ITINERARY New Adventures in Spain
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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. -
Catalan Modernism and Vexillology
Catalan Modernism and Vexillology Sebastià Herreros i Agüí Abstract Modernism (Modern Style, Modernisme, or Art Nouveau) was an artistic and cultural movement which flourished in Europe roughly between 1880 and 1915. In Catalonia, because this era coincided with movements for autonomy and independence and the growth of a rich bourgeoisie, Modernism developed in a special way. Differing from the form in other countries, in Catalonia works in the Modern Style included many symbolic elements reflecting the Catalan nationalism of their creators. This paper, which follows Wladyslaw Serwatowski’s 20 ICV presentation on Antoni Gaudí as a vexillographer, studies other Modernist artists and their flag-related works. Lluís Domènech i Montaner, Josep Puig i Cadafalch, Josep Llimona, Miquel Blay, Alexandre de Riquer, Apel·les Mestres, Antoni Maria Gallissà, Joan Maragall, Josep Maria Jujol, Lluís Masriera, Lluís Millet, and others were masters in many artistic disciplines: Architecture, Sculpture, Jewelry, Poetry, Music, Sigillography, Bookplates, etc. and also, perhaps unconsciously, Vexillography. This paper highlights several flags and banners of unusual quality and national significance: Unió Catalanista, Sant Lluc, CADCI, Catalans d’Amèrica, Ripoll, Orfeó Català, Esbart Català de Dansaires, and some gonfalons and flags from choral groups and sometent (armed civil groups). New Banner, Basilica of the Monastery of Santa Maria de Ripoll Proceedings of the 24th International Congress of Vexillology, Washington, D.C., USA 1–5 August 2011 © 2011 North American Vexillological Association (www.nava.org) 506 Catalan Modernism and Vexillology Background At the 20th International Conference of Vexillology in Stockholm in 2003, Wladyslaw Serwatowski presented the paper “Was Antonio Gaudí i Cornet (1852–1936) a Vexillographer?” in which he analyzed the vexillological works of the Catalan architectural genius Gaudí. -
2019 Barcelona Intensive Course Abroad Itinerary Draft: Subject to Updating
2019 BARCELONA INTENSIVE COURSE ABROAD ITINERARY DRAFT: SUBJECT TO UPDATING Sunday Arrival in BarCelona Sept. 8 Morning Transport from El Prat Airport: Take the train* to Plaça de Sants; transfer to Metro* Line 1 (direction Fondo); take metro to Marina; walk to the residencia THS Campus Marina (address below).* A sinGle, 1 zone ticket costs 2 €, a Group can share a T-10 ticket (10 rides for 9.25 €). For more transit information, Go to: www.tmb.cat/en/el-teu- transport. NOTE: Prepare today for the week’s transit needs: ** purchase a 5- day travel card, to be initiated on the morning of Sunday, September 6th. ** Points of sale: www.tmb.cat/en/bitllets-i-tarifes/-/bitllet/52 - Metro automatic vendinG machines Intensive Course Abroad beGins in Barcelona at our accommodations: THS Campus Marina Carrer Sancho de Ávila, 22 08018 Barcelona, Spain Telephone: + 34 932178812 Web: www.melondistrict.com/en/location Metro: L1-Marina Afternoon Meet for an orientation; Walk to: 15:00 Museu del Disseny de BarCelona Architecture: MBM Studio (Martorell-BohiGas-Mackay), 2013 Plaça de les Glories Catalanes, 37 Dinner Group dinner (paid for by program), location to be determined 19:00 pm Monday Exploring great designs by Gaudi and DomèneCh; The Sept. 9 Contemporary City around the Plaça de las Glòries Catalanes, the Avinguda Diagonal, and DistriCt 22@bcn. Lobby 8:15 BrinG Metro Card and Articket. Early start! Morning BasiliCa de la Sagrada Familia 9:00-12:00 Architect: Antoni Gaudí, 1883-1926, onGoinG work by others Visit/SketChing Carrer de Mallorca, 401 1 Metro: L2+5 SaGrada Familia (open daily 9am-8pm / 13 or 14,30 € ) LunCh Many fast food options nearby 12:00-12:45 Afternoon Hospital de la Santa Creu i Sant Pau 13:00-14:00 Architect: Lluís Domènech i Montaner, 1901-1930 (under renovation as a museum and cultural center, access currently limited) Sant Pau Maria Claret, 167. -
Valencia City Guide 2022
VALENCIA CITY GUIDE - THINGS TO SEE AND DO See inside for details about getting around, sightseeing, shopping, nightlife and more Welcome to Valencia Spain’s third-largest city is a magnificent place, content for Madrid and Barcelona to grab the headlines while it gets on with being a wonderfully liveable city with thriving cultural, eating and nightlife scenes. Never afraid to innovate, Valencia diverted its flood-prone river to the outskirts and converted the former riverbed into a glorious green ribbon of park winding right through the city. On it are the strikingly futuristic buildings of the Ciudad de las Artes y las Ciencias, designed by local boy Santiago Calatrava. Other brilliant contemporary buildings grace the city, which also has a fistful of fabulous Modernista buildings, great museums, a long stretch of beach and a large, characterful old quarter. Valencia, surrounded by its huerta, a fertile zone of market gardens, is famous as the home of rice dishes such as paella, but its buzzy dining scene offers plenty more besides; it's a superb spot for eating. Getting around Walking If you have some time on your hands, there's no better way to get around Valencia than by walking. It will give you the opportunity to really take in your surroundings. You can take a walk around the old town or even head down the reconstructed river bed to the City of Art and Sciences and the beach. Valencia is a relatively small city, so if you have the time, make the most of your break and take a relaxing stroll Buses Taking buses around Valencia will offer you the opportunity to get around the city whilst seeing the sights as you travel. -
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 -
Christians in Search of Non-Christian Certitudes: Naturism, Spiritualism, Theosophy (From Catalonia to Asiatic Cultures, 1917–1930)
b a ž n y č i o s i s t o r i j o s s t u d i j o s , v i . v i l n i u s , 2014 l i e t u v i ų k a t a l i k ų m o k s l o a k a d e m i j o s m e t r a š t i s . t. 3 7 B . i s s n 1392-0502 José Andrés-Gallego CHRISTIANS IN SEARCH OF non-CHRISTIAN CERTITUDES: NATURISM, SPIRITUALISM, THEOSOPHY (FROM CATALONIA TO ASIATIC CULTURES, 1917–1930) y contribution to this conference came from the following Mexperience: I am working on a biography of a Spanish social activist who lost his faith (his Catholic faith) in his youth and began searching for truth in the most varied experiences: he tried Esperanto, continued with naturism, then spiritualism and finally arrived to theosophy. His name was Guillem Rovirosa. Rovirosa studied Management in the Electrical and Mechanical Industries School of Barcelona Industrial University. It was a very interesting Catalan institution that brought together a group of very singular students. As much as possible, I have reconstructed the lives of each member of this group, as well as that of Rovirosa, since 1917, and have observed several affinities among them. They were all people with a deep interest in any technical novelty and shared an important ability to innovate (a great propensity for creativity). Rovirosa was himself an inventor of most diverse types of electromechanical solutions, from mechanical toys to cinematographic projectors and even an electromechanical method to make wines age faster – perhaps much faster – than usual1; his friend Josep Grau was one of the promoters of using X-rays in Spain2. -
Michael Cowan Fitzgerald
1 Michael C. FitzGerald Office: 113 Hallden Hall tel. 860-297-2503 [email protected] [email protected] (home) EDUCATION 1976-1987 COLUMBIA UNIVERSITY GRADUATE SCHOOL OF ARTS AND SCIENCES Ph.D., M.Phil., M.A. DISSERTATION: "Pablo Picasso's Monument to Guillaume Apollinaire: Surrealism and Monumental Sculpture in France, 1918-1959." 1984-1986 COLUMBIA UNIVERSITY GRADUATE SCHOOL OF BUSINESS M.B.A. 1972-1976 STANFORD UNIVERSITY B.A. EMPLOYMENT TRINITY COLLEGE (Hartford, CT) DEPARTMENT OF FINE ARTS 2007- Professor 2OO2-5 Director, Art History Program (first appointment) 1994-2007 Associate Professor, Department of Fine Arts 1996-1998 Chairman 1988-1994 Assistant Professor 1986-1988 CHRISTIE, MANSON AND WOODS INTERNATIONAL (New York, NY) Specialist-in-charge of Drawings, Department of Impressionist and Modern Art 1981-1983 COLUMBIA UNIVERSITY (New York, NY) Preceptor,Department of Art History and Archaeology CONSULTANCY Research Director, Fundación Almine y Bernard Ruiz- Picasso para el Arte (FABA), 2020- AWARDS American Academy in Rome, April 2020 (deferred due to Corona Virus) Terra Foundation, 2006 2 National Endowment for the Arts, 2005-06 Faculty Research Leave, Trinity College, 2001-2002 3-Year Expense Grant, Trinity College, 2001-2004 Archives Grant, New York State Council of the Arts, 1999-2000 (with Whitney Museum of American Art) Fellowship, National Endowment for the Humanities, 1994-95 Faculty Research Grant, Trinity College, Summer 1993 Travel to Collections Grant, National Endowment for the Humanities, Summer 1991 Faculty Research Grant, Trinity College, Summer l989 Rudolf Wittkower Fellowship, Columbia University, 1980-81 Travel Grant, Columbia University, Summer l982; President's Fellowship, Columbia University, l977-78 CURRENT PROJECT Curator, Picasso and Classcial Traditions, This exhibition is a collaboration between the Museo de Bellas Artes de Sevilla and the Museo Picasso Málaga. -
Pablo Picasso, Published by Christian Zervos, Which Places the Painter of the Demoiselles Davignon in the Context of His Own Work
PRESS KIT PICASSO 1932 Exhibition 10 October 2017 to 11 February 2018 ANNÉE ÉROTIQUE En partenariat avec Exposition réalisée grâce au soutien de 2 PICASSO 1932 ANNÉE ÉROTIQUE From 10 October to the 11 February 2018 at Musée national Picasso-Paris The first exhibition dedicated to the work of an artist from January 1 to December 31, the exhibition Picasso 1932 will present essential masterpieces in Picassos career as Le Rêve (oil on canvas, private collection) and numerous archival documents that place the creations of this year in their context. This event, organized in partnership with the Tate Modern in London, invites the visitor to follow the production of a particularly rich year in a rigorously chronological journey. It will question the famous formula of the artist, according to which the work that is done is a way of keeping his journal? which implies the idea of a coincidence between life and creation. Among the milestones of this exceptional year are the series of bathers and the colorful portraits and compositions around the figure of Marie-Thérèse Walter, posing the question of his works relationship to surrealism. In parallel with these sensual and erotic works, the artist returns to the theme of the Crucifixion while Brassaï realizes in December a photographic reportage in his workshop of Boisgeloup. 1932 also saw the museification of Picassos work through the organization of retrospectives at the Galerie Georges Petit in Paris and at the Kunsthaus in Zurich, which exhibited the Spanish painter to the public and critics for the first time since 1911. The year also marked the publication of the first volume of the Catalog raisonné of the work of Pablo Picasso, published by Christian Zervos, which places the painter of the Demoiselles dAvignon in the context of his own work. -
Museu Picasso Presents Picasso/Dalí, Dalí/Picasso, the First Exhibition to Explore the Relationship Between Both Artists
Press Release THE MUSEU PICASSO PRESENTS PICASSO/DALÍ, DALÍ/PICASSO, THE FIRST EXHIBITION TO EXPLORE THE RELATIONSHIP BETWEEN BOTH ARTISTS Organised by the Museu Picasso with The Dalí Museum in Saint Petersburg, Florida, in collaboration with the Fundació Gala-Salvador Dalí in Figueres, this show examines the relationship between Pablo Picasso and Salvador Dalí—one of the most decisive crossroads in the history of 20th-century art Dalí felt admiration for Picasso dating back to before they had even met, when the young Dalí was making his first avant-garde forays in the early 1920’s The show includes works rarely seen in Europe, including Salvador Dalí’s Portrait of My Sister and Profanation of the Host, and 29 pieces by the two artists that will only be seen in Barcelona Barcelona, 19 March 2015. The Museu Picasso and The Dalí Museum in Saint Petersburg, Florida, have worked with the Fundació Gala-Salvador Dalí in Figueres and more than 25 art museums and private collectors worldwide to put on the first exhibition to analyse the relationship between Pablo Picasso and Salvador Dalí. The show sheds light on their highly productive relationship and reveals its high points and contradictions. “We didn’t set out to show that these two artists are in some way similar, but to help visitors get a better understanding of them,” says the show’s co-curator, William Jeffett, from The Dalí Museum. The idea is to let visitors see work by both artists in a fresh light by showing where their paths crossed. The exhibition reveals that after Dalí visited Picasso at his studio in Paris, his work underwent a tremendous experimental shift: he quickly went from merely “analysing” Picasso’s work to fashioning his own, fully Surrealist artistic language. -
4.Fichas De Elementos Arquitectónicos
4 FICHAS DE ELEMENTOS ARQUITECTÓNICOS ÍNDICE DE FICHAS DE ELEMENTOS ARQUITECTÓNICOS 197 FICHAS DE ELEMENTOS ARQUITECTÓNI- COS DE PRIMER ORDEN 200 PLAN DE ACCIÓN TERRITORIAL DE PROTECCIÓN DE LA HUERTA DE VALENCIA FICHAS DE ELEMENTOS ARQUITECTÓNICOS 4. 197 VERSIÓN PRELIMINAR. MEMORIA DE ORDENACIÓN. ANEXO ÍNDICE DE FICHAS ÍNDICE DE FICHAS DE ELEMENTOS ARQUITECTÓNICOS INVENTARIADOS U.P [01] HUERTA DE MONTCADA-EXTREMALES 200 U.P [04] HUERTA DE MONTCADA-ACEQUIA MADRE 236 EPA_01.01 Alquería de la Tanca EPA_04.01 Huerto de Salvador-Masía dels Pilars EPA_01.02 Torre Vigía EPA_04.02 Mas de Trenor o Casanova EPA_04.03 Mas del Rosari U.P [02] HUERTA DE MONTCADA-ZONA FINAL 203 EPA_04.04 Alquería del Pi. Cases de Bárcena EPA_02.01 Masía María Auxiliadora EPA_02.02 Alquería de San Rafael U.P [05] HUERTA DE L’ARC DE MONTCADA 241 EPA_02.03 Cartuja Ara Christi EPA_05.01 Alquería del Pelut EPA_02.04 Castillo de Cebolla EPA_05.02 Casa de la Sirena U.P [03] HUERTA DE MONTCADA-ZONA CENTRAL 209 EPA_05.03 Alquería del Rellotge EPA_05.04 Paretó dels Moros EPA_03.01 Alquería Nova EPA_03.02 Alquería de Pallès U.P [06] HUERTA DE ALBORAIA-ALMÀSSERA 246 EPA_03.03 Cebollera (Partida de l´Estació) EPA_06.01 Alquería de Requeni EPA_03.04 Alquería de Macià EPA_06.02 Ermita de Vera EPA_03.05 Alquería de Gori EPA_06.03 Alquería de Serra EPA_03.06 Alquería del Peix EPA_06.04 Alquería Caballero EPA_03.07 Alquería de la Palmera EPA_06.05 Casa Quelo EPA_03.08 Alquería de les Senyoretes, Alquería de Chulià, Alquería del Negre. EPA_06.06 Barraca Lladró EPA_03.09 Barraca del barri -
Pablo Picasso (Spanish, 1881 - 1973)
Pablo Picasso (Spanish, 1881 - 1973) Pablo Picasso is considered to be the greatest artist of the 20th century, the Grand Master primo assoluto of Modernism, and a singular force whose work and discoveries in the realm of the visual have informed and influenced nearly every artist of the 20th century. It has often been said that an artist of Picasso’s genius only comes along every 500 years, and that he is the only artist of our time who stands up to comparison with da Vinci, Michelangelo, and Raphael – the grand triumvirate of the Italian Renaissance. Given Picasso’s forays into Symbolism, Primitivism, neo-Classicism, Surrealism, sculpture, collage, found-object art, printmaking, and post-WWII contemporary art, art history generally regards his pioneering of Cubism to have been his landmark achievement in visual phenomenology. With Cubism, we have, for the first time, pictorial art on a two-dimensional surface (paper or canvas) which obtains to the fourth dimension – namely the passage of Time emanating from a pictorial art. If Picasso is the ‘big man on campus’ of 20th century Modernism, it’s because his analysis of subjects like figures and portraits could be ‘shattered’ cubistically and re-arranged into ‘facets’ that visually revolved around themselves, giving the viewer the experience of seeing a painting in the round – all 360º – as if a flat work of art were a sculpture, around which one walks to see its every side. Inherent in sculpture, it was miraculous at the time that Picasso could create this same in-the-round effect in painting and drawing, a revolution in visual arts and optics. -
Memoria CCC2018:Newsletter 24Ver4
CAPITAL DE LA CULTURA CATALANA 2004-2018 Capital de la Cultura Catalana Bureau Internacional de Capitals Culturals Ronda Universitat, 7 08007 Barcelona ℡ +34-934123294 Fax +34-934126871 [email protected] www.ccc.cat Twitter: @culturacatalana Facebook: capitalculturacatalana Sumari Presentació 5 Capitals de la Cultura Catalana Capital de la Cultura Catalana Banyoles 2004 . 7 Capital de la Cultura Catalana Esparreguera 2005 8 Capital de la Cultura Catalana Amposta 2006 9 Capital de la Cultura Catalana Lleida 2007 10 Capital de la Cultura Catalana Perpinyà 2008 11 Capital de la Cultura Catalana Figueres 2009 12 Capital de la Cultura Catalana Badalona 2010 13 Capital de la Cultura Catalana Escaldes-Engordany 2011 14 Capital de la Cultura Catalana Tarragona 2012 15 Capital de la Cultura Catalana Ripoll 2013 16 Capital de la Cultura Catalana Barcelona 2014 17 Capital de la Cultura Catalana Vilafranca del Penedès 2015 18 Capital de la Cultura Catalana Vic 2016 19 Capital de la Cultura Catalana Reus 2017 20 Capital de la Cultura Catalana Manresa 2018 21 Capital de la Cultura Catalana Cervera 2019 22 Capitals de la Cultura Catalana El Vendrell 2010 i Tortosa 2021 23 Campanyes de promoció cultural Campanya 10 pintures universals a Barcelona 26 Campanya 10 escultures universals a Barcelona 38 Campanya 7 persones sàvies de Catalunya 55 Campanya 7 tresors del patrimoni cultural de Barcelona 60 Campanya 7 tresors del patrimoni cultural de Badalona 61 Campanya 7 tresors del patrimoni cultural de Catalunya 62 Campanya 7 tresors del patrimoni cultural de Reus 63 Campanya 7 tresors del patrimoni cultural del Vendrell 64 Campanya 10 tresors del patrimoni cultural immaterial de Catalunya i el Principat d’Andorra 65 Nota sobre las fotografies d’aquesta publicació: · L’ordre del nom de les persones, i el càrrec si s’escau, que apareixen en les fotografies està sempre indicat d’esquerra a dreta.