Spanish art in america

en los Arte espaĂąol Estados Unidos de AmĂŠrica

Cubierta: Pablo Picasso, Mujer del pelo amarillo, 1931, Solomon R. Guggenheim Museum, Nueva York, Thannhauser Collection, gift, Justin K. Thannhauser, 1978, detalle Contracubierta: West Gallery, The Frick Collection, Nueva York

Spanish Art

in America

Contents

Foreword __________________________________________________________________________ 8

Solomon R. Guggenheim Museum, New York ___________ 177

J O N ATH AN B R O W N

CI NDY MACK

Passion for Spain. Collecting Spanish Art in America ______________________________________________________________________ 11

Norton Simon Museum, Pasadena_____________________________ 189 MARÍ A DOL ORES SÁNCHEZ- JÁUREGUI AL PAÑÉS

M AR K A. R O G LÁN

Museum of Fine Arts, Boston ______________________________________ 45

Philadelphia Museum of Art _______________________________________ 197 REBECCA QUI NN T ERESI

STEPH AN I E L. STEPAN EK

Art Institute of Chicago _______________________________________________ 61

The Dalí Museum, Saint Petersburg, Florida____________ 211 WI L L I AM JEF F ET T

R EB EC C A J . LO N G

The Cleveland Museum of Art _____________________________________ 73

The San Diego Museum of Art ____________________________________ 221 ROXANA VEL ÁSQUEZ MART Í NEZ DEL CAMPO

I R AI D A R O D R Í G U EZ- N EG R Ó N

The Meadows Museum, SMU, Dallas __________________________ 87

Toledo Museum of Art, Ohio _______________________________________ 233 BRI AN T. AL L EN

M AR K A. R O G LÁN

Minneapolis Institute of Art _______________________________________ 103

The University of Arizona Museum of Art, Tucson ___ 241 AMANDA W. DOT SET H

SU ZAN N E STR ATTO N - PR U I TT

The Frick Collection, New York _________________________________ 113

National Gallery of Art, Washington, D. C._________________ 251 L I SA A. BANNER

SU SAN G R AC E G ALASSI

The Hispanic Society of America, New York ____________ 125 M AR C U S B . B U R KE

The Metropolitan Museum of Art, New York _____________ 145 C R I STI N A D O M ÉN EC H

The Museum of Modern Art, New York ______________________ 163 B EATR I Z C O R D ER O M ARTÍ N

Meadows Museum, SMU, Dallas

Profiles _________________________________________________________________________ 269 Bibliography _________________________________________________________________ 270

Foreword J O N AT H A N B R O W N All art museums have a hidden agenda that is revealed by analysis of what the

( 1808–1814 ). Several of Napoleon’s generals had a taste for art, and they wasted

curators collect and how the collection is displayed. For example, consider the col-

no time by pillaging religious institutions. The next event was the suppression of

lection of European paintings ca. 1500–1800 as installed in the Metropolitan Museum

monasteries and convents by the liberal government of Spain ( 1835–1837 ). Paint-

of Art. Italian painting is predominant, occupying ten galleries. They are followed by

ings were stripped from the walls and were sent to Madrid to be incorporated into

works of Flemish and Dutch artists. Next in line is French painting, while the Span-

the Museo de la Trinidad. Unfortunately, many were lost or stolen in transit before

ish school occupies a mere four galleries. Admittedly the Spanish collection contains

they were transferred to the Museo del Prado. Of singular importance was the

several masterpieces, notably the paintings by El Greco. There are five works by

collection of Spanish art obtained by King Louis-Philippe of France and displayed

Velázquez, only one of which, the portrait Juan de Pareja, can be counted as a major

in the Louvre from 1838 to 1848 under the rubric of the Galerie Espagnole. The

work. The Met owns a few paintings by Murillo, but only two are religious subjects,

Galerie was comprised of some 440 paintings which were supplemented by the

the theme at which Murillo excelled. As for Goya, there are several portraits of high

gift to the king of another 420 paintings by the English collector Frank Hall Standish.

quality, but his subject paintings are not to be found.

The hero of this exhibition was Francisco de Zurbarán who was virtually unknown

The collection of the National Gallery of Art, Washington, is similar—great

in France. Louis-Philippe sold his collection at auction in London ( 1853 ). By that

paintings by El Greco, a painting by Velázquez, excellent Goya portraits from every

date, there were many adventurers and dealers scouring the countryside in quest

stage of his long career. Once again the honor roll of European paintings is led by

of Spanish painting. And as the century progressed, Spanish nobility, hard-pressed

masters of Italian, Dutch and Flemish, French—all outnumber Spain in the muse-

for cash, sold family treasures to French and Spanish dealers and collectors. Thus

ums of America.

began the diaspora of Spanish painting.

These observations pose an obvious question—why did Spanish painting,

Another important development was the publication of serious books on the

except for the great masters, fail to attract the esteem of American collectors and

subject. The first was written by the Scotsman William Stirling Maxwell, titled Annals

curators ? The answer, needless to say, is complex. One factor is related to the law

of the Artists of Spain ( London, 1848 ), a comprehensive account that included

of supply and demand. Spanish painting was little known outside Spain until the

painters famous and obscure. The American Charles B. Curtis, the author of

nineteenth century. Spain was not a destination on the Grand Tour that led from

Velázquez and Murillo ( New York, 1883 ), wrote a pioneering attempt to impose

northern Europe to Italy, font and origin of Western classical culture. However, in

order on the production of the two artists universally regarded as the pinnacle of

the nineteenth century, a series of events all at once put Spain in the spotlight. The

Spanish painting. A highly influential book by the German art historian Carl Justi,

century opened with the French invasion of Spain, known as the Peninsular War

whose Velázquez und sein Jarhundert ( Bonn, 1888 ; an English translation was

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torial tradition—as represented by El Greco, Velázquez, and Goya—while his canvases were seen to accurately represent “ the true Spain of today.” Zuloaga did not travel to the United States for this exhibition, however—apparently he was worried about seasickness on the Atlantic crossing—nor did he do so for his second major monographic exhibition there, which took place between November 1916 and May 1918. 52 This second exhibition dedicated to Zuloaga was supported by another of the artist’s most ardent American patrons, Rita de Acosta Lydig ( 1875–1929 ), the daughter of a Cuban father and a Spanish mother, who formed part of New York’s social elite and maintained friendships with important artists and composers of her time, including Rodin, Degas, and Debussy. In that exhibition Zuloaga exhibited forty-three paintings in fourteen cities, from New York to San Francisco, which continued to triumph among collectors and critics. However, the high point of Zuloaga’s relationship with the United States came in 1924 and 1925, when he finally decided to cross the Atlantic and appear alongside his paintings in New York, Boston, Palm Beach, and Miami. His work was shown in various galleries and had considerable success in sales. Americans continued to see Zuloaga as the artist who best represented the soul of Spain, and, among the numerous commissions he received, some were portraits in which he depicted the sitter in Spanish costume or in landscapes that evoked the artist’s if not the sitters native land. Some of these portraits, painted during the so-called Belle Époque, remain in American museums, including those of Mrs. Philip Lydig ( 1912 ; National Gallery of Art, Washington ), Mrs. William Randolph Hearst ( 1923 ; The Hispanic Society of America, New York ), and Mrs. William Fahnestock ( 1923 ; Philadelphia Museum of Art and The Preservation Society of Newport County, Newport, Rhode Island ). Zuloaga’s paintings would continue to be featured in relevant exhibitions throughout the twentieth century, such as those of 1989 and 1990, 53 while his particular relationship with, and success in, the United Ignacio Zuloaga y Zabaleta ( 1870–1945 ), Portrait of Mrs. John Work Garrett with a Fur Muff, 1916, oil on canvas, 77 × 45 in. ( 195.6 × 114.3 cm ), Baltimore, Evergreen Museum & Library, Evergreen House Foundation, Johns Hopkins University Museums

States has been the subject of recent publications. 54 The notable presence of Zuloaga’s work in the museums of the United States evidences his success in that country. After Sorolla, he is the nineteenth-century Spanish painter—born before Picasso—who is best represented in American public collections. Apart from his work referred to elsewhere in this volume, it’s worth

The Hispanic Society of America in 1909, just as he had done with Sorolla. Indeed,

highlighting here the major group of nine paintings in the Evergreen Museum &

Zuloaga’s show was first exhibited at the Albright-Knox Art Gallery in Buffalo pre-

Library of Johns Hopkins University in Baltimore, which were donated by the artist’s

cisely so it would not overlap Sorolla’s, but after his companion’s show closed, his

friend and patron John Work Garrett ( 1872–1942 ) and his wife, Alice Warder

too was presented in New York. A total of thirty-four works by Zuloaga were exhib-

( 1877–1952 ). This group of paintings includes not only the portraits of the patrons,

ited at the Hispanic Society, and were viewed by seventy thousand people. His

but also a partial view of Segovia ( 1910 ) centered on the cathedral, and Study for

success in sales, however, was no match for his success with the critics, which

the Decoration of the First Act of the Opera “ Goyescas ” ( 1917 ), which Zuloaga

were very positive. His art was celebrated as signaling the rebirth of Spanish pic-

painted for the opera by his friend and composer, Enrique Granados ( 1867–1916 ).

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M ark A . R oglán

Taste for the Modern : From Picasso to Plensa

York ( MoMA ). Since its foundation in 1930, this institution has devoted special attention to the study of Picasso and his oeuvre. It has organized more than sixteen

The interest with which Americans promoted the work of contemporary Spanish

monographic exhibitions dedicated to the artist and cared for one of his most

artists began, to some extent, with Fortuny but would continue with Sorolla and

emblematic and monumental paintings, Guernica ( 1937 ), for decades, before it

Zuloaga, and be reaffirmed with gusto in the twentieth century with the patronage

was returned to Spain in 1981. MoMA is home to numerous masterpieces by

of such artists as Picasso, Miró, and Dalí. More recently, major commissions—such

Picasso that were either acquired or donated, including such seminal works as

as Jaume Plensa’s ( b. 1955 ) Crown Fountain in Chicago’s Millennium Park, and

Les Demoiselles d’Avignon ( 1907 ), thus establishing the museum as a fundamen-

Eduardo Chillida’s ( 1924–2002 ) De Música ( 1989 ) in Dallas—and influential

tal center for the appreciation and understanding of Picasso’s work. Other New

monographic exhibitions—like the one the Museum of Fine Arts, Boston dedicated

York museums, in particular the Met and the Guggenheim, house important works

to Antonio López ( b. 1936 ) in 2008—serve as reminders of the popularity of living

by Picasso. Among the scores of works preserved in the latter of these two insti-

Spanish artists among American audiences.

tutions, there are exceptional examples that represent distinct phases of the artist’s

Picasso in the United States

Pablo Picasso ( 1881–1973 ), Woman with Yellow Hair, 1931, oil on canvas, 39 3⁄8 × 31 7⁄8 in. (100 × 81 cm),

The United States is one of the countries with the most works by Picasso in the

New York, Solomon R. Guggenheim Museum, Thannhauser Collection, gift, Justin K. Thannhauser, 1978, 78.2514.59

world ; a significant number of collectors there supported his work, almost from the beginning of his career. One of the most important early fans of the Parisian art avant-garde was the American Gertrude Stein ( 1874–1946 ). She discovered Picasso in 1905 when both of them were living in Paris. She purchased paintings from the young artist and commissioned him to paint her now famous portrait ( today in the Metropolitan Museum of Art ). Thanks to Stein, Picasso met other important American collectors, such as the Cone sisters from Baltimore, who bought a significant number of drawings and prints, in addition to paintings such as Mother and Child ( 1920 ), which they subsequently donated, along with their large collection of modern art, to the Baltimore Museum of Art. The first Picasso exhibition in the United States took place in New York in 1911 at photographer Alfred Stieglitz’s ( 1864–1946 ) legendary 291 Gallery. Two years later, and again in New York, Picasso exhibited his paintings, along with work by three hundred other European and American artists, in the famous Armory Show—the first large show of modern art in the United States. That same year the exhibition traveled to the Art Institute of Chicago, which thereby became the first museum in the United States to feature paintings by Picasso. From then on, and with increasing vigor thanks to the artist’s growing fame and importance, Picasso’s art would assume a paramount role in American collections.

Although Chicago has a large collection of Picassos located both inside and outside of its principal museum—what is probably the artist’s best monumental sculpture has been in Daley Plaza since 1967—the institution that best reflects the close ties between Picasso and America is the Museum of Modern Art in New

P assion for S pain . C ollecting S panish A rt in A merica

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Museum of Fine Arts, Boston STEPHANIE L. STEPANEK Approaching the Museum of Fine Arts past Olmsted’s Back Bay Fens, one’s attention is drawn to a pair of monumental bronze heads of infants—one with eyes open, the other, closed. 1 These allegorical representations of Day and Night by one of Spain’s foremost contemporary artists, Antonio López García, flank the Museum’s north entrance. 2 Their monumental simplicity suits the classic elegance of the MFA’s Beaux-Arts façade. 3 Continuing into the building one soon encounters many of the highlights of Boston’s collection of Spanish art : paintings by El Greco, Velázquez, Ribera, Murillo, Zurbarán, Meléndez, Goya, and, perhaps most significantly, frescoes from a twelfth-century Catalonian chapel. Following the MFA’s loosely pan-European, chronological installation, Spanish art, including sculpture, appears throughout the galleries. 4 The MFA’s truly encyclopedic collection of more than a half-million objects ranges in date from an 8,000-year-old stone vessel from Syria, in the shape of a hare, to works made in the present year. 5 Along with European and American works of the highest order, the museum boasts particular collections whose depth and quality are peerless in America, if not the world—including works on paper by Francisco Goya. 6 The Goya print collection contains rarities and superlative impressions, and it is virtually complete, lacking impressions of only just twenty-two of the two hundred eighty-seven plates ascribed to the artist. 7

Goya The story of collecting Spanish art at the MFA, and more broadly in Boston, might well begin with Goya prints. Print and book collectors were often ahead of the market, and before photography, prints were—next to word of mouth from an elite group of travelers—the form through which most knowledge of art was communicated to connoisseurs

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Judaica is found in both the library ( illuminated Hebrew Bibles ) and museum ( ceramics ). A transitional fine polychrome wood altar relief, The Resurrection, ca. 1490, by Gil de Siloe, who worked in both stone and wood on several of the period’s most important commissions, demonstrates both the power of the Gothic style and an awareness of the new Renaissance values. A similarly transitional work is the charming figure of Saint Martin, ca. 1475–1500. In the decorative arts, the Hispanic Society’s large collection demonstrates how Spanish ironwork tended to hold onto medieval design values well into the seventeenth century, while Renaissance furniture could simultaneously feature designs taken from Sebastiano Serlio ( 1475–1554 ) or contemporary architecture while covering the surfaces with purely Islamic geometrical designs, creating a hybrid style of Hispano-Islamic art called mudéjar.

Main façade, New York, The Hispanic Society of America

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M arcus B . B urke

Ceramics is an area of great strength at the

Archer Milton Huntington, New York, The Hispanic Society of America

Hispanic Society, particularly the tin-glazed lusterware produced at Manises near Valencia and in Catalonia.

With nearly 250 objects, the Hispanic Society holds one of the three largest collections of lusterware in the world, along with the Victoria and Albert Museum in London and the Instituto de Valencia de Don Juan in Madrid.

Eagerly sought after ( and exempted from protective tariffs ), the earthenware appears in Netherlandish and Italian paintings and often displays the arms of Italian noble families. The Hispanic Society also holds dozens of exceptional examples of the varied styles of tin-glazed earthenware from Talavera de la Reina near Toledo that dominated national production from the mid-sixteenth century to the eighteenth century. With over one hundred works, the collection of fine ceramics produced in the eighteenth century at the royal factory of Alcora in Valencia, decorated with Rococo and chinoiserie designs,

Basin, Manises ( Valencia, ca. 1425–1450 ), tin-

is the largest outside of Spain.

glazed earthenware with cobalt and luster, diameter

The Hispanic Society also possesses one of the

19 1⁄8 in. ( 48.5 cm ), New York, The Hispanic Society of America, E635

most important examples in the Americas of early Renaissance Spanish art : a pair of tombs combining architecture and sculpture from the monastery of San Francisco in Cuéllar ( Segovia ), produced around 1498 to 1525 for the family of the Dukes of Albuquerque. The earlier of the two tombs, that of the bishop of Palencia, was made in the prevalent Hispano-Flemish Gothic style.

The slightly later tomb of Mencía Enríquez de Toledo, second wife of the Duke of Albuquerque, was executed in the classical style of the Italian Renaissance as it was being developed in centers such as Toledo. To these tombs must be added a later Renaissance example from the decorative arts, the Processional Custodia by Cristóbal de Becerril, ca. 1577–1585, made for the five parishes of Alarcón on commission from three successive bishops of Cuenca, and incorporating small-scale classical architecture along with every possible silversmith technique and sculptures in the tradition of Michelangelo.

T he H ispanic S ociety of A merica

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The Metropolitan Museum of Art CRISTINA DOMÉNECH The Metropolitan Museum of Art ( from here on, The Met ) was founded in 1870 by a group of individuals with ties to New York and an interest in providing the city with an art museum. On May 24 of that year, at the first meeting of members of the board of trustees, they approved the bylaws regulating its management. A year later, in March 1871, it was established that the trustees “ become the owners of a valuable collection of pictures, consisting chiefly of specimens of the Dutch and Flemish schools, but containing also important works of Italian, Spanish, and English masters.” 1 The collection was composed of 174 paintings attributed to great European masters. It was initially displayed in the first building to house the museum, which was opened to the public on February 22, 1872, with a clear aim : “ The object is not to illustrate artists and producers of art work, but to illustrate the human mind.” 2 And so, The Met was born with a clear didactic vocation that it has maintained to the present.

In that first group of paintings, there were only two that, in principle, corresponded to the Spanish school : a stilllife supposedly painted by Velázquez and a painting attributed to Goya, Jewess of Tangiers, from the Marquand collection. Ultimately, both turned out not to be signed works, so the foundational core of the museum’s collection did not actually include any Spanish works. With time, the collection of Spanish art was assembled and it increased both in number of works and in quality, thanks to donations and timely acquisitions ; today it represents a relatively notable group within the overall holdings that number more than two million art works. 3 Generally speaking, the collection of Spanish art was formed between the start of the twentieth century and the 1970s. In fact, the collections at that time were not substantially different from those of today, with major exceptions from the turn of the century. Among the most important legacies of Spanish art that have come to The Met from private collectors or foundations, the ones of most note are those of Catharine Lorillard Wolfe, 4 incorporated into the museum

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The Museum of Modern Art, New York B E AT R I Z C O R D E R O M A RT Í N Inaugurated in the heart of the island of Manhattan in October 1929, The Museum of Modern Art ( MoMA ) had, from the moment of its conception, two decisive features that set it apart from other consecrated centers of art. On the one hand, it was the first museum in the United States to devote itself exclusively to modern art and, therefore, it lacked a model that could have served as a precedent. On the other hand, at the time of its foundation it did not have its own collection, so it had to turn to the private collections of the museum’s patrons. MoMA was born, in the words of Alfred H. Barr, Jr., the museum’s first director and the leading intellectual engine behind the project, with an “ inestimable educational value, both for painters in search of spirit and inspiration as well as for students of contemporary culture and Art History, critics in search of comparative canons, and a public interested in contemplating paintings in general.” 1 The didactic, informative, and institutional objectives outlined by Barr were instilled in each department of the museum, although they become especially significant in the exhibition and acquisition programs. The latter, in particular, played a major role in making the canonization of Modern Art more effective.

Therefore, during its early years, which coincided with those of the devastating years of the Depression, MoMA faced the challenge of interpreting and defining what today we regard as the historical avant-garde. Even though Alfred Barr worked intensely to establish a consensus on the inception of modern art, he had no difficulty in elucidating what should be the main core of the collection. Without wavering, he knew the Paris School had to play an absolutely key role in a museum devoted to modern art. Consequently, two Spanish artists residing in the French capital, Pablo Picasso and Joan Miró, were fundamental figures in the collection from the early 1930s. As U.S. writer and collector Gertrude Stein had already noted, “ Painting in the nineteenth century was only done in France by Frenchmen, apart from that, painting did not exist, in the twentieth century it was done in France but by Spaniards.” 2

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of political propaganda, Guernica became, thanks to the reading proposed by Alfred Barr at MoMA, a masterpiece in art

Pablo Picasso ( 1881–1973 ), The Studio, 1927–1928,

history and the most representative canvas of twentieth-century art. Guernica was turned over by the artist himself to the

oil on canvas, 59 × 91 in. ( 149.9 × 231.2 cm ),

Spanish people in 1981 and today it forms part of the collection of the Museo Nacional Centro de Arte Reina Sofía in Madrid.

As we mentioned earlier, the work of Joan Miró ( 1893–1983 ) has also played a key role in the MoMA collection, where it established, as in Picasso’s case, a bridge between European avant-garde movements and art created in the United States.

Two small, simple still lifes painted between 1922 and 1923 in Montroig and Paris illustrate one of the early stages of the artist’s production, which began with The Farm ( 1921–1922, National Gallery of Art, Washington, D.C.). Still Life I and Still Life II heralded Miró’s interest in everyday objects, with a veneration characteristic of the Spanish Baroque.

However, it is the emblematic work The Hunter ( Catalan Landscape ), painted in 1923–1924 in Montroig, where Miró’s universe became clearly palpable. This painting introduces several aspects of his latter work: a personal iconography (horses, eyes, stars, birds), a type of composition (a flat background divided in two by an elevated horizon line) and a love for Catalonia and its people. With another key work in Miró’s production, Dutch Interior I ( 1928 ), the museum also offers the opportunity to contemplate how color became progressively more saturated in his painting, while he established his own visual repertoire.

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B eatriz C ordero M artín

New York, The Museum of Modern Art, gift of Walter P. Chrysler, Jr., 213.1935

Joan Miró ( 1893–1983 ), Dutch Interior ( I ), 1928, oil on canvas, 36 1⁄8 × 28 3⁄4 in. ( 91.8 × 73 cm ), New York, The Museum of Modern Art, Mrs. Simon Guggenheim Fund, 163.1945

With the intention of “ taking painting to its limits,” as the artist explained in a letter to Pierre Matisse, 4 his art dealer in New York, Miró painted Still Life with Old Shoe ( 1937 ) during the hardest months of his life, when, separated from his wife and daughter, he suffered his exile in France as a result of the Spanish Civil War. This phantasmagoric nocturnal still life, in which objects on a disconcerting scale seem to reverberate in the night with their acid colors, was for William Rubin, art historian and director of the Department of Painting and Sculpture of the museum from 1968 to 1988, “ the most profound counterpart to Guernica in Miró’s oeuvre.” 5 With regard to Miró’s influence in the United States, we should point out that the step taken in The Beautiful Bird Revealing the Unknown to a Pair of Lovers ( 1941 ), where a unique decentralized rhythm occupies the totality of the

T he M useum of M odern A rt , N ew Y ork

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Solomon R. Guggenheim Museum CINDY MACK Of the numerous museums spreading along Museum Mile on Fifth Avenue in New York City, from the Museo del Barrio on 104th Street down to the monumental structure of the Metropolitan Museum of Art spanning four city blocks between 82nd and 86th there is no doubt that the Solomon R. Guggenheim Museum, located on Fifth Avenue and 88th street, distinguishes itself for being the most original of all the constructions. From the beginning of the twentieth century there has been a succession of buildings sprouting up in New York City which became as emblematic as its race to the sky. The Met Life Building was topped by the Woolworth Building in 1913, which in turn was surpassed in 1930 by the Chrysler Building. Chrysler’s record of being the tallest and most iconic con­ struction in New York lasted for just one year when it was dethroned by the Empire State Building, which reigned as the symbol of the city until replaced in 1973 by the doomed World Trade Center towers. All these buildings were feats in themselves and each one became symbolic of New York. However, upon completion in 1959 the Guggenheim Museum, designed by Frank Lloyd Wright, immediately became the iconic building par excellence, obviously not for its height but for its daringly bold design within museum constructions. Among all the rectilinear buildings that fill the streets of New York, the heavy-looking upside down helicoidal form definitely made its mark upon the city and far beyond.

Solomon R Guggenheim ( 1861–1949 ) was born into a wealthy family from Philadelphia whose original fortune was made in the mining and smelting business. As many of his counterparts within the growing magnate circles in early industrial America, Solomon began collecting Old Master paintings towards the end of the nineteenth century. In the mid-1920s and already a sexagenarian, Solomon made a radical change towards avant-garde art collecting upon meeting Baroness Hilla von Rebay.

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The San Diego Museum of Art ROXANA VELÁSQUEZ MARTÍNEZ DEL CAMPO Since its origin, the city of San Diego, California, has been linked to Spain through literature and legend, history and art.

The name of California appears for the first time in the chivalric romance Las sergas de Esplandián ( The adventures of Esplandián ; 1510 ), by Garci Rodríguez de Montalvo, who was also the author of the fourth book of Amadís de Gaula ( Amadís of Gaul ), which gave rise to the protagonist, Esplandián, who was the first-born son of Amadís. One of the fictitious places where the deeds of this chivalric knight took place was an island called California : “ Know that to the right of the Indies there is an island called California, much like an earthly paradise, inhabited entirely by black women, without any men among them, for they lived like Amazons.”

The territory north of New Spain, today part of the American Southwest, was also identified as Cíbola, a city overflowing with gold and riches that arose from the medieval legend of the Seven Cities after the Moorish invasion of the Iberian Peninsula. Franciscan friar Marcos de Niza, who had taken part in an expedition to these lands in northern New Spain, claimed upon his return to have seen a city larger than Tenochtitlan [ the Aztec capital ] where the natives used plates of gold and silver, decorated their homes with turquoise, and adorned themselves with gigantic pearls and emeralds. Seduced by this account, viceroy Antonio de Mendoza organized an expedition of conquest in 1540 under the command of Francisco Vázquez de Coronado, with friar Marcos de Niza as guide. The undertaking failed, but the viceroy remained undaunted. Two years later, the expedition was sent out again, culminating in the discovery, not of Cíbola, but of Upper California, a feat led by Juan Rodríguez Cabrillo, a valiant navigator and sailor who had fought together with Hernán Cortés in the conquest of the Aztec Empire.

San Diego preserves the memory of its Hispanic identity in diverse urban and cultural expressions, including the mission of San Diego de Alcalá, the first of the nine founded by Spanish Franciscan friar Junípero Serra—recently

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Exterior view of Mall Entrance, West Building, Washington, National Gallery of Art

“ This painting was consigned to me at the beginning of the war [ World War II ] by Prince Paul of Yugoslavia. Though we had never met, Prince Paul and I had in common a close friendship with B. B. [ Bernard Berenson ].

Therefore, when it seemed as though England might be seriously bombed Prince Paul moved the picture from the National Gallery in London where it had been on loan and shipped it to Washington. The Gallery was still in the process of construction, and I arranged for the painting to be stored at the Freer Gallery. When our building was finished it was brought to our storage rooms and remained there until the end of the war. At that time Prince Paul was in South Africa and with a good deal of difficulty we negotiated through Coutts Bank in London for the purchase of the painting. David [ Finley ] and I persuaded Mr. Kress that it would be an impor­ tant acquisition for his collection.” 6

David Finley, the Gallery’s first Director, wrote a letter full of superlatives to persuade Kress about the painting, and went on to describe to him where the painting might hang in the Gallery. 7 “ If you should be willing to buy it and hang it in the room with your Tintorettos, it would make a marvelous pair with your new Tintoretto of Christ at the Sea of Galilee [ 1952.5.27 ]. It would be particularly interesting to have in your Collection these two paintings which are so closely related in feeling, and in the room adjoining to have the El Grecos from the Widener and Mellon Collections with the portrait by Tintoretto now in the Collection.” 8 Celebrating Finley’s persuasion, Laocoön dominates the gallery of sixteenth­ century Italian masters, although the wild Tintoretto is no longer on view. 9

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L isa A . B anner

Acquired earlier than the El Greco, and equally beloved, Goya’s Marquesa de Pontejos has an impeccable unbroken provenance from the Marquesa’s heirs to the National Gallery. Sensing a crisis brewing in Spain, the Marquesa’s descendants sold the painting in July 1931 to Andrew Mellon, in an elaborate transaction assisted by Mrs. Walter H. ( Anna ) Schoelkopf, at the American embassy in Madrid. She wrote letters about the painting, because due to the uncertain political situation in Spain, she felt “ it is unwise to use the telephone or telegraph where detail is necessary.

I thought of sending it in code to Mr. Mariner, but on second thought decided Mr. Mellon might not like his private business ‘ decoded.’” 10 Export permits were secured. By December 1934 Goya’s Marquesa de Pontejos was deeded to A. W. Mellon Educational and Charitable Trust, and soon she arrived at her home in Washington. 11

View of East Building from Fourth Street Plaza, Washington, National Gallery of Art

N ational G allery of A rt

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PROJECT DIRECTOR AND EDITOR

Mark A. Roglán TEXTS

Brian T. Allen Lisa A. Banner Jonathan Brown Marcus B. Burke Beatriz Cordero Martín Cristina Doménech Amanda W. Dotseth Susan Grace Galassi William Jeffett Rebecca J. Long Cindy Mack Iraida Rodríguez-Negrón Mark A. Roglán María Dolores Sánchez-Jáuregui Alpañés Stephanie L. Stepanek Suzanne Stratton-Pruitt Rebecca Quinn Teresi Roxana Velásquez Martínez del Campo TRANSLATION ( FROM SPANISH TO ENGLISH )

Debra Nagao, Anne Hill de Mayagoitia PRODUCTION

Ediciones El Viso Santiago Saavedra Gonzalo Saavedra Félix Andrada Manuela Docampo Carlota Pérez Lucía Varela COPYEDITING

Anne Hill de Mayagoitia ADDITIONAL STYLE CORRECTION

Amanda W. Dotseth Anne Keefe DESIGN

Subiela Bernat ELECTRONIC TYPESETTING

Nicolás García Marque DIGITAL PREPRESS

Emilio Breton PRINTING

Brizzolis BINDING

Encuadernación Ramos

Page 2 : Francisco de Goya, Don Pedro Duque de Osuna, ca. 1790s, New York, The Frick Collection ( detail )

ISBN : 978–84–946034–5–7 D.L.: M–37852–2016 © Ediciones El Viso, 2016 © texts : their authors © translations : their authors © photographs : their authors

PHOTOGRAPHS

Baltimore, © Walters Art Museum / Bridgeman Images : p. 33 ( right ) Baltimore, courtesy of the Evergreen House Foundation, Evergreen Museum & Library, Johns Hopkins University : p. 36 Barcelona, © Fundació Antoni Tàpies, Barcelona : p. 40 Barcelona, Francesc Serra Dimas, Arxiu Fotogràfic de Barcelona : p. 64 Boston, © Isabella Stewart Gardner Museum / Bridgeman Images : p. 16 Boston, © Museum of Fine Arts, Boston : pp. 44, 46–56 Brunswick, ME, Bowdoin College Museum of Art, Gift of the Samuel H. Kress Foundation : p. 15 Chapel Hill, NC, Ackland Art Museum, The University of North Carolina at Chapel Hill / Art Resource, New York : p. 32 Chicago, © Richard Ellis / Alamy : p. 41 Chicago, © The Art Institute of Chicago : pp. 60, 63, 65–71 Chicago, photograph Michelle Litvin : p. 62 Cincinnati, photograph Ezra Stoller © Esto : p. 38 Cleveland, © The Cleveland Museum of Art : pp. 74–76 Cleveland, Cleveland Museum of Art / Gift of the Friends of The Cleveland Museum of Art in memory of J. H. Wade / Bridgeman Images : p. 77 Cleveland, Cleveland Museum of Art / Gift of the Hanna Fund / Bridgeman Images : p. 82 Cleveland, Cleveland Museum of Art / Gift of the John Huntington Art and Polytechnic Trust / Bridgeman Images : pp. 72, 78 Cleveland, Cleveland Museum of Art / John L. Severance Fund / Bridgeman Images : p. 83 Cleveland, Cleveland Museum of Art / Leonard C. Hanna, Jr. Fund / Bridgeman Images : pp. 79, 80 Cleveland, Cleveland Museum of Art / Mr. and Mrs. William H. Marlatt Fund / Bridgeman Images : p. 81 Columbia, Columbia Museum of Art. Gift of the Samuel H. Kress Foundation : p. 26 Dallas, courtesy of Meadows Museum, SMU, Dallas : pp. 10, 23, 33 ( left ), 101 Dallas, photograph Brad Flowers : p. 99 Dallas, photograph Dimitri Skiliris : pp. 91, 95 Dallas, photograph Hillsman Jackson : p. 90 Dallas, photograph Kim Leeson : p. 6 Dallas, photograph Michael Bodycomb : pp. 86, 92–94, 96, 97 Dallas, The Meadows Foundation Archives : 89 Figueres, © Salvador Dalí. Fundación Gala-Salvador Dalí ( VEGAP ) 2016 : pp. 210, 214–219 Figueres, Salvador Dalí reserved rights. Fundació Gala-Salvador Dalí, Figueres, 2016 : p. 39 Fort Worth, TX, © 2016. Kimbell Art Museum, Fort Worth / Art Resource, New York / Scala, Florence : p. 21 Hartford, CT, Album / Oronoz : p. 25 Kansas City, © Ian Dagnall / Alamy : p. 12 Madrid, courtesy of Museo Sorolla : p. 35 Miami, © GALA images / Alamy : p. 14 ( below ) Minneapolis, courtesy of Minneapolis Institute of Art : pp. 104, 105 Minneapolis, Minneapolis Institute of Art / Bequest of Putnam Dana McMillan / Bridgeman Images : pp. 102, 108 Minneapolis, Minneapolis Institute of Art / De Agostini Picture Library / Bridgeman Images : p. 106 ( left ) Minneapolis, Minneapolis Institute of Art / Gift of Mr. and Mrs. John Cowles / Bridgeman Images : p. 107 ( right ), 109 Minneapolis, Minneapolis Institute of Art / Gift of Mrs. John S. Pillsbury, Sr. / Bridgeman Images : p. 111 ( left ) Minneapolis, Minneapolis Institute of Art / The Eugene J. Carpenter Memorial Fund / Bridgeman Images : p. 111 ( right ) Minneapolis, Minneapolis Institute of Art / The Hadlai A. Hull and David Draper Dayton Funds / Bridgeman Images : p. 106 ( right ) Minneapolis, Minneapolis Institute of Art / The John R. Van Derlip Fund / Bridgeman Images : p. 107 ( left ) Minneapolis, Minneapolis Institute of Art / The William Hood Dunwoody Fund / Bridgeman Images : p. 110

New York, © 2016. Digital image, The Museum of Modern Art, New York / Scala, Florence : pp. 162, 165–175 New York, © 2016. Digital Image, Timothy Hursley / The Museum of Modern Art, New York / Scala, Florence : p. 164 New York, © 2016. Image copyright The Metropolitan Museum of Art / Art Resource / Scala, Florence : pp. 19, 144, 148–156, 158–160 New York, © The Frick Collection : pp. 112, 114 ( below ), 115–123 New York, © The Metropolitan Museum of Art. Image source : Art Resource, New York : p. 147 New York, courtesy of The Hispanic Society of America, New York : pp. 2, 124, 126–138, 140–142 New York, courtesy of The Metropolitan Museum of Art : p. 146 New York, courtesy of the Samuel H. Kress Foundation : p. 14 ( above ) New York, courtesy of The Solomon R. Guggenheim Museum : pp. 176, 179–187 New York, photograph Bo Parker : p. 13 New York, Solomon R. Guggenheim Museum, Thannhauser Collection, Gift, Justin K. Thannhauser, 1978 : p. 37 New York, The Solomon R. Guggenheim Museum. Photo : David Heald © SRGF, New York : p. 178 Newport, RI, courtesy of The Preservation Society of Newport County : p. 34 Pasadena, © The Norton Simon Foundation : pp. 188, 190–195 Philadelphia, courtesy of Philadelphia Museum of Art : pp. 196, 200–209 Philadelphia, photograph Graydon Wood : pp. 198, 199 Pittsburgh, Frick Art & Historical Center : p. 114 ( above ) San Diego, courtesy of The San Diego Museum of Art : pp. 222, 223 San Diego, San Diego Museum of Art / Bridgeman Images : p. 231 ( right ) San Diego, San Diego Museum of Art / Gift of Anne R. and Amy Putnam / Bridgeman Images : pp. 225, 226 ( right ), 228, 229 San Diego, San Diego Museum of Art / Gift of Conrad Prebys and Debbie Turner / Bridgeman Images : p. 226 ( left ) San Diego, San Diego Museum of Art / Gift of Mr and Mrs Henry H. Timken / Bridgeman Images : p. 227 San Diego, San Diego Museum of Art / Gift of Mr. Archer M. Huntington in memory of his mother, Arabella D. Huntington / Bridgeman Images : pp. 220, 224 San Diego, San Diego Museum of Art / Museum purchase with funds provided by Mr. and Mrs. Norton S. Walbridge / Bridgeman Images : p. 230 San Diego, San Diego Museum of Art / Museum Purchase with Funds from the Estate of Donald Shira and from Anne Otterson / Bridgeman Images : p. 231 ( left ) Shelburne, courtesy of the Collection of Shelburne Museum Archives : p. 18 St. Petersburg, FL, © 2016-Salvador Dalí Museum, Inc., St. Petersburg, FL : pp. 212, 213 Toledo, OH, courtesy of Toledo Musuem of Art, Andrew Weber : p. 234 Toledo, OH, photo, Inc. Toledo : pp. 235, 238, 239 Toledo, OH, Toni Marie González, Toledo Museum of Art : pp. 232, 236, 237 Tucson, courtesy of the Collection of The University of Arizona Museum of Art, Tucson : pp. 240, 244–249 Tucson, photograph Joshua Nistas : pp. 242, 243 Washington D.C., courtesy of National Gallery of Art, Washington, D.C.: pp. 250, 255–263, 265 Washington D.C., Gallery Archives, National Gallery of Art Washington, D.C.: pp. 252–254 Williamstown, Sterling and Francine Clark Art Institute, Williamstown, MA, USA / Bridgeman Images : p. 30 Worcester, Worcester Art Museum, MA / Bridgeman Images : p. 29 © Jaume Plensa, Antonio López, Ignacio Zuloaga, Manolo Millares, Hermenegildo Anglada Camarasa, Comissió Tàpies, Frank Lloyd Wright, Santiago Calatrava, VEGAP, Madrid, 2016 © Salvador Dalí, Fundació Gala-Salvador Dalí, VEGAP, Madrid, 2016 © Successió Miró 2016 © Sucesión Pablo Picasso, VEGAP, Madrid, 2016

en los Arte espaĂąol Estados Unidos de AmĂŠrica

Cubierta: Pablo Picasso, Mujer del pelo amarillo, 1931, Solomon R. Guggenheim Museum, Nueva York, Thannhauser Collection, gift, Justin K. Thannhauser, 1978, detalle Contracubierta: West Gallery, The Frick Collection, Nueva York