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By Jonathan Sherry, Phd Candidate Department of History, University Of

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By Jonathan Sherry, Phd Candidate Department of History, University Of APRIL 2014 1 “George Orwell and the Spanish Civil War: Notes from the Barcelona Archives,” by Jonathan Sherry 2 In Review Photo Courtesy of Jonathan Sherry 3 “A Trip to the Above is the plaque in Placa de George Orwell in Barcelona. Renaissance So- ciety of America EORGE RWELL AND THE PANISH IVIL AR Conference,” by G O S C W : Saskia Beranek NOTES FROM THE BARCELONA ARCHIVES 4 Upcoming Grant by Jonathan Sherry, PhD Candidate & Fellowship Department of History, University of Pittsburgh Deadlines ver 75 years ago, George Orwell arrived in Barcelona and began writing 5 EUCE/ESC what would become Homage to Catalonia, his memoir about the Span- Spotlight: Sally ish Civil War. He observed: “It was the first time I had ever been in a Stadelman Otown where the working class was in the saddle. Practically every building of any size had been seized by the workers and was draped with red flags or the red and 6 “Lecture Series a black flag of the Anarchists; every wall was scrawled with the hammer and sickle Success,” by Em- and with the initials of the revolutionary parties.” Today, the Spanish are in the ily Zazulia streets clamoring for an end to imposed austerity and a 56.1% youth unemploy- ment rate, as well as for a systemic change in politics. Although the demands and conditions are different, the symbolism and historical imagination of current protestors harken back to Spain’s lost revolution of 1936-1937. Its historical legacy is hotly debated at demonstrations in Barcelona at Plaça Cataluña, and the flag of the 1930s Spanish Republic flies alongside those of the revolutionary parties of Civil War Spain that Orwell described in his book. Today’s protestors range from students to seniors, and many of them look to the past in search of lessons for the future. With the generous support of a EUCE/ESC summer pre-dissertation fel- lowship, I conducted archival research in original sources from the Civil War period, participated in grassroots movements in Barcelona, and discussed Spanish Continued on Page 4 2 IN REVIEW A VISIT FROM THE EU AMBASSADOR TO THE US On March 6, European Union Ambassador to the United States João Vale de Almeida visited the EUCE/ESC at the University of Pittsburgh. His Excellency was introduced to everyone involved with the Center and shown a presentation detailing each person’s roles. Pictured above (from left to right): Jennifer Creamer, Associate Director of UCIS, Zachary Riddle, EUCE/ESC Technology GSA, Sarah Cormack Patton, Political Science PhD candidate, Eleni Vallient, EUCE/ESC Administrative Assistant, Lauren Perez, Political Science PhD candidate, Allyson Delnore, EUCE/ESC Associate Director, Andrea Aldrich, Political Sci- ence PhD candidate, Ron Linden, EUCE/ESC Director, Kate Bowersox, EUCE/ESC Assistant Director for External Affairs, Ambassador João Vale de Almeida, Rebecca Young, EUCE/ESC Pittsburgh Papers GSA, Stephen Lund, EUCE/ESC Assistant Director, Political Science undergraduates Harry Clapsis, Peter Gallagher, Jane Buchholz, and Kaitlyn Douglass, and Randall Halle, Klaus W. Jonas Professor of German Film and Cultural Studies at Pitt. CONVERSATIONS ON EUROPE On Feb. 18, the EUCE/ESC continued its monthly virtual roundtable series, Con- versations on Europe, with a videoconfer- ence devoted to, “Spy Games: Technology and Trust in the Transatlantic Relation- ship.” Panelists included Ami Pedahzur, Professor of Government at the Univer- sity of Texas-Austin, Annegret Bendiek, German Institute for International and Security Affairs, Anthony Glees, Profes- sor of Politics and Director of the Centre for Security and Intelligence Studies at the University of Buckingham, Pia Bun- garten, Friedrich Ebert Foundation Rep- resentative to the U.S. and Canada, and David Harris, from the School of Law at the University of Pittsburgh. TheCon - versation was moderated by Ron Linden, Director of the EUCE/ESC. 3 A TRIP TO THE RENAISSANCE cant collection of gemstones and naturalia, and was vitally involved in a significant number of early modern artistic SOCIETY OF AMERICA CONFERENCE commissions. My previous research has argued that she commissioned different types of portraits based on who by Saskia Beranek, History of Art & Architecture constituted the intended audience, and therefore, her ar- University of Pittsburgh chitectural commissions, explicitly designed to display these portraits, were of central concern. Amalia’s exploi- ast April, I presented part of my dissertation at tation of portraits is situated within a delicate matrix of the annual Renaissance Society of America (RSA) national and dynastic politics, and her calculated display conference in San Diego. My trip was funded by of portraits served to enhance her status – and by exten- La small grant from the EUCE/ESC. If I had to pick a sion, that of her dynasty. favorite scholarly conference, the RSA would win. The My research has focused on one particular site conference is interdisciplinary, drawing together visual commissioned by Amalia van Solms called Huis ten arts, music, history, politics, literature, philosophy, and Bosch. Initially intended as a small summer palace, the science. I have attended several times, and it consistently site became a monument to her husband and continues inspires me because of this intersection of disciplines, but to this day to be the residence of the Dutch monarchy. also because of the collegiality and collaboration demon- Though the paintings that decorate the building have strated by those in attendance. As an art historian who been the focus of scholarship for many years, the ways is concerned about where politics, identity, and gender in which they correspond to their setting have attracted meet, a scholarly environment that reaches beyond disci- less interest. In a paper entitled “Oranje Triumphans: plinary boundaries pushes my thinking in new directions. The Fireplace as Locus of Design,” I discussed specific ele- My dissertation, defended last spring, focused on ments of architecture that were not only functional, but how portraits were displayed in the Netherlands during also symbolic. I explored how a viewer, moving through the seventeenth century. I am interested less in the in- the building, would see these paintings within certain ar- trinsic, formal qualities of the image and more in issues chitectural frameworks. The setting, the framing, and the extrinsic to it: the social and political work the image can decorative stucco work in the building shaped the impact do. How did portraits function? Did patrons commission of the images in subtle but significant ways. This research different types of portraits for display in different parts of has formed the basis of an ongoing project about space, their houses, intended for different audiences? How does image, and experience that will form the core of my first the space in which we encounter an art object such as a book. portrait shape our experience of it? I have pursued these The RSA conference was a particularly beneficial questions through a historical case study of one particular venue for me precisely because of the inter-disciplinarity patron from the seventeenth century, Amalia van Solms. of my own work. Over the last several years, a growing She was the Princess of Orange by marriage and her stri- cohort of specialists has been organizing conference panels dent personality and dynastic ambitions made her one of at RSA, which deal explicitly with issues of the domestic the most compelling personalities of her day. interior. These panels enrich traditional art historical ap- I began studying Amalia’s artistic commissions proaches with further examinations of space, movement, 10 years ago. At the time, no scholarship addressed the etiquette, and identity. To be able to both present my role she played as a patron. Instead, artistic and archi- research within this sub-community and to meet other tectural projects were ascribed primarily to her husband. scholars working on related issues was inspiring. As a di- As a young female scholar interested in issues of gender rect result of my involvement with the panel last year, this identity in the early modern period, I wanted to know year I have organized and am chairing a follow-up panel why she was, at best, marginalized, and more commonly on Performative Identity in the Domestic Interior for the ignored. As part of a small research group of scholars, RSA meeting in New York. The support of EUCE/ESC I helped expose the ways in which Amalia was a critical enabled me to not only further my own research, but also element in cultural production. She was among the first to engage with and contribute to the scholarly commu- European collectors of Asian porcelain, amassed a signifi- nity more broadly, and for that I am grateful. € 4 Continued from Page 1 UPCOMING GRANT AND politics, past and present, with protestors. Interestingly, FELLOWSHIP DEADLINES Orwell’s name always seemed to sprout up in conversa- tions and debates as a reference. Bookstores are packed with copies of Homage to Catalonia, as well as Orwell’s EUCE/ESC TRAVEL GRANTS collected letters and articles on Spain, and biographies of FOR GRADuaTE STUDENTS the English writer. One is hard-pressed to find a piece The EUCE/ESC has funds available to graduate published on Spain’s civil war that does not mention students to help defray costs involved in traveling Orwell’s experience in revolutionary Barcelona, or to its to and participating in regional, national, or in- ‘Stalinist’ suppression in 1937-1938. Barcelona offers ternational scholarly conferences. In order to be ‘George Orwell tours’ for foreigners passing through, and eligible, graduate students must 1) be presenting a one could easily get lost on the narrow, winding, cobble- paper (not acting as discussant or chair) and be on stone streets of the Gothic Quarter and end up in Plaça the program of the conference; 2) Be presenting a George Orwell, a quiet plaza dedicated in his honor.
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