were assembled in the powerful mechanical of a civic vision that disappeared along with for the public or for resting; so meeting rooms which function, in turn, as studies for later by surrounding them with a faint golden halo. way, he includes the public in the show, while casing, suspended in the air like a beached the age that produced it, the same vision that or the library alternate with a Japanese tea creations. The result of one of these is leaning «When I was young, the subject matter of my revealing the secrets of his workshop and the boat. The photographs taken during the con- drove Piano, Rogers and their friends to create room. All distributed across two floors. against one of the walls in the room where he artwork was more connected to the cosmos, I fragile control the artist wields over his mate- struction process are the only ones to recall a cultural machine completely open to commu- keeps the finished pieces. It isPalmyra , one of was looking for something more modest and rials. «Gunpowder is unpredictable. It’s a me- the presence of that shell on the shore, before nication and participation in the heart of Paris. The first impression felt by all visitors when the ignitions on show in The Spirit of Painting. more spiritual. As the years have gone by, I’ve dium that never submits, it’s uncontrollable … it disappeared beneath the cladding of reflect- The enclosure of the Botín Centre shows how they cross the threshold of Cai Guo-Qiang’s stu- Cai Guo-Qiang at the Prado, curated by Alejan- developed and I’ve seen the changes, so I have Which is why you always have to keep a safe ed light. To install the cladding, the alumini- much of this vision has been lost in a game of dio is one of contained chaos, a creative force dro Vergara. It represents the Syrian city laid more enriching emotions and experiences as a distance. You have to give it the freedom to ex- um supports first had to be mounted and then poetic, private reflections. Only the platform, that tries to control what has been trying to es- waste by war, this time under a blaze of red and result.» press its true charisma.» It would be complete- the rectangular panels with the ceramic disks the stairways and the galleries continue to bear cape for a very long time; like the smoke after blue gunpowder. Opposite it, his version of Go- ly useless to introduce energy into a picture fixed in place. The windows were slotted in witness to that legacy, even though they are the explosions characterizing his works. Per- ya’s Third of May. This personal growth is reflected in his when it already has an energy of its own. In later. The operation for the bringing in the lift reduced to places from which to contemplate haps this is the essence of everything. chromatic palette, which has recently been that way, everything will have meaning. and hoisting it from a special crane had to be the extraordinary landscape and are no longer Cai began to use gunpowder almost from transformed with gunpowder coloured in carried out according to a technical ritual wor- spaces for the community to meet. Guo-Quiang (Quanzhou, China, 1957) is the beginning of his career because of the cre- blues, reds and yellows. It’s easy to spot ref- The Development and the Climax in this thy of the erection of a contemporary obelisk. currently working on the exhibition for the ative possibilities it granted him and because erences to El Greco or Velázquez in the tones visual poem are made up of those works that Once the building’s skeleton had been assem- The light that Piano projects onto the sur- Prado Museum, thanks to which he will be- of the spontaneity it allows him in the process flooding the works that have travelled to the he intends to create in situ during his stay in bled and the road tunnel excavated, work was face of the building transforms it into a mi- come the only living artist in the history of of executing a work. «It is a spiritual element Prado Museum. «They are noble colours. Col- Salón de Reinos. Alongside these, other panels undertaken in 2015 to extend the Pereda Gar- rage: the illusory hope in an architecture that the museum to have been commissioned for in itself», he maintains. But not everything is ours that have been understood from the soul that have already been completed, such as Last dens through concrete paths and the planting can still open up and be transparent, like a a project of this kind. It is also the first time left to chance. The methodical and the uncon- and which have been used from a position of Carnival, whose production was filmed by the of extra trees. machine transmitting information, just like an artist has set up his studio in the old Salón trollable exist side by side in the works he cre- modesty, but also with the certainty of a mas- director Isabel Coixet (the process she record- the avant-garde movements of the 1960s and de Reinos [Hall of Realms] at the former Buen ates with this flammable material. Drawings ter,» explains the contemporary artist today ed is included in the documentary shown in Emilio Botín’s aim was to offer his city a 1970s. The screen to one side, disfiguring the Retiro palace. This enclave constitutes a fun- are created by sprinkling the mineral onto the interpreting the classics. the last room of the exhibition). In this carni- community centre in a location of significance beauty of the envelope, evokes the intensity of damental part of the project already being canvas following the tracing of figures previ- val conceived by Cai, the last animals on Earth for his international financial activities. It is no the first cultural machines, with their violence conceived in the Chinese artist’s New York ously conceived. After ignition, the forms are His idiom is in the space where East meets that have survived the end of the world are coincidence that the new building was erected and fascination. However, this is diluted into studio. Cai is tackling the opportunity to work modified at the whim of the undisciplined West. Likewise, it intermingles cosmology, ori- copulating among themselves. In the mean- opposite the nineteenth-century headquarters a flicker perceptible among the treetops. That in a building full of so much history with a material and its behaviour; once the fuse has ental medicine and Chinese mythology. Per- time, in heaven, a group of cherubim bless of the Banco Santander located on the other the exterior covering has long since overtaken sense of responsibility and some trepidation: been lit, the powder is both the medium and haps that is why Guo-Qiang presents his arrival the earthly bacchanalia, as if it were a Rubens side of the gardens. No matter how much em- the structure is not simply a question of aes- «I hope the presence of the masters will guide also the painter. «The energy liberated on ig- at the Madrid gallery in four stages, the same painting. phasis is placed on the relationship between Pi- thetics, but rather another sign of the decline of and inspire me when I’m working there.» The nition includes light, smoke and sound. There ones structuring ancient Chinese poetry: As- ano’s building, the gardens and the water, there an ethical, political and constructive truth, one building’s memories, first as a throne room is another form of energy, however, that will cent, Development, Climax and Finale. He ad- In his dialogue with the Madrid museum, is no denying that this is also a cultural append- of whose greatest craftsmen and enthusiastic and subsequently an army museum for dec- remain forever sealed within the picture.» mits that he wants to hold an exhibition that the Chinese artist has reinterpreted the classi- age of the powerful bank. From that point of advocates has been Piano himself. ades, have impregnated its walls. Now more This relationship between the artist and ener- expresses not only his understanding of the cal oriental structure of separating the earth- ars view, even the division into two lobes separated By Roberto Gargiani than ever before, it is as if the gunpowder had gy leads him to experiment with it and place museum’s collection, but also the process of ly from the heavenly. In his case, the earthly ars 156 by public spaces reflects the architecture of the decided never to leave. two canvases in opposition to one another, understanding it. In other words, his dialogue world of sins is located beneath a heaven that 157 bank’s historic headquarter building, pierced one on top of the other. After the explosion, with the masters. Because of all this, the Prado is not a place for judgment but for celebration. right in the centre by a colossal triumphal arch The dialogue with the artists in the Prado the energy, the heat and the temperature are exhibition offers the path taken by the artist Around eight more paintings will be created open to the city traffic (in some of his initial has already begun, as we said, from the library absorbed by the upper canvas, thus producing from study to experimentation with the mate- expressly in the Salón de Reinos; their dimen- designs, Piano had aligned the aerial walkway in the building where he usually works on the two paintings: one abstract and another, more rial, ending in the final creation generated after sions will match those of the original paintings with this arch). In any event, the locals going Lower East Side. On a table full of catalogues figurative one. the explosion. «You can’t jump directly to the exhibited in the historic building (the great bat- to the Pereda Gardens for their constitutional of Spanish art, books on El Greco, and colour end, it’s important to know and understand the tle scenes painted by Velázquez and Zurbarán, stroll so admired by the Italian architect be- plates of Toledo, the reality behind the project: Throughout his whole life, Cai Guo-Qiang process,» Cai insists. among others). cause of the potential for urban life are trapped two years of work and study on some of some has moved between these two styles. «You between the Botín family’s two buildings. The of the main masters in Madrid’s art gallery. could say it’s like a pendulum. For a time, I work The path that the artist asks us to follow His artistic residency in the Spanish cap- public accesses to both buildings erected in This is how Cai Guo-Qiang is preparing for his on figuration, and when I reach the end of the step by step begins in the Ascent, if we adhere ital will culminate on October 23rd with the honour of financial capital reflect each other in PAGE 94 incursion into the Prado. These are his brush pendulum, I turn back in the other direction, to to the structure of ancient oriental poetry. production of the central piece of the exhibi- a dialogue that erupts with decisive force and strokes and his regrets. the opposite side.» Dualities that are inherent This first room focuses on his dialogue with tion, the show’s Finale: The Spirit of Painting. traces of humanity in an important part of the Experimentation and to the material and its personality. And to the El Greco. As we have already said, his research In an event for which the Salón de Reinos will city. The new Centre increasingly reveals its Rebelliousness His relationship with Spanish painting artist’s as well. For this reason, ignitions on pa- into the Cretan’s production has resulted in be opened to the public, Cai will embark on a own character as an unrecognizable sculptural began many years ago. «When I studied Art per and canvas coexist with firework displays, a series of «transition paintings» where Guo- journey to discover his own work, an odyssey bust raised by Piano in honour of his principal The Lower East Side is the only neigh- History in China, Renaissance painting class- as if it was a dance, a never-ending pas de deux Qiang examines light and colour, but also that will allow him to question fundamental alongside the gardens in front of the headquar- bourhood in the city that allows itself to have es focused on the great figures of Italian art, between the permanent and the ephemeral. In spirituality and the mystical halo possessed aspects of his output. «More than a painting, ters of his bank. secrets. It doesn’t matter how often you walk but I had access to other painters like El Greco. the pyrotechnical montage he produced dur- by the works of the Mannerist master. Includ- it is mainly an attitude. I mean that there will around the district, there’s always something At the time, I felt he was closer to who I was ing the opening of the 2008 Olympic Games, ed along with the studies are many of his in- be a moment of self-liberation and at that mo- The contradiction enshrined by the build- you’ve never seen before just around a corner. and what I was doing». His admiration for the he went even further, because he managed to itial experiments, distributed like shadows of ment of creation, when I find myself most free, ing refers to the value of its parts, despite the Which is why, when you find an old primary Cretan’s spirituality and technique led him, in create drawings in the sky which for a few sec- smoke frozen on the canvas. The variability of the spirits of those masters will inspire me and architect’s stated intention of wanting to make school converted into an artist’s studio on First 2009, to go on a pilgrimage to all those places onds, were able to unite the earthly with the the material and its use cause it to behave in that is when my sensibility and creativity will a cultural centre in line with buildings inaugu- Avenue tucked in behind number 40, it doesn’t where he left a footprint, from his native city in heavenly. That was when his great montages different ways, depending on factors like the be liberated.» rated after the Pompidou Centre. Countering come as too much of a surprise. Contemporary Crete to Toledo. «Although he painted religious achieved international recognition. time of ignition or ambient humidity, so the the delicate closure of the gleaming lobes are art has always felt more at ease in places you subjects, he also has a different personality, one final result, as well as unforeseen, is impossi- The spirit of painting will therefore allow the open mechanical structures of the stair- wouldn’t expect to find it. that breathed in and out. His painting also in- With the passing of time, his work has also ble to repeat. him to examine his own work from inside, ways, the platform and the galleries. In fact, the cludes the pleasure of painting,» observes the developed chromatically, marking a distance like an exercise in reflection that he has been autobiographical meaning of the new construc- The various classrooms in this old school, Chinese artist. Precisely in his Manhattan stu- between his first works using pure gunpowder These experiments are the reflections that waiting for all his life. To achieve this, he will tion is concealed in those two parts, so different founded in 1885 and renovated by the OMA dio, one can appreciate these and many other and his recent inclusion of colour. In his early engage the spectator with the work. For under- start from the beginning, from an analysis of in their lines and materials, as well as in their architecture studio, have the flexibility to func- reflections transformed into works of art. Pic- works, the figures were blurred; in addition, standing how a particular material behaves is the great masters, not as an homage, but rather use. It stands on the shore, like the eroded shell tion as a private workspace and another space tures that he refers to as «transition paintings», the artist gave them a more ethereal character to understand half of its significance. In this as part of his own creative process. The goal is to rebel, to surpass these masters and find the young author traveled to Seville where he or the Virgin Mary and Christ, for example, Even so, the whereabouts of this set, created in scholarship on the artist. Monumental series of by the Centro de Estudios Europa Hispánica his own path. «The Prado offers an opportu- spent the next three years, until 1617, learning were particularly popular. Such commissions Zurbarán’s Seville workshop, is unknown for between twelve and fourteen figures – whether and the Center for Spain in America, it features nity for artists to learn and reflect at any given the painting trade with artist Pedro Díaz de Vil- were in high demand both in Spain and in the nearly a century following its creation. of apostles or patriarchs – are historically im- essays by scholars in Spain, the United States, moment.» lanueva. It was likely also during this time that Americas, for which Seville’s port made con- portant within the context of seventeenth-cen- and the United Kingdom that treat a myriad he first met other of Seville’s notable painters: venient point of transport. It is to the Americas The series of Zurbaran and his workshop tury Spain but also represent a crucial facet of of facets from Zurbarán’s career, including the Artists frequently move between construc- Pacheco, Cano, and Velázquez, who would all that Jacob and His Twelve Sons may have been have not been documented until a century af- Zurbarán’s output. Moreover, because of their impact of his monumental commissions and tion and destruction, between heritage and re- have an impact on the impressionable painter. destined, though this is a supposition based on ter its execution. All that is known is that, by probable intended shipment to the Americas, the collecting history of his paintings outside of bellion. «They have to have a generous heart Zurbarán went on to paint and manage a large likelihoods.7 Rather, the hypothesis responds 1726, the paintings had traveled to England. these series must be recognized for the broad Spain. All this is very much in-keeping with the to be able to commit to this cause, but they and dynamic workshop in Seville over the dec- to a belief that had been circulating since the By mid-century they are documented in the impact they had on the images of faith world- Meadows Museum’s mission to position itself must also have the courage to discard it all and ades that followed, before he moved with his sixteenth century that the ten Lost Tribes of collection of a Jewish merchant before being wide. as a preeminent center for the study of Spanish rebel,» according to Guo-Qiang. Study, experi- family to Madrid, in 1658, where he remained Israel had been discovered in the Americas’ sold in 1756.11 Here begins the more recent and art in America. mentation and rebelliousness. Such is the spirit until his death six years later.3 native populations. This presumed discovery known life of the paintings as they entered a Under the scientific direction of Mark A. By amanda dotseth of his painting. bolstered justifications for the conversion of new Christian [this time Protestant] context. Roglán – the Meadows’s Director –, the project By SARA CADIÑANOS The paintings featured in the Mead- American Indians to Christianity, just as Span- Twelve of the thirteen paintings – except the was co-organized by the Meadows Museum 1 Brown, Jonathan. Painting in Spain 1500-1700. New Haven, CT: ows Museum’s exhibition are from the ish Jews and Muslims had been previously youngest of Jacob’s sons, Benjamin – were pur- and the Frick Collection. It brought together Yale University Press, 1998. 2 Bruquetas Galán, Rocío. Técnicas monumental series Jacob and His Twelve Sons, faced conversion in (or expulsion from) Spain.8 chased at auction by Bishop Richard Trevor of scholars and scientists from the United King- y materiales de la pintura española en los siglos de oro. Madrid: which likely date to an important point in the Durham. Having been outbid for Benjamin, he dom, the United States, and Spain and has en- Fundación de Apoyo a la Historia del Arte Hispánico, 2002. AaVv. artist’s career in Seville around the 1640s.4 It The Old Testament Patriarch, Jacob, son of commissioned a copy from the English painter joyed the full support of the Auckland Castle «La Serie Jerónima de Zurbarán en el Monasterio de Guadalupe is at this same time that Zurbarán completed Isaac and grandson of Abraham, had twelve Arthur Pond (c. 1705-1758) and installed the Trust and the Grimsthorpe and Drummond (Cáceres): Estudio de sus restauraciones.» OCOOCC Lisbon, 2011. some of his most important commissions for sons between his two wives – Leah and Ra- canvases at Auckland Castle, the residence of Castle Trust. The exhibition at the Meadows http://bh1.fpc.pt/nyron/Library/catalog/winlibimg.aspx?s- ecclesiastical patrons at the Monastery of San- chel – and their handmaidens (Bilhah and Zil- the Anglican bishops of Durham since the Mid- Museum – co-curated by Mark A. Roglán and key=C2BE68CC269D4AD1A755337B611B76D8&doc=13797&im- ta María in Guadalupe (Cáceres) and in Seville pah). They were, likewise, important figures to dle Ages. There Bishop Trevor displayed his Amanda W. Dotseth – and Frick Collection g=3625&save=true. 3 Cascales y Muñoz, José. Francisco de Zur- itself. However, that decade also bore witness each of the Abrahamic faiths: Judaism, Chris- monumental acquisition in the aptly named – curated by Susan Galassi – presents Ameri- baran: Su epoca, su vida y sus obras. Madrid: Fernando Fe, 1911; to a decline in Seville’s fortunes, and likewise tianity, and Islam. Jacob’s blessings or prophe- Long Dining Room, where they have remained can visitors with a thorough view of the three translated by Seelye Evans, Nellie. New York: priv. Print, 1918. also in the painter’s business there. The city’s cies to his sons, described in Genesis 49, antic- since. Meanwhile, Zurbarán’s painting of Ben- facets of the study it celebrates. While the 4 Finaldi, Gabriele. «Zurbarán’s Jacob and His Twelve Sons: A Fa- PAGE 108 mid-seventeenth-century economic depression ipated the Twelve Tribes of Israel that the sons jamin ended up in yet another place: Grimst- paintings themselves form the core of the dis- mily Reunion at the National Gallery.» Apollo 140, n.392 (1994), was made worse still by a devastating outbreak founded, therefore making the subject particu- horpe Castle in Lincolnshire, the home then play, additional galleries are devoted to their pp. 1-16. Finaldi, Gabriele. «Las doce tribus de Israel: Reencuentro Zurbarán and the of Bubonic Plague in 1649, which decimat- larly meaningful in Jewish theology. Neverthe- as now of the Willoughby de Eresby family, fascinating history at Auckland Castle and life familiar en el Museo del Prado.» In: Finaldi, Gabriele y Navarrete 12 Twelve Tribes of Israel. ed the population, reducing it nearly by half less, in the New Testament book of Acts, the where it remains. The original Benjamin will in the United Kingdom, as well as the new dis- Prieto, Benito (edits.). Zurbarán: Las doce tribus de Israel. Jacob (there were around 60,000 deaths). Indeed, Se- ancient role of Jacob’s sons as founders of the be reunited with his brothers for the first time coveries that have been made about the pro- y sus hijos. exh. cat. Madrid: Museo Nacional del Prado, 1995. 5 Jacob and his Sons ville would never fully recover. Among those Twelve Tribes of Israel emphasized their func- since the 1990s at the Meadows Museum and cess of their creation. At the Meadows, a gallery 5 Wunder, Amanda. Baroque Seville: Sacred Art in a Century of ars who succumbed to the disease was the artist’s tion as patriarchs of the Christian faith as well, the Frick Collection. These exhibitions mark presents the late medieval prints that served as Crisis. University Park, PA: Pennsylvania State University Press, ars 158 Seventeenth-century Seville was a own son and collaborator, Juan de Zurbarán and particularly identifies them as predeces- the paintings’ first visit to the Americas, where compositional or iconographic models for the 2017. 6 Finaldi, Gabriele, and Kinkead, Duncan Theobald. «Artistic 159 cosmopolitan port city and center of interna- (1620-1649), an accomplished painter in his sors who anticipated Christ’s twelve apostles. visitors will be among those select few to see Master in the development of Jacob and His Trade between Seville and the New World in the Mid-Sevente- tional commerce welcoming ships from the own right now known for his mastery of the Ten of the Twelve Tribes were believed to have the monumental series in its entirety. Twelve Sons. These include woodcuts by Ger- enth Century.» Boletín del Centro de Investigaciones Históricas y Americas. It was also a uniquely fertile training still-life genre. left the Kingdom of Israel long before the life man artist, Albrecht Dürer (1471-1528), on loan Estéticas 25, 1983, pp. 73-101. 7 Kinkead, Duncan Theobald. «The ground for some of Spain’s best known paint- of Jesus. Their discovery after having been for But let us return to the moment the series from SMU’s Bridwell Library; the series featur- Last Sevillian Period of Francisco de Zurbarán.» Art Bulletin 65, ers of the Baroque period. Francisco Pacheco, While the dating of Jacob and His Twelve so long lost was therefore associated with the was sold. Bishop Trevor’s mid-eighteenth-cen- ing Jacob’s twelve sons by Jacques de Gheyn n. 2, 1983, pp. 305-11. Navarrete Prieto, Benito. «Génesis y des- Alonso Cano, Bartolomé Esteban Murillo, Diego Sons to the 1640s is based on their style, the coming of the Messiah and the end-of-times tury acquisition of Jacob and His Twelve Sons II (1565-1629), on loan from the Metropolitan cendencia de ‘Las doce tribus de Israel’ y otras series zurbara- Velázquez, and Francisco de Zurbarán (1598- enigma of their early provenance may be fur- across faiths. The claim that the Lost Tribes was not only significant as evidence of the Museum of Art in New York; and the series of nescas.» In En: Finaldi y Navarrete Prieto, op. cit, 1995. Navarrete 1664) all spent key formative moments or their ther evidence that they were created during a had been identified in the ‘New World’ was early popularity and collecting of Spanish art the twelve apostles by Martin Schongauer, on Prieto, Benito. La pintura andaluza del siglo XVII y sus fuentes careers there, and as a result, are described as tumultuous historical moment, when Spain’s therefore extremely powerful and meaningful in Britain, but also likely represented a politi- loan from the Museum of Fine Arts in Boston. grabadas. Madrid: Fundación de Apoyo a la Historia del Arte 1 members of the Sevillian School. Not only did once powerful – with Seville among its most to Christians, Jews, and Muslims, particularly cally significant act of tolerance. At the time, Hispánico, 1998. 8 Veldman, Ilja M. and De Jonge, Henk Jan. «The these artists share notable qualities in the sub- important port cities – was facing decline. as the momentous discovery of the Americas Jews had few rights and their elevation to full The findings of Claire Barry and her team Sons of Jacob: The Twelve Patriarchs in Sixteenth-Century Ne- jects they painted for elite ecclesiastical and civ- Indeed, next to nothing is known with cer- was itself seen by contemporary Catholics as status as citizens was the subject of contention at the Kimbell Art Museum feature prominent- therlandish Prints and Popular Literature.» Simiolus 15, ns. 3/4, 9 il clients – in the naturalistic style with which tainty about the circumstances surrounding a sign that the end of times was approaching. and debate in Parliament. Viewed within the ly in the exhibition and scholarly English-lan- 1985, pp. 176-96. Ben Israel, Menasseh. Orígen de los America- they did so –, but their paintings also shared cer- Zurbarán’s commission to paint the thirteen As such, Zurbarán’s thirteen paintings of Ja- context of the political climate, therefore, Tre- guage catalogue that accompanies it, which it- nos, esto es, Esperanza de Israel (1604-1657); edited by Bauer y tain physical and technical qualities that linked larger-than-life-sized figures of the Old Testa- cob and his sons represent both contemporary vor’s purchase of paintings featuring the Old self represents a significant contribution to the Landauer, Ignacio. Madrid: Ibero-Americana, 1928. 9 The Jewish them quite directly to Seville: for example, the ment patriarchs, who represented the Twelve theological debates and the political-historical Testament, Jewish Patriarchs may be read as a literature on Zurbarán and the long lives of his Encyclopedia. New York: Funk and Wagnalls, 1908. 10 Navarrete 14 use of local clay to create a warm ground lay- Tribes of Israel. This was an unusual subject realties of the Spanish Crown’s activities in the public statement of his support of religious ac- paintings. The publication joins educational Prieto, op. cit, 1995. 11 Baron, Clare and Beresford, Andy (eds). er for their paintings.2 One of these Sevillian with very little iconographic precedent ei- Americas. ceptance in eighteenth-century Britain.13 programming that offers further interpretation Spanish Art in County Durham. Bishop Auckland: Auckland Castle School painters, Francisco de Zurbarán (1598- ther in Spain or elsewhere and therefore it of the historical, theological, and material story Trust, 2014, pp. 26-43. 12 Ibid. 13 Roth, Cecil. A History of the Jews 1664), is the subject a major exhibition and seems likely that it would have been created That the series was likely created for export The exhibition represents the culmination of Jacob and His Twelve Sons. Stand-alone lec- in England. Oxford: Clarendon Press, 1964. 14 In addition to the study spearheaded by the Meadows Museum at for a specific patron rather than for sale on is supported by not only the particular theolog- of a much larger and more ambitious project. tures, gallery talks, and symposia, including one citations above, this text was informed by the essays included Southern Methodist University in Dallas (Tex- the open market whether in Seville or in the ical and historical circumstances surrounding For this wide-ranging study, the Auckland at the Meadows Museum dedicated exclusively in the exhibition catalogue to which I was given access prior to 6 as) and the Frick Collection in New York. Americas. their conception but also by the survival of and Grimsthorpe Castle paintings have left to conservation science, and co-organized with its publication in September 2017. Roglán, Mark, Galassi, Susan three roughly contemporary and related paint- England for the Kimbell Art Museum in Fort the Edith O’Donnell Center at the University of and Payne, Edward (eds). Zurbarán: Jacob and His Twelve Sons Zurbarán’s origins were humble; he was Large painting series like Jacob and His ing series of the same subject in Lima (Peru), Worth, where they have undergone extensive Texas (Dallas), all form key parts of the on-go- – Paintings from Auckland Castle. Madrid: Centro de Estudios Eu- born in a small town of Fuente de Cantos Twelve Sons were a reliable source of income Puebla (Mexico) and Mexico City.10 Outside of examination by Claire Barry, director of con- ing study of these fascinating paintings before ropa Hispánica, CSA, Auckland Castle, The Frick Collection and (Badajoz) to a Basque father who was mer- for the Master and his workshop; they were these American sets, the subject of Jacob and servation, and her team. As the first time one enlightening new audiences at The Frick Collec- the Meadows Museum, 2017. chant and businessman that had established popular among monastic patrons whose often His Twelve Sons is extremely rare and is unique of Zurbarán’s monumental painting series has tion in New York and eventually returning to himself in the south of Spain by the end of the grand architectural spaces could accommodate among the author’s large painting series, most been studied collectively and in such depth, the the United Kingdom. The enduring contribu- sixteenth century. Rather than follow in his fa- such theologically significant, monumental, of which represent the twelve apostles or specif- breadth of this project is unprecedented and tion to the scholarship to come out of this pro- ther’s footsteps, at a mere sixteen years of age serial images. Series of the Twelve Apostles ic saints meaningful to the patron, for example. promises to add significantly to the existing ject is its catalogue. Generously underwritten