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Durham University

Zurbarán Centre for Spanish and Latin American Art


Emerging Researchers Symposium:

New Themes and Ideas in Studies of Iberian and Latin American Art and Visual Culture

5 - 6 July 2021

On 5 and 6 July the Zurbarán Centre will host a two-day student-led symposium showcasing innovative doctoral research in Iberian and Latin American art and visual culture.  The presentations explore a wide variety of topics across all periods from the middle ages to the twenty-first century. They address important questions relating to art and politics, the circulation of art and artefacts, visual traditions across different media and periods, identity issues, cultural heritage, memory and modernity.

The event brings together students from eight institutions: Durham University, Edinburgh College of Art, Technische Universität Dresden, The Courtauld Institute of Art, Universidad Internacional de Catalunya, Universität Hamburg, University of Cambridge, University of Leeds.

The symposium also features two invited keynote speakers: Dr Amanda W. Dotseth, Curator at the Meadows Museum in Dallas, and Dr George Flaherty, Associate Professor in Art History at the University of Texas at Austin. The student presentations and the keynote lectures will be followed by questions and answers. The aim is to stimulate intellectual debate and connections among emerging and established scholars engaged in Iberian and Latin American art.

The event has been organised by a group of doctoral students at Durham University and Edinburgh College of Art in collaboration with the Zurbarán Centre.

We are grateful to the Embassy of Spain for their support of this event.

See Flyer

Booking is essential. In order to register and receive a link, please click here


Monday, 5 July 2021 | 2:00pm-6:30 PM (BST)


Welcome and Introduction

Professor Claudia Hopkins, Durham University


Panel 1: Art, Politics, Resistance in 20th-Century Latin America

Chairs: Yeidy Rosa and Danielle Smith

2:30- 3:05

Alice David, The Courtauld Institute of Art

Performing Prints: Grupo Suma’s Stencil Works (1976 – 1982)


Ana Gabriela Rodriguez

The Courtauld Institute of Art

Progress and Protest in Puerto Rican Graphic Arts, 1950s-1960s


Anna Corrigan

University of Cambridge

The relationship between photography and politics in the Southern Con


Paulina Caro Troncoso

University of Edinburgh

Networks of Artistic Solidarity in 1960s-1970s Latin America: Roberto Matta as a Case Study


Keynote Lecture by Dr George F. Flaherty, Associate Professor, University of Texas

Chaired by Dr Francisco J. Hernández Adrián, Durham University

Tuesday, 6 July | 9:30-6:30 PM (BST)


Panel 2: Materiality and Mobility: The Circulating Image/Text

Chair: April Armstrong-Bascombe, Durham University


Yeidy Rosa,

Durham University

(Un)Making Guaman Poma’s Drawings: Reconsidering the Role of Visual Sources in El primer nueva corónica y buen gobierno, 1615.


Danielle Smith,

University of Edinburgh

¿Que como me llamo? Vizcaino: the language of belonging in Spanish costume books (1777-1836)


Mónica Lindsay-Perez, University of Edinburgh

Complicating the "Spanish Woman": Oriental Pills in Early Twentieth-Century Spain


Panel 3: Visual Traditions

Chair:Elisabetta Maistri, Durham University


April Armstrong-Bascombe, Durham University

Re-imagining the Virgin of Tobed: An Altarpiece beyond Borders, Real and Imagined


Irini Picolou,

Durham University

Corporeality, Gender, and Masculinized Power in the Saint Michael Triumphant by Bartolomé Bermejo


Patricia Manzano Rodríguez, Durham University

Rooting for the Underdog: Juan Baustista Martínez del Mazo in the Circle of Velázquez


Panel 4: Between Cultural Heritage, Memory, and Modernity

Chairs: Patricia Manzano Rodríguez (Durham University), Mónica Lindsay-Perez, Paulina Caro Troncoso (University of Edinburgh)


Elisabetta Maistri,

Durham University

Emerging talents within and beyond statal patronage:

Commissions from Spanish students in pre-unitarian Rome (1840-1868)


Isabel Muxfeldt,

Universität Hamburg

Atmospheres of leisure: On the painting style and its sensory effects of Joaquín Sorolla's La siesta (1911)


Julia Kynast, Dresden University of Technology

The turn of a century and the early media transition: Photography in Spain and Germany as an important vehicle in the art and architectural history


Sarah Slingluff,

University of Edinburgh

Hidden in Plain Sight: Andalusi Cultural Heritage Sites in the Spanish Southern Meseta


Carolina Hayes,

University of Catalonia

Delhy Tejero: Unity in disunity


Victoria Vargas Downing,

Leeds University

Pulling threads between contemporary art and heritage


Keynote Lecture by Dr Amanda Dotseth, Meadows Museum, Dallas.

Chaired by Dr Edward Payne, Aarhus University


Concluding Remarks

Le noir Valenciana: Ribera, Gautier and the French Taste for Violent Painting

7th February 2019, 16:00 to 17:00, Room 146, Elvet Riverside 1, Durham University, Dr Edward Payne

Through a close, comparative study of Ribera’s paintings and Gautier’s poems, this lecture will explore nineteenth-century attitudes towards extreme imagery in the context of the revival of the Spanish School in France.

Paintings by the Spanish Baroque artist, Jusepe de Ribera (1591–1652), prompted a range of contradictory responses in the nineteenth century. Poets, travel writers, critics and artists reacted to his work, especially his striking depictions of violent subjects, at once with admiration and displeasure. In his epic poem Don Juan (1823), Lord Byron declares that ‘Spagnoletto tainted / His brush with all the blood of all the sainted’, and in 1845, Théophile Gautier published two poems on the artist, referring to Ribera as ‘le noir Valencian’, and ‘plus dur que Jupiter’. While Byron and Gautier are often quoted in the literature on the artist, scholars have been swift to dismiss these responses as ‘muddying the waters’ of Ribera’s œuvre, and thus his reception during the nineteenth century has, until recently, received scant scholarly attention.

Through a close, comparative study of Ribera’s paintings and Gautier’s poems, this lecture will explore nineteenth-century attitudes towards extreme imagery in the context of the revival of the Spanish School in France. It will provide a more contextualised and nuanced account of Ribera’s reception during the nineteenth century, and demonstrate that Gautier’s poetic responses are not, in fact, distorting, but revealing. The lecture will argue for the significance of these poems by suggesting that Gautier calls attention to the problematic relationship between the act of inflicting torture and the art of representing pain, a tension which is central to an understanding of Ribera’s violent imagery, and to the myth-making of Ribera as a ‘violent’ artist.

Contact for more information about this event.

Zurbarán Centre for Spanish and Latin American Art Zurbarán Centre | Roper House, 10 Market Place, Bishop Auckland, DL14 7NJ, UK
email: follow us on twitter: @zurbaran_centre