{"id":1074,"date":"2013-02-09T19:16:30","date_gmt":"2013-02-09T19:16:30","guid":{"rendered":"http:\/\/www.jordidenadal.com\/blog\/?p=1074"},"modified":"2013-02-09T19:16:30","modified_gmt":"2013-02-09T19:16:30","slug":"09-02-2013","status":"publish","type":"post","link":"https:\/\/jordidenadal.com\/en\/uncategorized\/09-02-2013\/","title":{"rendered":"09.02.2013: From Florence to Frankfurt"},"content":{"rendered":"

1. Florentine Spring<\/strong><\/p>\n

\"\"<\/a>
Pedro Fern\u00e1ndez (doc. 1519 \u2013 1521), Saint Blaise, c. 1517, oil on panel, 142.5 x 67 cm; lent by the MNAC to the exhibition.<\/figcaption><\/figure>\n

Thanks to Joan Yeguas, Conservator for Renaissance and Baroque Art in the MNAC<\/a><\/strong>, I came across an interesting exhibition opening in the Uffizi on March, 5: \u201cNorma e capriccio. <\/strong>Spagnoli in Italia agli esordi della \u2018maniera moderna\u2019\u201d<\/strong><\/a> (\u201cNorma e Capriccio. <\/em>Spanish artists in Italy in the early Mannierist period\u201d<\/em>, until May 26, tickets and catalogue here<\/a><\/strong>). It will explore the close connections established by an extraordinary group of Spanish sculptors and painters who, following the routes opened by political influence, travelled to Florence, Naples and Rome to adsorb the art of Michelangelo and his followers. The show, curated by Antonio Natali and Tomasso Mozzati, could have the same impact that \u201cThe Sacred Made Real<\/strong>\u201d<\/a> in the National Gallery, London (October 2009 \u2013 January 2010) made for Spanish Baroque art. The names of Alonso Berruguete<\/a><\/strong>, Pedro Machuca<\/a><\/strong>, Bartolom\u00e9 Ord\u00f3\u00f1ez<\/a><\/strong>, and\u00a0Diego de Silo\u00e9<\/a><\/strong> will surely become more familiar to the international public after it. But the exhibition it also shows how partial the use of \u201cSpanish\u201d as a label can be. All the artists mentioned come from and worked mainly in Castile, Andalusia and Italy \u00a0– and Catalonia to a lesser extend. However Valencia<\/a><\/strong>, the other great focus for early Renaissance in Spain, seems to be altogether forgotten.<\/p>\n

2. Annus Mirabilis for Coll & Cort\u00e9s<\/strong><\/p>\n

\u00a0\"\"<\/a><\/strong><\/p>\n

Coll & Cort\u00e9s also took advantage of the 2009 National Gallery exhibition, since at the same time, they were presenting \u201cThe Mystery of Faith. Spanish Sculpture 1550 \u2013 1750\u201d in collaboration with the Matthiesen Gallery, London. This was a bold step on its way to international pre-eminence, which they have been reaching in full during 2012. \u00a0In March, they landed for the first time in TEFAF Maastricht with a generous ground floor stand; followed by a large booth in the inaugural Frieze Masters, London, the opening of an elegant Mayfair branch (27 Albemarle Street, W1S 4HZ) during London\u2019s Old Masters Week in June and selling Jos\u00e9 de Ribera\u2019s \u201cThe Penitent Saint Peter\u201d (1612-1613) to the Metropolitan Museum in the autumn season\u2013 the first Spanish Old Master\u2019s painting bought by the mighty NY institution since the seventies. 2013 also looks rosy for them: as recently announced, they sold a wonderful\u00a0 \u201cSan Diego de Alcal\u00e1\u201d (painted wood, 65 cm) by the Spanish baroque sculptor Pedro de Mena (1628-1688) to the San Diego Museum.<\/p>\n

3. V\u00e1rez-Fisa, a name to remember<\/strong><\/p>\n

\u00a0\"\"<\/a><\/strong><\/p>\n

The year has begun with the extraordinary news of the donation by financier Varez-Fisa of a selected group of 12 Medieval artworks to the Prado (see the feature<\/a><\/strong> <\/strong>at the Prado\u2019s website). They will hang by the end of the year in a purposed named room, in which another gift by V\u00e1rez- Fisa, the large \u201d\u201dartesonado<\/strong>\u201d<\/a> (a carved wooded ceiling) from the Santa Maria de Valencia of San Juan (s. XIV, 11 x 6 m) is already installed. Helping the donation, last year the Prado purchased a work by Lluis Borrass\u00e0 from V\u00e1rez-Fisa, \u201cSaint Andrew refusing the Idols\u201d – a very fine work, but just as interesting as some of those he has now donated, like the \u201cChrist washing the Disciples\u2019 Feet\u201d (mural painting transferred to canvas, 241.5 x 201.5 x 8.7 cm, 1216-1220) by the Master of Sant Esteve in Andorra, pictured above. The collection of Mr V\u00e1rez- Fisa is however still richer, and it includes works by Zurbar\u00e1n, Vel\u00e1zquez, Goya (and El Greco), as the journalist Karina Sainz Borgo reports here<\/a><\/strong>. On the other hand, since V\u00e1rez-Fisa is a native form Barcelona and the MNAC holds one of the best Romanesque and Gothic collections in the world, people has been asking themselves why the museum in Montjuic was not the first choice for V\u00e1rez-Fisa. The answer is the simplest and saddest: they had approached the MNAC some years ago, but they didn\u2019t receive the welcome they expected.<\/p>\n

4. What will Andorra say?<\/strong><\/p>\n

\"\"<\/a>\u00a0<\/strong><\/p>\n

\u00a0<\/strong>It will be interesting to see the reaction of the Government of Andorra to the Prado\u2019s new acquisition of the Sant Esteve mural paintings. The MNAC houses the fragments<\/a><\/strong> <\/strong>from the apse of same church (pictured above), alongside some further examples taken from other Romanesque churches in Andorra.\u00a0 In 2008 the Principality authorities entered the board of the MNAC, as an act of goodwill. But they quit as early as 2011, saying they wanted to be in a clear position in order to claim the paintings back \u2013 the move has never materialised, thank God. Now, should we expect an official note from Andorra La Vella?<\/p>\n

\u00a0<\/strong><\/p>\n

5. All\u2019s well that ends well<\/strong><\/p>\n

\"\"<\/a>\u00a0\u00a0\"\"<\/a>\u00a0<\/strong><\/p>\n

As in other countries, Catalan heritage authorities enjoy the right to match the winning offer when a significant work of art is sold in auction. But when\u00a0Our Lady and Child from the Monastery of Santa Maria de Bellpuig de les Avellanes<\/strong><\/em><\/a>\u00a0<\/em><\/strong>(painted limestone, 108 x 43 x 26 cm) by Bartomeu Robi\u00f3 (doc. 1360-1379) came to auction in May 2010, they tried to advance a bafflingly abusive interpretation of its right, pretending that the starting price of \u20ac120,000 printed in the catalogue was in fact a closed and definitive offer, and that they were therefore entitled to buy it for this rather modest sum. They didn\u2019t succeeded, obviously. But they managed to stop the auction on other grounds \u00a0– the auction house had not given them sufficient notice of the sale, and was forced to repeat it in March 2011. The aggressive stand taken by the public servants pushed away competing bidders, so in the end, they got it for a mere \u20ac130,000 – leaving some scars behind. These were somewhat healed on December 12, when the wonderful sculpture entered the collections of the Museu de Lleida, after being restored by the Centre de Restauraci\u00f3 de B\u00e9ns Mobles de Catalunya, a public body. There is an official note about the process here<\/a><\/strong> – its results looks in flesh far more sensitive than the picture above seems to reveal. The happiest person in the party was curator Albert Velasco, although he stills prefers Our Lady from Said\u00ed<\/em>, lent by the Parrish of Sant Lloren\u00e7 of Lleida for the occasion. Making the end of this story even happier, the Parrish has recently agreed<\/a><\/strong> to allow it to be cleaned and restored by the same CRBMC \u2013 see here a video<\/a><\/strong> with Velasco, \u00c0ngels Sol\u00e9 (Director of the CRBMC) and Montserrat Maci\u00e0 (Director of the Museu de Lleida), and the travelling sculpture.<\/p>\n

6. Books: A nice choice for bedtime<\/strong><\/p>\n

\"\"<\/a><\/p>\n

Perhaps a bit too heavy with its 304 pages, but irresistible as it promises to introduce you to artists whose \u201cworks tell of passion and death; their themes deal with the mysterious, the uncanny, the irrational, the fantastic, the grotesque, and evil – they feature social outcasts: madmen, criminals, beggars\u201d. This is how publishers Gerd Hatje Cantz are marketing \u201cDark Romanticism. From Goya to Max Ernst\u201d, the catalogue that curator Felix Kr\u00e4mer, Head of the Department of Modern Art of the St\u00e4del Museum, edited for \u201cNo Day Without Night<\/a><\/strong>\u201d. The highly \u00a0acclaimed exhibition closed in Frankfurt\u00a0 on January 20 and will open as \u201cThe Angel of the Odd<\/a><\/strong>\u201d in the Mus\u00e9e d\u2019Orsay, Paris, on March 5 (until June 9)\u2013 you can buy the book for \u20ac45 here<\/a><\/strong>.<\/p>\n

7. The other side of things<\/strong><\/p>\n

\"\"<\/a><\/p>\n

The topic goes by saying Germans just love to discuss every single issue from all possible angles, down to ridiculously deep depths. The St\u00e4del is certainly not in denial of that. Its upcoming special exhibition, curated by Dr. Eva Mongi-Vollmer (Curator of Special Projects, St\u00e4del Museum) and Dr. Maraike B\u00fcckling (Head of the Renaissance to Neoclassicism Department, Liebieghaus Skulpture Sammlung), will deal with artists like Mengs, Canova or David, who strove to find an aesthetic and moral ideal in Antiquity at the very moment when Romanticism, portrayed in the previous show, began to challenge it (\u201cBeauty and Revolution<\/a><\/strong>\u201d, from February 20 to May 26, St\u00e4del Museum Frankfurt, admissions \u20ac12, catalogue to come, for sure).<\/p>\n","protected":false},"excerpt":{"rendered":"

1. Florentine Spring Thanks to Joan Yeguas, Conservator for Renaissance and Baroque Art in the MNAC, I came across an interesting exhibition opening in the Uffizi on March, 5: \u201cNorma e capriccio. Spagnoli in Italia agli esordi della \u2018maniera moderna\u2019\u201d (\u201cNorma e Capriccio. Spanish artists in Italy in the early Mannierist period\u201d, until May 26, […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[3],"tags":[],"acf":[],"yoast_head":"\n09.02.2013: From Florence to Frankfurt - Jordi de Nadal | Fine Arts<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jordidenadal.com\/en\/uncategorized\/09-02-2013\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"09.02.2013: From Florence to Frankfurt - Jordi de Nadal | Fine Arts\" \/>\n<meta property=\"og:description\" content=\"1. Florentine Spring Thanks to Joan Yeguas, Conservator for Renaissance and Baroque Art in the MNAC, I came across an interesting exhibition opening in the Uffizi on March, 5: \u201cNorma e capriccio. Spagnoli in Italia agli esordi della \u2018maniera moderna\u2019\u201d (\u201cNorma e Capriccio. Spanish artists in Italy in the early Mannierist period\u201d, until May 26, […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/jordidenadal.com\/en\/uncategorized\/09-02-2013\/\" \/>\n<meta property=\"og:site_name\" content=\"Jordi de Nadal | Fine Arts\" \/>\n<meta property=\"article:published_time\" content=\"2013-02-09T19:16:30+00:00\" \/>\n<meta property=\"og:image\" content=\"http:\/\/www.jordidenadal.com\/blog\/wp-content\/uploads\/2013\/02\/image1.png\" \/>\n<meta name=\"author\" content=\"jordi\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"jordi\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"7 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/jordidenadal.com\/en\/uncategorized\/09-02-2013\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/jordidenadal.com\/en\/uncategorized\/09-02-2013\/\"},\"author\":{\"name\":\"jordi\",\"@id\":\"https:\/\/jordidenadal.com\/en\/#\/schema\/person\/f96ea5a622d76dd0eed1e795f03fd97d\"},\"headline\":\"09.02.2013: From Florence to Frankfurt\",\"datePublished\":\"2013-02-09T19:16:30+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/jordidenadal.com\/en\/uncategorized\/09-02-2013\/\"},\"wordCount\":1327,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/jordidenadal.com\/en\/#\/schema\/person\/f96ea5a622d76dd0eed1e795f03fd97d\"},\"image\":{\"@id\":\"https:\/\/jordidenadal.com\/en\/uncategorized\/09-02-2013\/#primaryimage\"},\"thumbnailUrl\":\"http:\/\/www.jordidenadal.com\/blog\/wp-content\/uploads\/2013\/02\/image1.png\",\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/jordidenadal.com\/en\/uncategorized\/09-02-2013\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/jordidenadal.com\/en\/uncategorized\/09-02-2013\/\",\"url\":\"https:\/\/jordidenadal.com\/en\/uncategorized\/09-02-2013\/\",\"name\":\"09.02.2013: From Florence to Frankfurt - 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