grade de Maitre ès Arts (M.A) en histoire de l’art Février 2014 © Myriam Barriault Fortin, 2014 Université de Montréal Faculté des études supérieures et postdoctorales Ce mémoire intitulé : L’ART DE PROPAGANDE EN ESPAGNE, DE LA SECONDE RÉPUBLIQUE AU PREMIER FRANQUISME : AFFICHES ET PORTRAITS OFFICIELS Présenté par : Myriam Barriault Fortin A été évalué par un Jury composé des personnes suivantes : Nicole Dubreuil, président-rapporteur Suzanne Paquet, directrice de recherche Todd Porterfield, membre du Jury ii Résumé Ce mémoire interroge les différences esthétiques maJeures entre les productions artistiques issues de la Seconde République espagnole (1931 - 1939) et l'art franquiste de la première décennie du régime. Ces différences sont examinées à partir d’œuvres de deux artistes ; Josep Renau (1907 - 1982) et Ignacio Zuloaga (1870- 1945). Renau est une figure importante dans le milieu artistique de la République pendant la Guerre civile. Nous analysons les différentes productions à vocation propagandiste réalisées par Renau entre 1931 et 1939. Zuloaga est un artiste reconnu par l’élite européenne pour ses portraits et pour ses scènes andalouses et castillanes. Zuloaga appui le coup d’État et l’idéologie franquiste. Le Caudillo lui commande, en 1939, le portrait que nous examinons. Les théories de François Hartog, de Reinhart Koselleck, de Paul Ricœur et de Hannah Arendt sont utilisées pour expliciter la confrontation des conceptions historiques dont les œuvres examinées sont des témoignages. -
Examining the Appeal of Joaquín Sorolla's First US Exhi
UNIVERSITY OF CALIFORNIA RIVERSIDE “Eternal Sunlight” of 1909: Examining the Appeal of Joaquín Sorolla’s First U.S. Exhibition A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art History by Lily C. Allen June 2018 Thesis Committee: Dr. Jason Weems, Chairperson Dr. James Glisson Dr. Susan Laxton Dr. Alec Le Blanc Copyright by Lily C. Allen 2018 The Thesis of Lily C. Allen is approved: Committee Chairperson University of California, Riverside A lot of good arguments are spoiled by some fool who knows what he is talking about. -Miguel de Unamuno iv Acknowledgements Writing is considered a solitary act, and though at midnight before the rough draft is due, it can seem that way, most who undertake a personal project do so with a support system at their back. I am grateful to say this thesis is no exception. I have been privileged to call Professor Jason Weems my primary advisor throughout this process. To reference the first lesson of my first, graduate-level art history class (which he taught): there is no such thing as the Platonic ideal. But as a scholar and mentor, he gets as close as humanly possible. I would also like to thank Professors Aleca Le Blanc and Susan Laxton, two additional members of my committee. Professor Le Blanc taught our thesis-writing class and, despite being there from the ugly, messy beginning, agreed to see my project through to the end, encouraging airtight argumentation, methodological reflexivity and self-love all the way through. Professor Laxton’s feedback on my first draft was generous, honest and insightful, and I hope this thesis testifies: politics are pervasive.