Impeded Circulations
from December 9, 2024 to December 11, 2024
Published on December 3, 2024– Updated on December 3, 2024
A beautiful painting? Aesthetic Canons and Pictorial Production in the Territories of the Spanish Crown (16th- 19th centuries)
Locations: - 09/12 Charenton-le-Pont, Médiathèque du patrimoine et de la photographie Auditorium - 10/12 Institut national d’histoire de l’art Galerie Colbert, salle Giorgio Vasari - 11/12 Paris, Musée du Louvre Centre Dominique-Vivant Denon
International meeting coordinated by Cécile Vincent-Cassy, UMR Héritages.
Beauty in the field of Hispanic painting (produced in the territories of the Spanish Crown) is a notion that is not very precisely defined and debated in view of its fundamental nature in the history of art in general, in favour of an approach that focuses essentially on the realist canon of this painting. However, a number of recent publications (P. González Tornel, Anima. Pintar el rostro y el alma, cat. expo. (Museo de Bellas Artes de Valencia 20 Oct. 2022- 5 Feb. 2023), 2022; F. Pereda, Crime and Illusion. The Art of Truth in the Spanish Golden Age, 2018) testify to a renewed interest and a new approach to the subject. This is also reflected in the new directions taken by young
researchers in the field of Hispanic painting, whom we would like to invite to present their work. This conference will provide an opportunity to accompany this development, and to create rich and stimulating exchanges. While there have already been some fascinating studies of painting in colonial America, starting with those of Luisa Elena Alcalá, who has been invited to join the scientific committee (J. Brown, L. E. Alcalá, Pintura en Hispanoamérica, 1550-1820, 2014 ; Luisa Elena Alcalá (Ed.), Fundaciones jesuíticas en Iberoamérica, 2002), research into painting in the colonial Philippines has barely begun. This conference will provide an opportunity to establish a new framework for these questions and to build it on the groundwork laid in Paris.
More information
Beauty in the field of Hispanic painting (produced in the territories of the Spanish Crown) is a notion that is not very precisely defined and debated in view of its fundamental nature in the history of art in general, in favour of an approach that focuses essentially on the realist canon of this painting. However, a number of recent publications (P. González Tornel, Anima. Pintar el rostro y el alma, cat. expo. (Museo de Bellas Artes de Valencia 20 Oct. 2022- 5 Feb. 2023), 2022; F. Pereda, Crime and Illusion. The Art of Truth in the Spanish Golden Age, 2018) testify to a renewed interest and a new approach to the subject. This is also reflected in the new directions taken by young
researchers in the field of Hispanic painting, whom we would like to invite to present their work. This conference will provide an opportunity to accompany this development, and to create rich and stimulating exchanges. While there have already been some fascinating studies of painting in colonial America, starting with those of Luisa Elena Alcalá, who has been invited to join the scientific committee (J. Brown, L. E. Alcalá, Pintura en Hispanoamérica, 1550-1820, 2014 ; Luisa Elena Alcalá (Ed.), Fundaciones jesuíticas en Iberoamérica, 2002), research into painting in the colonial Philippines has barely begun. This conference will provide an opportunity to establish a new framework for these questions and to build it on the groundwork laid in Paris.
More information
