Friday, October 7, 2016, 10 A.M.-1 P.M.
Modern Spanish Art
Eugenio Carmona, distinguished professor of art history, Universidad de Málaga
Rosario Peiró, head of collections, Museo Nacional Centro de Arte Reina Sofía
Jordana Mendelson, associate professor in the Department of Spanish and Portuguese Languages and Literature, New York University
Jacqueline Rattray, lecturer in modern literature, Goldsmiths University of London
This half-day symposium will provide context for Modern Spanish Art from the Asociación Colección Arte Contemporáneo on view at the Meadows Museum this fall. National and international speakers will elucidate key artists and movements in this unprecedented exhibition featuring over ninety works of modern Spanish art.
FREE; no reservations required. Seating is limited and available on a firstcome, first-served basis. For more information call 214.768.4993.
Bob and Jean Smith Auditorium
Eugenio Carmona, Distinguished Professor of Art History, Universidad de Málaga
Welcome and Opening Remarks
Jordana Mendelson, Associate Professor in the Department of Spanish and Portuguese Languages and Literature, New York University
Avant-garde/Elite: Promoting New Art in the 1930s
During the 1930s in Spain, the pictorial challenges posed by new art coincided with a period of social, political, and economic reform, most significantly in the first years of the Second Republic. Among the country's young artists and entrepreneurs, there was a shared interest in forging a community to support new art, but there was also resistance. Together, those who supported new art forged innovative means to promote, exhibit, and publicize national and international trends. Among the groups to form, Barcelona’s ADLAN (Friends of New Art) created a particularly robust series of events, exhibitions, and publications that sought to create an audience for new art. This talk highlights works from the exhibition that intersected with some of the different initiatives, which were launched by ADLAN in Barcelona but extended across Spain, to present a contextual view into the proposals and challenges of artistic modernity in early twentieth-century Spain.
Jacqueline Rattray, Lecturer in Modern Literature, Department of English & Comparative Literature, Goldsmiths, University of London
Painting with Words: The Experimental Poetry of Selected Artists of the Spanish Avant-Garde
Many of the artists featured in Modern Spanish Art experimented with writing over varying periods of their artistic careers. Some, such as Picasso and Dalí, were particularly prolific, whereas others such as Miró, Planells, Palencia, and Viñes were less so. However, the commitment to seeking an alternative expression through the written word has less to do with the quantity of the output and more to do with the individual reasons for putting down the paintbrush and turning to poetry in the first place. At times the reason for turning to poetry was due to the artist undergoing an emotional crisis; at other times, it was due to immediate political events (such as the Spanish Civil War). For some artists it was due to feeling a temporary artistic block; for others, it was due to economic necessity; and for still others, it was simply a capricious indulgence. Some artists were keen for their written work to be made public, whereas others were not. But, regardless of the reasons for writing, or the quantity and aesthetic quality of their various poetic outpourings, a consideration of the poetry of these artists reveals to us another layer of understanding that lies just behind the canvas of their works.
Rosario Peiró, Head of Collections, Museo Nacional Centro de Arte Reina Sofía
The New Museological Project of the Reina Sofia Collection, 2008-2016
The collection of a museum is a collective task. It involves time and individuals, artists, experts, and spectators who visit it. Undertaken in this way, as a sum of plural gazes and readings, it would be overly simplistic to conceive of a collection as a single univocal discourse, subject to the narration of history as a closed, sterile account. Each new assembly of a collection corrects the last and awaits correction by the one that follows. It is this process of articulation that determines that a public collection should never be considered as the expression of a canon imposed by the indisputable decree of tradition, but rather as a space that is open to discussion.
Friday, December 4, 2015, 9:00 A.M. - 6:00 P.M.
Alba: Lives and Afterlives of a Historic Collection
To coincide with the groundbreaking exhibition Treasures from the House of Alba: 500 Years of Art and Collecting (September 11, 2015–January 3, 2016), a public symposium at the Meadows Museum will bring together established and emerging scholars for discussion and debate on a selection of masterpieces from the collection of the Alba family.
The morning session will be devoted to three keynote lectures that will narrate a story of the life and afterlife of the Alba collection, and raise broader questions about parallel collections throughout Europe. The first lecture will examine the dispersal of the Alba collection in the nineteenth century, the second will investigate the political appropriation of the collection during the Spanish Civil War, and the third will address conservation issues pertaining to specific objects. The afternoon session will take place in the exhibition galleries where eight speakers will present “object biographies,” unfolding the stories of individual works on view in the exhibition. A break for lunch will follow the morning session, and the symposium will close with a reception for attendees.
FREE; no registration required. Space is limited and seating is on a first-come, first-served basis. For more information, call 214.768.4677. Alba: Lives and Afterlives of a Historic Collection is co-organized by the Meadows Museum and The Edith O’Donnell Institute of Art History.
9:00 – 9:30 a.m.
Coffee and informal viewing of the exhibition Treasures from the House of Alba: 500 Years of Art and Collecting
Morning Session: Bob and Jean Smith Auditorium
9:30 – 9:40 a.m.
Mark Roglán (Linda P. and William A. Custard Director of the Meadows Museum and Centennial Chair in the Meadows School of the Arts, SMU)
Richard Brettell (Director, Edith O’Donnell Institute of Art History, UTD)
9:40 a.m. – 12:00 p.m.
9:40 – 10:20 a.m.
Richard Brettell (O’Donnell Institute, UTD)
The Alba Collection Paris Sale: Spanish Art, Tapestries, and French Taste in the early Third Republic
10:25 – 11:05 a.m.
Miriam Basilio (Assoc. Professor of Art History and Museum Studies, New York University)
“Museums for the People”: The Alba Collection and Debates about Cultural Property during the Spanish Civil War
11:10 a.m. – 11:50 p.m.
Rafael Alonso (Conservator, Museo Nacional del Prado, Madrid)
Preserving the Legacy of the House of Alba in the Twentieth Century
12:00 – 1:30 p.m.
Break for Lunch
Informal viewing of the exhibition Treasures from the House of Alba: 500 Years of Art and Collecting
Afternoon Session: Jake and Nancy Hamon Galleries
1:30 – 3:10 p.m.
Object Biographies, Part I
1:30 – 1:50 p.m.
Shira Lander (Professor of Practice & Director of Jewish Studies, SMU)
Rabbi Mosé Arrajel and School of Toledo, Alba Family Bible, 1430
1:55 – 2:15 p.m.
Lori Diel (Assoc. Professor and Coordinator of Art History, TCU)
Decree granting coat of arms to Martín Moctezuma, 1536
2:20 – 2:40 p.m.
Mark Rosen (Assoc. Professor of Aesthetic Studies, Edith O’Donnell Institute, UTD)
Fernão Vaz Dourado, Portulano, Atlas of the World, 1568
2:45 – 3:05 p.m.
Lisa Pon (Assoc. Professor of Art History, SMU)
Willem de Pannemaker, Mercury in Love with Herse, 1570
3:10 – 3:30 p.m.
Break and Informal Discussion
3:30 – 5:10 p.m.
Object Biographies, Part II
3:30 – 3:50 p.m.
Nicole Atzbach (Curator, Meadows Museum, SMU)
Andrea Vaccaro, Penitent Magdalene, c. 1650–60
3:55 – 4:15 p.m.
Amy Freund (Asst. Professor & The Kleinheinz Family Endowment for the Arts & Education Endowed Chair in Art History, SMU)
Louis Michel van Loo, The Children of the Second Duke of Berwick, c. 1715
4:20 – 4:40 p.m.
Xavier Salomon (Peter Jay Sharp Chief Curator, Frick Collection, New York)
Francisco de Goya, The Duchess of Alba in White, 1795
4:45 – 5:05 p.m.
Mark Roglán (Meadows Museum, SMU)
Josep María Sert, Victory Comes Slowly; Defeat of the Enemy; The Book of History; Mobilization, c. 1918
5:10 – 6:00 p.m.
Reception for symposium attendees at the Meadows Museum
Saturday, February 7, 10 A.M.-3:30 P.M.
In the words of one recent author, Francisco Goya (1746-1828) is enjoying a “pop-culture moment.” Two large-scale exhibitions devoted to him opened this fall at the Meadows Museum and the Museum of Fine Arts, Boston, and three more will open in Europe next year. With an oeuvre encompassing some 1,800 works, from commissioned portraits to dreamlike fantasies, Goya never ceases to intrigue and surprise viewers. At the same time, his vast and varied output presents particular challenges for its interpretation and display. In a public symposium, curators of recent and upcoming shows on Goya will discuss how different approaches to exhibiting Goya’s work invite new paths for understanding his art. There will be a lunch break. Reception to follow.
Free; no registration required. Space is limited and seating is based on a first-come, first served basis. For more information, call 214.768.4677. This symposium is co-organized by the Meadows Museum and the Edith O’Donnell Institute of Art History. Bob and Jean Smith Auditorium
Mark A. Roglán, The Linda P. and William A. Custard Director of the Meadows Museum and Centennial Chair in the Meadows School of the Arts, SMU
Richard R. Brettell, Ph.D., Founding Director, The Edith O’Donnell Institute of Art History and the Margaret McDermott Distinguished Chair, UT Dallas
Alexandra Letvin, Meadows/Kress/Prado Curatorial Fellow, Meadows Museum
10:20 A.M.-12:30 P.M.
Frederick Ilchman, Chair, Art of Europe, and Mrs. Russell W. Baker Curator of Paintings, Museum of Fine Arts, Boston
A ‘Reshuffled Retrospective’ in Boston
Xavier Bray, Arturo and Holly Melosi Chief Curator, Dulwich Picture Gallery, London
Goya’s Portraits: An Exhibition in the Making
Juliet Wilson-Bareau, Independent Scholar, London
Goya: A 'Universal Language' in all its Themes and Variations
Janis Tomlinson, Director, University Museums, University of Delaware
Goya in Perspective: Exhibitions 1974-2008
Roundtable Discussion led by Alexandra Letvin
Wine & cheese Reception for Symposium Attendees
Champagne toast to celebrate the arrival of Ferdinand Guillemardet (1798-99) from the Louvre.
Saturday, April 5, 2 - 5 PM
Collecting Sorolla in America: From the Gilded Age to Today (Please visit this link for more information)
This symposium, made possible through a gift by Christie's, will present two important episodes in the history of collecting Sorolla's paintings: the purchase of one of Sorolla's most highly awarded works, Sad Inheritance! (1899), and its journey in New York; and the acquisition of Sorolla's
first social painting, Another Marguerite! (1892) by the art museum of Washington University in Saint Louis. In addition to these historic studies, we will also learn about how Sorolla is appreciated today in the art market and the extraordinary comeback in popularity this artist has
made over the last decade.
Bob & Jean Smith Auditorium.
February 8, 2014
Sorolla and America
This international symposium was held in conjunction with the exhibition Sorolla and America. The program was moderated by the exhibition curator and artist’s great-granddaughter Blanca Pons-Sorolla, and guest speakers included Alisa Luxenberg, Professor of 18th- and 19th-Century European Art, University of Georgia, and Lucía Martínez, conservator at the Prado Museum. Please follow this link for more detailed information.
Bob and Jean Smith Auditorium, Meadows Museum
INTERNATIONAL SYMPOSIUM 2013
May 1-2, 2013
From the Other Shore: Narratives and Perspectives on Spanish & Latin American Art
James M. Collins Executive Education Center
SMU Cox School of Business
3150 Binkley Avenue, Dallas TX
The purpose of the above symposium was to analyze the various ways in which ideas and perceptions about Spanish and Latin American Art have evolved in the last decades, dramatically increasing their international visibility and relevance. To address the implications of shaping a new canon for such problematic categories as Spanish and Latin American art in the context of general art history, the symposium relied on prestigious museum professionals and university professors.