Fall 2022 At The Meadows Member Magazine

MEADOWS

A S E M I - A N N U A L G U I D E T O E X H I B I T I O N S A N D P R O G R A M S , E X C L U S I V E LY F O R M E A D O W S M U S E U M M E M B E R S A N D S U P P O R T E R S

fall 2022 IN THIS ISSUE

Masterpiece in Residence: Velazquez’ s King Philip IV of Spain from The Frick Collection Picturing Holy Women in the Spanish Empire, 1620–1800 Dalí/Vermeer: A Dialogue New Acquisition: Antonio Rodríguez Luna’s Still Life

at the meadows

CONTENTS Meadows Museum

1

Welcome

Advisory Council

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Current exhibitions

Susan Heldt Albritton Claire Barry Dolores Barzune Stuart M. Bumpas José Luis Colomer Linda P. Custard, Chair Linda Perryman Evans

2 | Masterpiece in Residence: Velazquez's King Philip IV of Spain from The Frick Collection

18 Upcoming exhibition 18 | In the Shadow of Dictatorship: Creating the Museum of Spanish Abstract Art 22 Acquisition 22 | Antonio Rodríguez Luna's Still Life

8 | Picturing Holy Women in the Spanish Empire, 1620–1800

24 Museum news

12 | Dalí/Vermeer: A Dialogue

30 Programs 36 Membership

Pilar Tabarnero Henry Gwen S. Irwin Gene C. Jones Janet P. Kafka George C. Lancaster George T. Lee, Jr. Karen Levy Stacey McCord Linda B. McFarland Barbara W. McKenzie Peter M. Miller Jenny Ferguson Mullen Cyrena Nolan Caren H. Prothro Peggy H. Sewell Eliza Solender

ABOUT THE MEADOWS MUSEUM

Catherine B. Taylor

Vision:

George E. Tobolowsky

The eadows Museum’s vision is to be the leading center in the United States for exhibition, research, and education in the arts and culture of Spain.

Gail O. Turner

Mission:

Michael L. Thomas

Kevin E. Vogel P. Gregory Warden Ex offici R. Gerald Turner President, SMU Brad E. Cheves Vice President for Development and External Affairs, SMU Samuel S. Holland, Dean Meadows School of the Arts, SMU Amanda W. Dotseth, Director ad interim and Curator, Meadows Museum, SMU In memoriam = Mark A. Roglán, Director

Meadows Museum, SMU

The eadows Museum, a division of the Meadows School of the Arts at Southern Methodist University (SMU), advances knowledge, understanding, and appreciation of the arts and culture of Spain through the collection and interpretation of works of the greatest aesthetic and historical importance.

Values:

• Excellence in education, scholarship, and artistic expression • Aesthetic and cultural traditions that inspire learning, leadership, and creativity • A welcoming and inclusive spirit

HISTORY The eadows Museum houses one of the largest and most comprehensive collections of Spanish art, with works dating from the tenth to the twenty-first centu y. It includes masterpieces by some of the world’s greatest painters: El Greco, Velázquez, Ribera, Murillo, Goya, Miró, Dalí, and Picasso. Highlights of the collection include Renaissance altarpieces, monumental Baroque canvases, exquisite Rococo oil sketches, polychromed wood sculptures, Impressionist landscapes, modernist abstractions, a comprehensive collection of the graphic works of Goya, and a select group of sculptures by major twentieth-century masters—Rodin, Maillol, Giacometti, Moore, Smith, and Oldenburg.

fall 2022

welcome Dear Meadows Museum members: This fall e are pleased to share with you three important, focused exhibitions highlighting varied artistic production from the early modern period to the twentieth century. Two of these feature works never before displayed at the Meadows Museum, or in Texas, while the third features works on paper from the collections of SMU Libraries.

lend this Spanish treasure to the Meadows, where it will be displayed among our own extraordinary paintings by Velázquez. The installation invites vi wers to observe the evolution of the painter’s technique over the course of his career. The second in our Masterpiece in Residence series, the exhibition will be accompanied by a publication featuring an essay by Velázquez scholar Giles Knox.

Originating in research carried out by our late director Mark Roglán, Dalí/Vermeer: A Dialogue features two remarkable paintings in conversation. Woman Reading a Letter (about 1663) by the celebrated Dutch artist Johannes Vermeer (1632–1675), will be on loan from Amsterdam’s Rijksmuseum. The Vermeer is paired with Salvador Dalí’s (1904–1989) homage to it, The Image Disappears (1938), on loan from the Fundació Gala-Salvador Dalí in Figueres, Spain. Meadows visitors will be the first to see these two painting together in person.

Rounding out our fall program is an exhibition examining images of Spanish holy women during the early modern period, which is curated by the Meadows’s Center for Spain in America Curatorial Fellow, Miranda Saylor. Using drawings and prints from SMU’s campus collections, Saylor highlights the ways images visualize the active lives of female saints and mystics.

Another unprecedented loan coming to Dallas this autumn is Velázquez’s King Philip IV of Spain, which joins us from The rick Collection in New York.

While the Frick’s Fifth Avenue building undergoes renovation, the museum has generously agreed to

I encourage you all to visit these exhibitions and take note of the robust educational and members’ programming accompanying each—from lectures and tours to family programs—which are detailed in the pages that follow.

Please also note the pages introducing our new museum staff. We are especially pleased to welcome Greg Warden back to SMU as the Mark A. Roglán Director of the Custard Institute for Spanish Art and Culture.

Renovations will soon be underway to make room for the Institute on the ground floor of the museum.

Finally, it is with great pleasure that I announce the return of Meadows Museum travel in 2023! For details, check the membership section of this magazine and stay up-to-date by visiting our website.

Thank ou for your membership and for the key role you play in fulfilling our mission to bring the a t and culture of Spain to North Texas.

With best wishes,

Amanda W. Dotseth, PhD, FSA Director ad interim & Curator

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welcome

current exhibitions

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SEPTEMBER 18, 2022– JANUARY 15, 2023

MASTERPIECE IN RESIDENCE: VELÁZQUEZ’S KING PHILIP IV OF SPAIN FROM THE FRICK COLLECTION In spring 2022, the Meadows Museum launched its Masterpiece in Residence loan program, which features key works of Spanish art from American collections.

The first loan of the series was uan Sánchez Cotán’s Quince, Cabbage, Melon, and Cucumber (c. 1602) from the San Diego Museum of Art, which was exhibited at the Meadows Museum for the first time. This fal the series continues with the installation of a similarly rare and significant painting in the Virginia Meadows galleries: King Philip IV of Spain (1644), or the Fraga Philip, by Diego Rodríguez de Silva y Velázquez (1599– 1660), on loan from The rick Collection in New York. While at the Meadows, this energetic portrait will be presented in the context of the museum’s own masterpieces by Velázquez, which measure the artist’s development from his arrival in Madrid in the early 1620s to his return from Italy, under the influence o Titian, during the middle of the century.

This unusual loan of one of enry Clay Frick’s favorite works is the painting’s first visit to th Meadows, and to the state of Texas. The uniqu opportunity to borrow the Frick’s masterpiece coincides with the renovation of their building, and we are so grateful to be able to host the portrait this fall. This focused exhibition is also accompanied y a catalogue with a single essay authored by Giles Knox, celebrated Velázquez scholar. As the Fraga Philip is the only work by Velázquez in the Frick’s collection, its visit to the Meadows offers the ra e opportunity to assess this composition alongside others from various moments in Velázquez’s oeuvre, and to observe the artist’s maturing technique.

LEFT: Diego Rodríguez de Silva y Velázquez (Spanish, 1599– 1660), King Philip IV of Spain, 1644. Oil on canvas, 51 1/8 × 39 1/8 in. (129.9 × 99.4 cm). The Frick Collection, NY. Photo

by Michael Bodycomb. RIGHT: Diego Rodríguez de Silva y Velázquez (Spanish, 1599–1660), Portrait of King Philip IV, 1623–24. Oil on canvas, 24 3/8 x 19 1/4 in. (61.9 x 48.9 cm).

Meadows Museum, SMU, Dallas. Algur H. Meadows Collection, MM.67.23. Photo by Dimitris Skiliris.

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This po trait of King Philip IV of Spain is one of dozens completed by Velázquez during his time at the Spanish court. The kin ’s expertly rendered facial features, namely his rounded Habsburg bone structure and dramatic mustache, are a specialty of Velázquez—in fact, jealous rivals at the time accused the artist of only being able to paint faces. However, it is the king’s highly decorated sobreveste that steals the show. The painterly details tha carefully line the red garment, framed by striking silver sleeves, offer a elcome contrast to the king’s austere black frock and white collar in the Meadows’s earlier Portrait of King Philip IV (c. 1623–24). While the Frick’s painting is visually arresting, the circumstances of the commission were also quite exciting; it was quickly composed in a makeshift studio, to commemorate a pivotal moment in Spanish history.

Philip IV (1605–1665) reigned over Spain from 1621 to 1665, a period dominated by the Franco-Spanish War (1635–59). While Philip IV is often remembered more as a patron of the arts rather than a military conqueror, this portrait encapsulates both roles. In the spring of 1644, Philip IV traveled with his army and Velázquez to Catalonia to lay siege to the French city of Lérida. For the duration of this conquest, they set up camp in the nearby town of Fraga, hence the portrait’s nickname. Much is known about Velázquez’s time in Fraga through the preservation of receipts; the artist ordered two windows to be installed in the room where the king was to pose, so as to offer a better ligh source for the composition, as well as other renovations.

This painting was completed in th ee sittings in June of 1644. Upon completion, it was sent to Philip’s firs wife, Isabella of Bourbon, who ordered its immediate installation in the Church of San Martín in Madrid.

Because Philip was unable to return to Madrid immediately after the conquest of Lérida, this portrait was sent in the king’s stead to celebrate the victory with his loyal subjects. The hasty e ecution and exhibition of the painting serve as a testament to these historical circumstances, but also to the power of portraiture, and to Velázquez’s mastery of the medium. Works such as these established a visual dialogue between the ruler and his subjects, and until Philip’s return, the Fraga Philip served as his intercessor for Madrid’s celebrations.

Antonio Palomino, celebrated artist biographer and an artist himself, spoke to the portrait’s likeness in his famed text El museo pictórico y la escala óptica: “...in the way he entered Lérida, wielding a military staff, an dressed in crimson plush, with such a beautiful air, so much grace, and majesty, that the painting looked like another living Philip.”

While Velázquez portrayed Philip many times during his court appointment, here the artist used the king’s dress as a means by which to communicate his fervent nationalism. The sobreveste is composed primarily of yellow and red, the colors of Spain’s flag. This ass tion

of Spanish pride through portraiture can be found in many other works in the Meadows collection and was explored at length in Canvas & Silk: Historic Fashion from Madrid’s Museo del Traje, the museums’ fall 2021 exhibition. For example, Ignacio Zuloaga y Zabaleta’s Portrait of the Duchess of Arion, Marchioness of Bay (1918) as well as the Meadows’s Portrait of the Duchess of Medinaceli (after 1864), attributed to José Casado del Alisal, both donned traditional maja fashion elements, such as the Manila shawl, mantilla (lace veil), peineta (hair comb), and madroños (ball fringe), in order to communicate their Spanish identity to an international audience. The same can be said for Antonio Casan va y Estorach’s Favorites of the Court (1877) or Zuloaga’s The Bullfighter “ l Segovianito” (1912) in their depictions of toreros, as bullfighters ere a widely recognized symbol of Spanish pride. Th ough this stylistic detail, the Fraga Philip finds good company in our collection, as ell as this exhibition.

The eadows’s Portrait of King Philip IV (c. 1623–24) is believed to be the first depiction of the king y Velázquez’s hand. The stylistic contrast bet een this early portrait and the Fraga Philip, painted two decades later, demonstrates how Velázquez honed his technique throughout his court appointment. Accompanying the two Philips in the exhibition are the Meadows's other two paintings by Velázquez: Portrait of Queen Mariana (c. 1656) and Female Figure (Sibyl with Tabula Rasa) (c. 1648). The four wo ks to be exhibited all testify to the artist’s talent for painting from life. From the uncanny vitality of the fleshtones to the ethe eal softness of the sibyl’s gown, these four paintings showcase Velázquez’s prolific talents The eadows’s Portrait of King Philip IV portrays the king with a heightened verisimilitude; Velázquez’s precision and restraint are understandable here, as this commission was believed to have solidified his cou t appointment. The Fraga Philip, by contrast, is a bold artistic statement that demonstrates a more expressive technique as a growing trust between artist and patron.

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Portrait of Mr. Frick in the West Gallery, Sir Gerald Kelly, 1925. Oil on canvas, 48 3/4 x 39 5/8 in. (123.9 x 100.6 cm). Frick Art & Historical Center, Pittsburgh, 1984.55.

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The oung king of 1624, complete with his somber frock and countenance, contrasts greatly with the victorious king of 1644, especially in the dynamic swirls of silver, gold, and red that come together to form the monarch’s intricately decorated outfit. Th flourish that characteri es the Frick portrait represents a pivot point in Velázquez’s career between the stoic and exact rendering of Portrait of King Philip IV, and the more relaxed, expressive brushstrokes of Female Figure and Portrait of Queen Mariana.

Of the three Velázquez portraits in the Meadows collection, the portrait of Mariana — the niece and second wife of Philip IV— is probably the closest in style to the Fraga Philip. Both king and queen are rendered in a painterly, expressive manner, composed almost as if from a dream. This techniqu is reinforced by certain impressionistic details, such as the embroidery of Philip’s garment and the waves in Mariana’s hair, finished at the ends with delicate d ops of pearls. As the Fraga Philip was completed nearly twelve years before the portrait of Mariana, it helps to bridge the stylistic gap between the Meadows’s earliest and latest compositions from Velázquez.

ABOVE LEFT: Diego Rodríguez de Silva y Velázquez (Spanish, 1599–1660), Female Figure (Sibyl with Tabula Rasa), c. 1648. Oil on canvas, 25 1/2 x 23 in. (64.8 x 58.4 cm). Meadows Museum, SMU, Dallas. Algur H. Meadows Collection, MM.74.01. BELOW LEFT: Diego Rodríguez de Silva y Velázquez (Spanish, 1599–1660), Portrait of Queen Mariana (detail), c. 1656. Oil on canvas, 18 3/8 x 17 1 /8 in. (46.7 x 43.5 cm). Meadows Museum, SMU, Dallas. Algur H. Meadows Collection, MM.78.01.

Photos by Michael Bodycomb.

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Similarly, the Fraga Philip aids in our aesthetic interpretation of the Meadows’s Sybil — the only work in the exhibition created outside of the court portraiture context. In contrast to the Meadows’s bustlength portraits of King Philip and Queen Mariana, this composition, like the Fraga Philip, is able to tell a more intricate story by showing more of the figu e’s body and incorporating symbolically meaningful objects. For the Fraga Philip, these include his sword, baton of command, and hat. For Female Figure, it is the inclusion of her titular tabula rasa, as well as the expertly executed details of her gauzy frock that allow us to identify her as an ancient sybil.

of Spanish art from American collections within the context of the Meadows’s permanent collection. We encourage visitors to purchase a copy of the catalogue featuring new scholarship by Giles Knox, which will be available in the museum gift shop.

By Olivia Turner, curatorial assistant, Meadows Museum This exhibition has been organized by the Meadows Museum and is funded by a generous gift from The Meadows Foundation

The Fraga Philip is a quintessentially Spanish work that captures Velázquez’s unparalleled talent. The loa of this magnificent wo k embodies the ethos of our Masterpiece in Residence program: to present the best

View of King Philip IV of Spain in the West Gallery at the Frick mansion. Copyright The Frick Collection.

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SEPTEMBER 18, 2022–JANUARY 15, 2023

PICTURING HOLY WOMEN IN THE SPANISH EMPIRE, 1620–1800 In 1691 the celebrated Mexican poet and nun, Sor Juana Inés de la Cruz (1651–1695), published a letter defending female readership and authorship by citing an impressive lineage of holy women venerated within the Catholic Church’s own history. These include Jesus’s mother Mary, his personal friend Martha, and the saints Catherine of Alexandria and Teresa of Ávila. Sor Juana reasoned, “if the wrong consists in the practice of verse by a woman, since so many have practiced it in a fashion so evidently praiseworthy, what can be so wrong about my being a poet?” By defending her own literary pursuits as part of a long tradition of women’s active participation within the Church, Sor Juana highlights a critical gap between attempts to curtail women’s access to knowledge and the significant oles they played in shaping spirituality.

Sor Juana’s defense of female readers and authors was provoked by the restrictions imposed on women that regulated their access to knowledge, mobility, and autonomy. Picturing Holy Women in the Spanish Empire, 1620–1800 takes up the question of how women both upheld and challenged the exemplary model of female sanctity predominant in Spain and the Americas during this period through an examination of prints and drawings of female biblical figu es, saints, and monastics.

In addition to visual imagery of women, important examples of female patronage, authorship, and publication will also be on display. The exhibition featu es drawings and prints from the Meadows Museum’s permanent collection, as well as works from SMU’s Bridwell and DeGolyer Libraries, and a local private collection.

During this period, holy women were revered as paragons of virtue who rose above what was perceived

LEFT: Unknown Artist (17th century), A Group of Knights Adoring the Virgin of the Immaculate Conception, c.1630–60. Pen and mixed media on paper, 13 5/8 x 9 3/4 in.

(34.6 x 24.8 cm). Meadows Museum, SMU, Dallas. Algur H. Meadows Collection, MM.70.12. Photo by Michael Bodycomb.

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to be their gender’s inherently weak nature. Prints representing the Virgin Mary and Mary Magdalene accompanied sacred texts, allegorical renderings of Saints Teresa of Ávila (1515–1582) and Rosa of Lima (1586– 1617) illustrated hagiographies, and engraved portraits ornamented the opening pages of nuns’ biographies.

These images p ovided a visual model of piety worthy of emulation and their multiplication through print ensured their widespread dissemination.

Teresa of Ávila preaching her theology, in Representaciones de la verdad vestida, misticas, morales, y alegoricas, sobre las siete moradas de Santa Teresa de Jesus. Etching, 8 x 5 3/4 in. (20.3 x 14.6 cm). Madrid: Antonio Gonçalez de Reyes, 1679. Bridwell Library Special Collections, SMU, Dallas, Texas.

At a time when images of female piety abounded, the Church and Spanish monarchy sought to protect social order by regulating women’s activities and mandating their separation from the outside world. In 1563 the Council of Trent issued a decree that barred women who professed as nuns from moving freely in and out of the convent and prohibited visitors from entering without approval from Church authorities. While nuns were recognized as key members of the monastic community, they nevertheless had to submit to the guidance of a male confessor and were prohibited from being clergy or saying mass. Further, Saint Paul’s statements against women addressing church congregations were routinely cited as justification for p ohibiting women from speaking publicly.

Joseph Morales (Mexican, 18th century), Sor Sebastiana Josepha in Vida admirable y penitente de la V.M. sor Sebastiana Josepha de la SS Trinidad…, published by Bibliotheca Mexicana, Mexico, 1765. Engraving in printed book, sheet: 7 3/4 x 5 3/4 in. (19.6 x 14.6 cm). Bridwell Library Special Collections, SMU, Dallas, Texas.

Women who did not profess as nuns were also expected to lead an insulated life within the home. The sixteenth century guidebook The ducation of Christian Women by Juan Luis Vives described an idealized “unmarried young woman [who] should rarely appear in public since […] her most precious possession, her chastity, is placed in jeopardy.” Luis de León echoed a similar sentiment in his book The Perfect Wife, noting, “as men are made to speak and go outside, women are made to enclose and cover themselves.” In addition to books prescribing proper decorum for women, Spanish law administered gender disparities, for example by making adultery a crime for women but not for men. Thus, dec ees and civil laws operated as disciplinary measures designed to protect the patriarchal social order by separating women from an active life in the public sphere.

The ast majority of the holy women represented in this exhibition modeled exceptional virtue during their lifetimes by resisting carnal temptation and dedicating their lives to God, the most famous example being the Virgin Mary. The engra ed portrait of the nun Sebastiana Josepha de la Santísima Trinidad, for instance, situates her body within a convent cell. In the foreground, the nun prays before a sculpture of the Christ Child, demonstrating her exceptional piety. Moreover, the grilled

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Clemente Puche (Spanish, active 1699–1728), Allegorical image of Rose of Lima, in Vida de Sta. Rosa de Santa Maria, natural de Lima, y patrona del Peru. Madrid: Juan García Infançon,, 1711. Etching in printed book, 7 7/8 x 5 1/2 in. (20 x 14 cm). Bridwell Library Special Collections, SMU, Dallas, Texas.

window at the right edge of the print bars her from the outside world, calling to mind the doctrines of enclosure and emphasizing her cloistered status.

And yet, these artworks also reveal a more complicated picture that disrupts a coherent vision of the ascetic, chaste holy woman in the early modern Hispanic world. Instead, they visualize female subjects in myriad roles, acting as spiritual leaders, visionaries, and authors. For example, a 1679 print allegorically represents Saint Teresa of Ávila’s text Interior Castle by picturing the saint outside standing on grassy terrain. Teresa holds a book in her left hand and gestures toward an architectural structure with her right.

Notably, this tower does not confine Teresa’s body but symbolizes the soul’s gradual ascent from earth to heaven as described in her writing. Banderoles, or long scrolls, inscribed with text unfurl from her mouth, conveying the saint in the act of preaching. Considering the limitations curtailing women’s authority to speak publicly, this print is striking in that it unabashedly visualizes Saint Teresa as a spiritual authority entrusted with the power of imparting her divine knowledge to the viewer.

for women in colonial Latin America. Sprouting from her namesake fl wer, she towers over the composition holding a wreath with the Christ Child in her left hand and a miniature model of Lima in her right. Just below, two devotees—an indigenous figu e symbolizing America and the author of her biography—gaze up at her in awe.

Surrounded by beams of divine light, flying angels, an acolytes, Rosa is presented as her city’s spiritual leader and guardian. The image e emplifies h w a greater level of artistic flexibility was permitted when epresenting women after their canonization. We see female saints depicted in spaces beyond the safeguards of the interior settings that typify images of nuns. These distinct epresentational strategies rendering the female body in space will be further explored in the exhibition. The engravings woodcuts, drawings, and rare books on view promise visitors a nuanced introduction to the significant an diverse roles holy women played in the Spanish Empire.

By Miranda Saylor, 2021–23 Center for Spain in America (CSA) Curatorial Fellow, Meadows Museum This exhibition has been organized by the Meadows

A second allegorical image, representing the Peruvian saint Rose of Lima, invests her with a degree of power unusual

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Museum and funded by a generous gift from The Meadows Foundation.

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OCTOBER 16, 2022–JANUARY 15, 2023

DALÍ/VERMEER: A DIALOGUE

A key part of an artist’s formal training has always been the study of their predecessor’s works, the imitation of which was seen as a crucial step in the development of one’s own style and technique. The copyist book preserved in the archives of Madrid’s Museo Nacional del Prado famously document the myriad artists who visited the museum to be inspired by and imitate Spanish painters from El Greco to Goya—most famously, perhaps, the nineteenth-century Impressionist painters who discovered for themselves the innovative quality of Velázquez’s ability to capture light and movement with fast, visible strokes of oil paint.

Although in pursuit of a completely diffe ent technique, Dalí stands out among the modern artists who most revered—indeed, obsessed over—the painters that preceded him. Ironically perhaps, Dalí was first exposed to the images that came to be melded into his psyche as a young man, through reproductions. His repeated homages to The ngelus by Jean-François Millet (1814–1875), a reproduction of which hung in his school, are well known. But the famed Surrealist also came of age just as earlier painters were being celebrated and publicized outside of their countries of origin, as was the case with the Dutch painter Johannes Vermeer (1632–1675), whose work Dalí first encounte ed through a small paperback monograph with black-and-white images (many featuring paintings no longer believed to be Vermeers). Dalí was most fervently, and famously, devoted to The Lacemake (1669–70)—indeed, his compositionally faithful copy thereof is in the collection of the Metropolitan Museum in New York (The Lacemaker [After Vermeer], 1955).

LEFT: Salvador Dalí (Spanish, 1904–1989), The Image Disappears, (detail) 1938.

Oil on canvas, 22 1/4 x 19 7/8 in. (56.5 x 50.5 cm). Work loaned by the Fundació Gala-Salvador Dalí. © 2022 Salvador Dalí, Fundació Gala-Salvador Dalí, Artists Rights Society.

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The urrealist devoted a number of works to Vermeer in addition to developing a kind of Vermeerian iconography with which he would pepper his compositions throughout his career. The most recognizable example of the latter is his reimagining of Vermeer’s self-portrait (The rt of Painting, 1666–68, Kunsthistorisches Museum, Vienna) in which the Dutchman paints himself seated with his back to the viewer as he works on a canvas with the aid of mahl stick (which Dalí also used for small-scale, precision painting); a female model in blue poses beyond. Dalí references the figu e’s posture and characteristic floppy black hat, doublet, and balloon sleeves—all hallmarks of Baroque Dutch fashion—in numerous paintings and prints, although with a notable Dalian twist.

In one of the earliest and perhaps best-known iterations, The host of Vermeer of Delft Which Can Be Used As a Table (1934, The alí Museum, St. Petersburg), which readers may remember from the Meadows’s exhibition Dalí: Poetics of the Small, 1929–1936, the figu e is kneeling rather than seated, while his severely elongated right leg supports a wine bottle and small glass. His right arm is supported by one of Dalí’s favorite props, a crutch. This fig e would pop up again and again in Dalí’s compositions, a kind of shorthand play on the Spaniard’s Vermeerian iconography. The fig e is redeployed as another character altogether in the Meadows’s Kneeling Knight from Faust (Walpurgis Night) (1968–69). In this case, it is the left leg that is elongated and the figu e wears a red cape, but the form is unmistakably inspired by Dalí’s interpretation of Vermeer of Delft.

While Dalí frequently manipulated and redeployed Vermeerian elements throughout his oeuvre, less common are the instances in which he reinterpreted whole compositions by the Dutch painter, as in his copy of The Lacemake now at the Met. Among the most unusual and creative of these “copies” is Dalí’s interpretation of Vermeer’s Woman Reading a Letter (c. 1663). Dalí metamorphosized the basic forms

and elements of the composition—a woman wearing a radiant blue night jacket and standing in profil while reading a letter in the soft morning light of an unseen window—transforming Vermeer’s subject into a mustachioed male face in profile, which has bee identified as Velázquez.

In The mage Disappears, a work whose title describes what the the image does rather than what it depicts,

Dalí invites the viewer to see one composition, followed by the other, and then both at once in a kind of trick played on the eye of the viewer. This is among the mos celebrated of Dalí's double images, a technique that formed part of his so-called paranoid-critical method.

Despite the obvious homage to Vermeer, however, The Image Disappears also imposes Spain and its artistic legacy, of which Dalí saw himself as part, upon the

Salvador Dalí (Spanish, 1904–1989), Kneeling Knight from Faust (Walpurgis Night), edition 84/95, 1968–69.

Drypoint etching with roulette on paper, 12 1/2 x 9 1/2 in. (31.8 x 24.1 cm). Meadows Museum, SMU, Dallas. Gift of Mr. Michael L. Rosenberg, MM.01.11.08. © 2022 Salvador Dalí, Fundació Gala-Salvador Dalí, Artists Rights Society. Photo by Michael Bodycomb.

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Johannes Vermeer (Dutch, 1632–1675), Woman in Blue Reading a Letter, c. 1663. Oil on canvas, 18 1/4 x 15 3/8 in. (46.5 x 39 cm). Rijksmuseum, Amsterdam.

On loan from the City of Amsterdam (A. van der Hoop Bequest), SK-C-251.

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Salvador Dalí (Spanish, 1904–1989), The Image Disappears, 1938. Oil on canvas, 22 1/4 x 19 7/8 in. (56.5 x 50.5 cm). Work loaned by the Fundació GalaSalvador Dalí. © 2022 Salvador Dalí, Fundació Gala-Salvador Dalí, Artists Rights Society.

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Dutch artist; note the replacement of the wall map in the background of Vermeer’s painting (where it features the Netherlands) with one of the Iberian Peninsula, not to mention the appearance of Spain’s most renowned Baroque painter, Velázquez. No amount of admiration for Vermeer could quite expunge the trappings of Spanish patriotism.

Curiously, as much as Dalí revered and emulated the precision of Vermeer’s technique, he chose not to do so in The mage Disappears. Indeed, the work is remarkably painterly and certainly does not attempt the nuances of Vermeer’s subtle palette of pale, cool tones. Instead, Dalí seems to have been more concerned with revealing the compositional organization and shapes as he transforms the woman’s elbow into a nose and her outstretched arm, letter, and dress into a Baroque mustache and goatee, and then, stripping the scene of its furniture, adds a curtain and strong shadow to work as framing devices, which in the case of the former, double as hair. Vermeer’s image does, indeed, disappear only to reemerge as Dalí’s own.

Thanks to the gene osity of the Dalí Foundation and the Rijksmuseum, Dalí/Vermeer: A Dialogue, unites these two paintings for the very first time. ndeed, not even Dalí would have seen these two paintings side-byside; as such, this exhibition is a unique opportunity to encounter both imitator and imitated within the context of the Meadows collection of Spanish art.

The eadows welcomes visitors to not only enjoy this rare moment to see a Vermeer in Texas, but also to contemplate broader themes of imitation; is it flatte y or conceit? Additional works by Dalí from the Meadows collection, including works on paper, will be featured elsewhere in the museum as part of this fall’s celebration of the artist and his many evocations of art historical themes. Those wishing to kn w more about Dalí’s obsession with Vermeer are encouraged to

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Johannes Vermeer (Dutch, 1632–1675), Woman in Blue Reading a Letter (detail), c. 1663. Oil on canvas, 18 1/4 x 15 3/8 in. (46.5 x 39 cm). Rijksmuseum, Amsterdam.

On loan from the City of Amsterdam (A. van der Hoop Bequest), SK-C-251.

purchase copy of the catalogue Dalí: Poetics of the Small, 1929–1936, wherein Mark Roglán’s essay on the subject is featured.

By Amanda W. Dotseth, director ad interim and curator, Meadows Museum This exhibition has been organized by the Meadows Museum and is funded by a generous gift from The Meadows Foundation.

FEBRUARY 26–JUNE 18, 2023

IN THE SHADOW OF DICTATORSHIP: CREATING THE MUSEUM OF SPANISH ABSTRACT ART On July 1, 1966, the Museo de Arte Abstracto Español (Museum of Spanish Abstract Art) opened its doors to the public. Located in the historic clifftop t wn of Cuenca (Castilla la Mancha), one hundred miles east of Madrid, the museum was far removed from the Spanish capital, not to mention the major international artistic centers of Paris and New York. Its collection was of its time, but was housed within Cuenca’s iconic casas colgadas (or “hanging houses,” so called for the way they perch over the side of a deep ravine), which date to the Renaissance period. The museum, the efore, offe ed its visitors a display of modern abstract art that was in dialogue with the past and with the dramatic natural landscape formed by the mountains overlooking the river Huécar. The museu ’s situation makes it unique, but so, too, does its status as the firs artists-run museum founded in Spain during Francisco Franco’s dictatorship. Despite its remote location, the museum’s highly publicized opening was featured on the covers of national and international newspapers and welcomed a remarkable 25,000 visitors annually during its first ears in existence.

Born out of the private initiative of the artist, critic, and collector Fernando Zóbel (1924–1984), the Museum of Spanish Abstract Art was run by a group of artists whose works were displayed in its galleries.

Zóbel had assembled his collection over the course of a decade, reflecting his desi e to save the most representative works of his generation from being dispersed abroad. Indeed, Franco’s dictatorial regime had propelled the midcentury generation of Spanish artists to seek recognition outside of their native land.

At the same time, the success of Spanish abstract art at international exhibitions, such as the São Paulo and Venice biennials, was being used as a diplomatic instrument by the Francoist dictatorship to normalize

RIGHT: Eva Lootz (Austrian, b. 1940), Cuadro negro (Black painting), 1974.

Acrylic on canvas, 55 3/8 x 78 ¾ in. (140.6 × 200 cm). Colección Fundación Juan March, Museu Fundación Juan March, Palma.

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LEFT: Inauguration of the museum, July 1, 1966. Casas Colgadas, Cuenca. Fundación Juan March, Madrid. Photo by Fernando Nuño.

RIGHT: Manolo Millares (Spanish, 1926–1972), Antropofauna, 1971.

Paint and stitched burlap, 63 x 63 in. (160 x 160 cm). Museo de arte abstracto español, Cuenca.

Fundación Juan March, Madrid.

its international presence, even though there was no institutional structure at home for Spanish artists to showcase their art. Once the Museum of Spanish Abstract Art opened, it became a space for curatorial innovations that transformed the city of Cuenca into a destination for abstract artists, attracting local inhabitants, as well as amateurs and specialists from Madrid and beyond.

In the spring of 2023, the Meadows Museum will welcome selections from the exceptional collection at the Museo de Arte Abstracto Español. Part of a twoyear international tour with venues in Granada and Barcelona, Spain, and Koblenz, Germany, the Meadows

will be the only venue in the United States to host this important exhibition. More than forty paintings and sculptures by over thirty artists will be on display in the Virginia Meadows galleries.

This exhibition will ma k a rare opportunity for American audiences to view major artworks of Spanish abstract art dating from the late 1950s to 1980. Internationally recognized artists such as Eduardo Chillida, Antonio Saura, and Antoni Tàpies will be represented with their lesser-known Spanish contemporaries such as Néstor Basterretxea, Francisco Farreras, and Sarah Grilo, among many others. Although some of these works were featured in the exhibitions

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New Spanish Painting and Sculpture and Before Picasso, after Miró, organized respectively by The useum of Modern Art and The olomon R. Guggenheim Museum in New York City in 1960, most will be crossing the Atlantic for the first time

in Fascist Spain and in the international context of the Cold War, and the strategic presence of Spanish abstract art in the United States. It will be the first majo scholarly publication on the collection of the Museo de Arte Abstracto Español in English.

Organized by the Meadows Museum in partnership with the Fundación Juan March, the steward of Zóbel’s collection since 1980, In the Shadow of Dictatorship: Creating the Museum of Spanish Abstract Art will be accompanied by an exhibition catalogue with four essays addressing the unique history of the Museo de Arte Abstracto Español in Cuenca, the exceptional personality of Fernando Zóbel, Spanish abstract art

By Clarisse Fava-Piz, PhD, 2021–23 Mellon

upcoming exhibition

Curatorial Fellow, Meadows Museum This exhibition has been organized by the Meadows Museum and is funded by a generous gift from The Meadows Foundation.

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ANTONIO RODRÍGUEZ LUNA (1910–1985) Still Life (Naturaleza Muerta), 1981

This impo tant gift to the Meadows Museum is the first wo k by Antonio Rodríguez Luna to enter the collection. Described as “the painter of the Spanish diaspora” by the poet Juan Rejano in 1971, Rodríguez Luna belonged to a generation of Spanish artists who went into exile in Mexico during Francisco Franco’s dictatorship. Still Life (Naturaleza Muerta), 1981, was included in the artist’s last exhibition in Mexico City before his death.

Organized around geometric lines and patterns defined by black, white, and beige colors, the composition at first appears to be pu ely abstract. However, upon closer inspection, references to traditional subjects of still-life painting emerge. For instance, the large black circle around which the composition revolves is evocative of a piece of fruit. Although Rodríguez Luna had turned to abstraction a decade earlier, he never totally abandoned figurati e language. Instead, he reduced his still lifes to their minimum essence—often choosing a single piece of fruit as a figurati e motif— thereby stripping away any superfluous details in fa or of maximum expressive simplification.

the French capital, and from there went into exile in Mexico, which would be his home for the next forty-six years. During that time, his paintings gradually evolved toward Expressionist and Informalist compositions before turning to abstraction in the final decades of his ca eer, as seen in Still Life (Naturaleza Muerta). Only a year after painting this canvas, in 1982, a museum dedicated to the artist (El Museo Antonio Rodríguez Luna) opened in his hometown, where the painter returned months before his death in 1985.

Generously given in honor of the museum’s late director, Mark A. Roglán, Still Life (Naturaleza Muerta) enriches and adds nuance to the Meadows’s notable collection of twentieth-century Spanish art. Considered alongside other abstract works by Antoni Clavé, Albert RàfolsCasamada, Antonio Saura, Antoni Tàpies, and Fernando Zóbel, among others, Rodríguez Luna’s painting will inspire new narratives about the experiences of the artists who opposed or were in exile during the Spanish dictatorship.

By Clarisse Fava-Piz, PhD, 2021–23 Mellon Curatorial Fellow, Meadows Museum

Born in Montoro (Córdoba) in 1910, Rodríguez Luna is best known for the politically motivated work he produced during the Spanish Civil War. He presented a portfolio of drawings called Dieciséis dibujos de guerra (Sixteen War Drawings) in support of the Republican cause at the Paris International Exposition in 1937. Two years later, he moved to

LEFT: Antonio Rodríguez Luna (Spanish, 1910–1985), Still Life (Naturaleza Muerta), 1981. Oil on canvas, 39 ½ x 39 ½ in. (100 x 100 cm). Meadows Museum, SMU, Dallas. Anonymous gift in honor of Mark A. Roglán, MM.2021.08.

Photo by Kevin Todora.

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SMU PRESIDENT R. GERALD TURNER HONORED

BY SPAIN In February, at a ceremony held at the Meadows Museum, SMU President R. Gerald Turner received the Encomienda de la Orden de Isabel la Católica, an honor granted by King Felipe VI of Spain. The decoration recognized Turner for his extraordinary civil character and his promotion of international relations between Spain and the United States.

The rder of Isabella the Catholic is a Spanish civil order granted to both Spaniards and foreigners in recognition of services that benefit the count y. The King of Spain serves as grand master and Spain’s minister of foreign affairs se ves as grand chancellor.

Santiago Cabanas, ambassador of Spain to the United

States, and Julia Olmo y Romero, consul general of Spain in Houston, presented Turner with the honor.

“Dr. Turner’s unwavering support of the Meadows Museum and steadfast support of Spain through his backing of numerous Spanish educational programs has enabled SMU to become a beacon for the promotion of Spanish culture in America,” said Janet Kafka, honorary consul of Spain for Dallas-Fort Worth.

Under Turner’s leadership at SMU, the Meadows Museum has built a new museum; doubled the size of its collection of Spanish art; produced robust catalogues with extensive research on Spanish artists and the

FROM RIGHT TO LEFT: Consul General Julia Alicia Olmo y Romero, Ambassador Santiago Cabanas Ansorena, President Gerald R. Turner, and Linda Pitts Custard at the Encomienda de la Orden de Isabel la Católica decoration ceremony. Photo by Hillsman Jackson.

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art history of Spain; and developed curatorial fellowships, offering scholars unique oppo tunities to research the art of the Hispanic world, both at the museum’s world-renowned collection and with partner institutions around the globe.

In August of 2021, Turner was instrumental in the formation of the Custard Institute for Spanish Art and Culture at the Meadows Museum, working with donors Linda and Bill Custard as well as Th Meadows Foundation to commit $6 million for the Institute, which will be dedicated to the study of Spanish art and culture.

Turner’s support for the art and culture of Spain goes beyond the Meadows Museum; his leadership has strengthened academic and business ties between SMU and Spain. SMU’s Spanish language programs offer fu ther cultural understanding through departmental programming and Spanish film clubs. urthermore, SMU-in-Madrid was the university’s first and emains its most popular study abroad program. Cox business students also have opportunities to partake in summer internships with businesses in Barcelona, Madrid, and Seville.

Turner’s support of the university’s connection to Spain extends beyond students to university deans, faculty members, and department heads, many of whom participate in exchange programs with counterparts in Spain. On campus, Spanish programs thrive, including SMU’s Luis Martín Lecture Series in the Humanities and performances by acclaimed Spanish pianist Joaquín Achúcarro.

The uni ersity presented honorary degrees to Spanish art historian William B. Jordan in 1995 and to King Juan Carlos I of Spain in 2001. Renowned Spanish architect, engineer, and artist Santiago Calatrava, whose iconic sculpture Wave (2002) sits below the Meadows Museum on Bishop Boulevard, was awarded the 2001 Algur H. Meadows Award for

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Excellence in the Arts by the Meadows School of the Arts. Calatrava delivered the commencement address and received an honorary degree at the May 2005 commencement ceremony.

The rder of Isabella the Catholic was created on March 14, 1815, by King Ferdinand VII of Spain in honor of Queen Isabella I of Castile. Other recipients of the honor among the university community include: Linda Evans and Janet P. Kafka, both members of the Meadows Museum Advisory Council (MMAC); the MMAC's chair, Linda P. Custard; the late Mark Roglán, former director of the Meadows Museum; the late Luis Martín, former Professor Emeritus of History, SMU; the late David Weber, former Robert and Nancy Dedman Chair in History, SMU; and the late Carole Brandt, former dean of SMU’s Meadows School of the Arts.

By Bridget Marx, deputy director, Meadows Museum

THE MEADOWS MUSEUM WELCOMES INTERNATIONALLY RECOGNIZED ARCHAEOLOGIST GREG WARDEN of Cavaliere, Order of the Star of Italy, by the Italian government in 2012. His current research focuses on heritage and the uses of digital technologies in preservation.

Warden is a University Distinguished Professor of Art History emeritus of SMU, where his exemplary teaching has been recognized by numerous awards and a dedicated cohort of current and former students, many of which represent a new generation of archaeologists and art historians. His museum experience includes service as the interim director of the Meadows Museum (2001–3), where he also curated two groundbreaking exhibitions: Greek Vase Painting: Form, Figure, and Narrative. Treasures of the National Archaeological Museum of Madrid (2004) and From the Temple and the Tomb: Etruscan Treasures from Tuscany (2009).

The eadows Museum welcomes internationally recognized archaeologist Greg Warden back to SMU and the Meadows Museum as the inaugural Mark A. Roglán Director of the Custard Institute for Spanish Art and Culture. Th Institute, founded in 2021 thanks to generous gifts from Linda P. and William A. Custard and The eadows Foundation, is a division of the Meadows Museum that will, under Warden’s leadership, significantly expand th museum’s research activities.

Warden has extensive experience managing archaeological excavations in both his native Italy and in Libya. His decades-long excavation at the Etruscan site of Poggio Colla has unearthed countless treasures including Europe’s earliest law code and a scene of divine childbirth, which have been featured in the New York Times, the International Herald Tribune, and on the Discovery Channel. An internationally recognized scholar who has contributed to six books and over a hundred articles, Warden recently cofounded the Potentino Exploration Project with the University of Miami. This p oject combined innovative research with eco-science, biodiversity, and landscape archaeology in order to reconstruct a full ancient cultural landscape. In gratitude for his contributions to Mediterranean archaeology, he was awarded the title

ABOVE: Photo by Hillsman Jackson.

Warden joins the Meadows Museum after ten years as president of Franklin University in Switzerland. The e he developed innovative partnerships with academic institutions in the United States, Europe, and Asia, as well as with the United Nations Institute for Training and Research. He led Franklin to its first international rankin (33rd globally), where it was singled out for its pioneering commitment to diversity and institutional ethics. Under his guidance the university fulfilled its first successful capit campaign, resulting in the construction of a new campus. In gratitude and recognition of his unstinting commitment to students, Franklin University’s trustees named the new stateof-the-art student center in Warden’s honor.

Warden, who rejoined the Meadows Museum on July 1, 2022, is currently overseeing the design and construction of new spaces for the Custard Institute, which are underway on the north side of the existing museum building. Th opening of these new innovative spaces is scheduled for the end of the spring 2023 term. As the Mark A. Roglán Director, Warden is dedicated to fulfilling the vision of th museum and the Custard Institute to be a center for research on Spanish art and culture at a global level and to serve as a destination, place of intellectual ferment, and a space where research connects to all constituencies. In his words, “I truly believe that there is no better place to do this than at the Meadows Museum and SMU.”

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THE MEADOWS MUSEUM WARMLY WELCOMES SEVERAL NEW STAFF MEMBERS TO OUR MUSEUM Laura Mancini joined the

Meadows Museum as our new school and family programs manager. Laura brings years of teaching experience in both formal and informal learning environments. Prior to joining the Meadows Museum, she was a gallery teacher at the Amon Carter, spent four years as an elementary and middle school art teacher, and was the assistant manager of guest services at the Sixth Floor Museum. She holds an undergraduate degree in studio art from SMU and an MA in museum studies from Johns Hopkins University. We look forward to the innovative programs and initiatives she will introduce here at the Meadows Museum.

The curatorial depa tment grew with the addition of Olivia Turner, our new curatorial assistant. Olivia’s area of study includes early modern art and the Spanish Baroque. Before joining the Meadows Museum, she worked as a gallery assistant at the Paul R. Jones Museum, the University of Alabama Gallery, and the Sella-Granata Art Gallery. Olivia holds an undergraduate degree in art history and Spanish language, with a minor in English literature, and an MA in art history from the University of Alabama.

You may recognize two new members of our visitor experience team. Visitor experience manager and events coordinator Briana Long has served in a variety of capacities in several departments across the museum. This n w position, which will focus on the visitor experience as a whole, builds upon Briana’s strengths in guest services, education, membership, and events. Briana holds a BA in art history from SMU and an MA in art education

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from the University of North Texas. In addition to her extensive experience at the Meadows Museum, she has worked within the education departments at the Amon Carter Museum and Perot Museum of Nature and Science.

Additionally, Najah Hage returns to the Meadows Museum as our box office sup visor following a seven-year absence.

We are thrilled to have her return to the front desk where her customer service and smile shine.

Ken Merrill joins the Meadows

Museum as our new security manager. Ken has an extensive background in corporate security and law enforcement, including experience managing security in the art world. He manages to balance providing a safe and secure environment with friendly customer service. Ken holds a degree in criminal justice from Texas Christian University.

Jerry Pryor also joins the

security department as a guard.

Before joining Meadows Museum security, Jerry was one of SMU’s outstanding and critical housekeeping team members. He has long wanted to return to his roots in security and we are thrilled to welcome him to the museum.

Please welcome these individuals on your next visit to the Meadows Museum.

By Bridget Marx, deputy director, Meadows Museum

REMEMBERING JERRY BYWATERS COCHRAN (1936–2022) The eadows Museum and the SMU community are saddened by the death of Jerry Bywaters Cochran.

Daughter of the celebrated Texas artist Jerry Bywaters, she was a muse for her father as well as for Barney Delabano, another celebrated Texas artist. A notable dancer, Bywaters Cochran earned a Bachelor of Science degree in modern dance and ballet from the Juilliard School, and pursued a Fulbright Scholarship in Paris. Bywaters Cochran enjoyed a successful career not only as a dancer, but as a choreographer and teacher within various companies in the United States, Germany, and France. In addition, she founded and directed the Jerry Bywaters Cochran Modern Dance Ensemble and the Texas Christian University Modern Dance Lab Company.

In 2011, she and her late husband, Calloway Cochran, donated sixty-fi e works from their personal art collection to SMU. The gene ous gift included

forty-nine paintings and drawings by Jerry Bywaters and sixteen works primarily by other members of the Dallas Nine, the group of influential Texas artists of which Bywaters was a leading figu e and a founding member. In 2019, Jerry Bywaters Cochran gave an additional two dozen pieces of art, including four by her father, to SMU. Together the above are among the most substantial gifts of art presented to SMU. All form part of the University Art Collection (UAC), which is managed by the Meadows Museum and is now the largest depository of Jerry Bywaters’s work, and which complements the holdings of the archival material in the Bywaters Special Collections Wing at SMU’s Hamon Arts Library. Bywaters Cochran once said of her family: “We believe the arts are essential to our lives and culture.” Her lifelong dedication to the arts in North Texas and generosity to SMU, where her father taught for four decades, embodies this statement. Jerry Bywaters Cochran passed away on January 20, 2022, at age 85. The eadows celebrates Jerry Bywaters Cochran’s life and legacy together with other recent donations to the UAC with the installation “Portraiture in the University Art Collection,” which opened on January 20 and remains on view in the downstairs galleries through early September 2022.

By Olivia Turner, curatorial assistant, Meadows Museum

Jerry Bywaters (American, 1906–1989), Portrait of Jerry Bywaters Cochran, c. 1950.

Oil on board, 24 x 18 in. (61 x 45.7 cm).

The University Art Collection at Meadows Museum, SMU, Dallas. Gift of Calloway and Jerry Bywaters Cochran, UAC.2011.03.44.

Photo by Olivia Turner.

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EXPANDING OUR REACH

In addition to our world-class collection of Spanish art, one of the greatest assets of the Meadows Museum is its affiliation with outhern Methodist University. Being part of SMU allows the museum to collaborate with professors and students to better serve communities in Dallas. Last spring, the Meadows Museum worked with SMU professor Talia Weltman-Cisneros on a semesterlong project for the Conversations and Community Spanish language course, which brought new audiences to the Meadows Museum. This collaboration included multiple points of engagement, culminating with the SMU students working with K–12 students and Family Day visitors to explore the work of contemporary Spanish artist Ignasi Aballí in our galleries.

The pa tnership began with a focus on preparing SMU students to teach others about the museum’s Meadows/ ARCO Artist Spotlight: Ignasi Aballí exhibition. Students met with Spanish artist Ignasi Aballí, to learn more about his work and career. Next, the Meadows Museum’s education team led sessions on activity-based gallery teaching and helped the students to design an activity to engage children with Aballí’s work. The SMU students led this activity for two diffe ent audiences: families

AWARE GRANT FOR MEMORY CARE PROGRAMS The eadows Museum is pleased to be the recipient of a grant from the AWARE Activity Fund of The allas Foundation to support our work with individuals with early stage dementia and their family members or care partners.

Th ough the generous support of funders like AWARE, the museum will continue to use art to offer oppo tunities for socialization and engagement at our Connections and Re-Connections programs.

SMU Spanish student assists at Family Day. Photo by Anne Kindseth.

participating in the museum’s Family Day and middle school students visiting the museum on a school field trip. At Family Day, the SMU students led an activity that helped children consider the connection between images and words and used their language skills to help Spanish-speaking attendees across the event. In late April, the SMU students co-led a tour for visiting middle school students, facilitating these students’ experience with Aballí’s exhibition during their field tri .

SMU student Nick Simpson said, “Being able to engage in conversation with Ignasi Aballí [while] seated in the middle of his installation was surreal. Then to fi creative ways to share his work, which can be conceptually difficult, with oung children and their families was a huge privilege. It was very cool to bridge the gap between our university and the surrounding community.”

By working together, Weltman-Cisneros's students gained real-world experience with their Spanish language skills and enabled the Meadows Museum to raise awareness of the museum and bring new audiences to our galleries.

By Anne Kindseth, director of education, Meadows Museum

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Programs

Education Programs This fall, the eadows Museum is pleased to provide both in-person and online programming, offerin participants the flexibility to choose the format tha best suits their needs. In-person programs take place solely at the museum and virtual programs take place exclusively online. Formats are listed for each program and the museum will communicate any necessary changes as needed.

Register Online: meadowsmuseumdallas.org/ education/program-calendar/ Register by Phone: 214-768-8587

Lectures IN-PERSON LECTURE & BOOK SIGNING OCTOBER 27 | 6:00 pm

Velázquez: Painting and the King Giles Knox, associate professor of art history, Indiana University, Bloomington

From his mid-twenties until his death at age 61, Velázquez worked as court painter to King Philip IV of Spain. During these years the artist’s manner of painting underwent a remarkable change, from the densely painted, firm forms of the 1620s (as in the eadows Museum's early portrait of Philip IV) to the lightly touched, feathery brushstrokes of the 1640s (as in the Fraga Philip, on loan from The rick Collection and the subject of this fall’s Masterpiece in Residence exhibition), where solidity of form becomes subservient to the delicate play of the brush. In this talk, Giles Knox examines the development of Velázquez's spectacularly free brushwork, as well as the possible role played by the king in encouraging the artist along this extraordinary path.

Following the lecture, Giles Knox, author of Masterpiece in Residence: Velázquez’s King Philip IV of Spain from Th Frick Collection, will be available outside the Meadows Museum Shop for a book signing. Books will be available for purchase at the shop.

Member: Free SMU Student/Staff/Faculty: Free Nonmember: $10 Register Online

IN-PERSON DOUBLE LECTURE DECEMBER 1 | 6:00 pm

Dalí & the Pursuit of Vermeer Esmée Quodbach, independent art historian, Princeton, New Jersey Danielle M. Johnson, director of curatorial affairs Eskenazi Museum of Art at Indiana University Panel discussion moderated by Amanda W. Dotseth, director ad interim and curator, Meadows Museum

Giles Knox

Spanish artist Salvador Dalí’s (1909–1989) admiration for old master artists is well known, and he held none in higher esteem than Dutch artist Johannes Vermeer (1632–1675). Dalí reveled in the scale of Vermeer’s work, the seemingly photographic rendering of his paintings, his approach to light and color, and his enigmatic figu es.

Held in conjunction with the Meadows Museum’s focused exhibition Dalí/Vermeer: A Dialogue, this special double

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Programs

Miranda Saylor, 2021–23 Center for Spain in America (CSA) Curatorial Fellow, giving a tour of Murillo: Picturing the Prodigal Son. Photo by Anne Kindseth.

lecture will explore Dalí’s deep and sustained engagement with the Dutch master. Esmée Quodbach will address the re-discovery of Vermeer in the nineteenth century, after nearly 150 years of relative obscurity. Danielle Johnson will explore Dalí's interest in Vermeer and how that appears in the Spanish artist’s oeuvre. The p ogram will conclude with a panel discussion moderated by Amanda W. Dotseth, director ad interim and curator at the Meadows Museum.

Member: Free SMU Student/Staff/Faculty: Free

Holy Women in the Spanish Empire, 1620–1800. Saylor and Donahue-Wallace will examine the significant oles women played in shaping spirituality in early modern Spain and Mexico. Each talk will focus on a distinct topic ranging from exalted representations of the Virgin Mary to visionary saints, convent culture, and printed portraits of nuns. Together, these lectures will study how images uphold their female subjects as exemplary models of virtue while simultaneously offering a dynamic pictu e of women as spiritual leaders, mystics, and authors.

Nonmember: $10

Member: Free

Register Online

SMU Student/Staff/Faculty: Free Nonmember: $60

IN-PERSON LECTURE SERIES LUIS MARTÍN LECTURE SERIES IN THE HUMANITIES FRIDAYS, OCTOBER 7, 14, 21, & 28 | 10:30 am

Picturing Holy Women in the Spanish Empire, 1620–1800 Kelly Donahue-Wallace, professor of art history, University of North Texas Miranda Saylor, 2021–23 Center for Spain in America (CSA) Curatorial Fellow, Meadows Museum This four-pa t lecture series will take a deeper look at artworks and themes related to the exhibition Picturing

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Register Online

IN-PERSON LECTURE JANUARY 12, 2023

Miguel Falomir Faus, Director of the Museo Nacional del Prado, Madrid, will deliver a public lecture on Titian (Tiziano Vecellio) and Diego Velázquez at the Meadows Museum.

See the museum website for details.

Programs

Further Afiel Further Afiel provides broader social, political, economic, and historical context for works of art at the museum. This fall Further Afiel focuses on the current scholarship of the museum’s previous curatorial fellows. These 45-minute talks take place exclusively online.

VIRTUAL TALK OCTOBER 11 | 12:00 pm

Why El Greco to Goya?

Edward Payne, assistant professor in art history at Aarhus University, Denmark Does Spanish art history begin with El Greco and end with Goya? A timeless catchphrase, “El Greco to Goya” is also a seductive trap. The biographica construction of Spanish art can be traced back to Antonio Palomino, nicknamed the “Spanish Vasari” for his Lives of the Eminent Spanish Painters and Sculptors (1724). This talk will question the exten to which the “El Greco to Goya” survey is a practical or problematic model for narrating the history of the visual arts in the Spanish world. What elements have been erased from this story, and what alternative “itineraries” might be proposed?

Member Household: Free SMU Student/Staff/Faculty: Free Non-member Household: $5 Register Online

VIRTUAL TALK NOVEMBER 15 | 12:00 pm

Revisiting the Spanish Collection at the Museo de Arte de Ponce: Acquisitions, Discoveries, and Attributions Iraida Rodríguez-Negrón, curator, Museo de Arte de Ponce, Puerto Rico Spanish art has been an important component of the collection of the Museo de Arte de Ponce (Ponce, Puerto Rico) since its founding in the 1950s by Luis A. Ferré. In the first p emises of the museum,

which opened to the public in January 1959, over a dozen works by Spanish artists were on display, the majority of these from the seventeenth and nineteenth centuries. Th oughout the years, fostered by the guidance of internationally renowned art historians, some of who took part in the administration of the museum, the Spanish collection has grown to include works spanning the last fi e centuries. This talk will survey the history of the collection of Spanish art at the Museo de Arte de Ponce, highlighting important acquisitions, discoveries, and unresolved issues of attribution.

Member Household: Free SMU Student/Staff/Faculty: Free Non-member Household: $5 Register Online

VIRTUAL TALK DECEMBER 13 | 12:00 pm

Uncovering Networks of Pigments and Patronage in Early Modern Spain Alexandra Letvin, Duane Wilder, Class of 1951, Associate Curator of European Art at the Princeton University Art Museum What can an artist's materials tell us about the life of a painting? This talk examines evillian painter Francisco de Zurbarán’s use of blue pigments to reconstruct the story behind the commissioning and execution of his Annunciation (1650) now in the Philadelphia Museum of Art (PMA). Recent technical analysis conducted at the PMA allows for a better understanding of the work’s importance within Zurbarán’s artistic development and sheds light on the mobility of pigments, artists, and patrons in early modern Spain.

Member Household: Free SMU Student/Staff/Faculty: Free Non-member Household: $5 Register Online

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Programs

Movies with the Meadows Movies with the Meadows pairs scholar and screen. These in-person film screenings include a short talk in the museum’s auditorium.

NOVEMBER 10 | 6:00 pm

Vermeer, Beyond Time (2017), directed by Guillaume Cottet and Jean-Pierre Cottet Screening followed by short talk by Nancy Cohen Israel, docent programs manager, Meadows Museum

Tamara Johnson. Photo by Kevin Todora.

In-person Gallery Talks

Narrated by actor Steve Martin, Vermeer, Beyond Time focuses on the life and work of Dutch artist Johannes Vermeer (1632–1675). This documenta y explores his artistic style and production as well as his personal life and the seventeenthcentury world in which he lived. The film concludes with examination of the artist’s disappearance from memory and rediscovery roughly 200 years later.

FREE

Gallery Talks take place at the museum and last 30–45 minutes. Advance registration is required.

Free with regular museum admission Register Online SEPTEMBER 16 | 12:15 pm

The nterplay between Object & Image in the Meadows Museum Galleries Tamara Johnson, 2022 Moss/Chumley Award winner, artist, and director of Sweet Pass Sculpture Park OCTOBER 21 | 12:15 pm

Imitation or Innovation? Dalí's Rendition of Vermeer’s Woman Reading a Letter Shelley DeMaria, art historian and curator NOVEMBER 18 | 12:15 pm

Prints and Printmaking in the 17th & 18th Centuries Miranda Saylor, 2021–2023 Center for Spain in America (CSA) Curatorial Fellow, Meadows Museum Benjamin Muñoz, printmaker and director of Familia Printshop

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Register Online

Programs

IN-PERSON FILM DECEMBER 8 | 6:00 pm

Salvador Dalí: In Search of Immortality (2018) directed

by David Pujol Screening followed by short talk by Nancy Cohen Israel, docent programs manager, Meadows Museum This n w documentary takes viewers on a journey through the life and work of Salvador Dalí (1904–1989) and his longtime muse and collaborator, Gala (Elena Ivanovna Diakonova, 1894–1982). This film uses chival footage, images, and documents to examine Salvador Dalí himself, his relationship with Gala, his mind-blowing creations, and his Surrealist life philosophies, bringing us closer to an artist who managed to create a character that itself could be considered a work of art.

FREE Register Online

Drawing from the Masters

Memory Care Programs Memory care programs at the Meadows Museum are funded by support provided, in part, by the AWARE Activity Fund of The allas Foundation.

CONNECTIONS SEPTEMBER 7, 14, & 21 AND NOVEMBER 2, 9, & 16 10:30 am–12:00 pm

This informal, th ee-session program is designed for individuals with early-stage dementia, their care partners, and family members. Participants explore the galleries through interactive activities; experiment with diffe ent materials to create individual and group projects; and discover works of art through music, dance, literature, and storytelling. This p ogram is free and takes place in person. Light refreshments served.

Space is limited and advance registration is required.

RE-CONNECTIONS

IN-PERSON DRAWING FROM THE MASTERS

OCTOBER 5 AND DECEMBER 7

SUNDAYS:

This informal, one-session p ogram is designed for individuals with early-stage dementia, their care partners, and family members. Participants explore the galleries through interactive activities and discover works of art through music, dance, literature, and storytelling.

This p ogram is free and takes place in person. Light refreshments served. Space is limited and advance registration is required.

SEPTEMBER 18 & 25, OCTOBER 23 & 30, NOVEMBER 20, DECEMBER 18 1:30–3:00 pm Ian O’Brien, artist

Enjoy afternoons of informal drawing instruction as artist Ian O’Brien leads you through the Meadows Museum’s galleries. Each session will provide an opportunity to explore a variety of techniques and improve drawing skills. Designed for adults and students ages 15 and older, and open to all abilities and experience levels. Drawing materials will be available, but participants are encouraged to bring their own sketchpads and pencils. Free with regular museum admission; no advance registration required. Attendance is limited to 20 on a first-come, first served basis.

10:30 am–12:00 pm

Member Household: Free SMU Student/Staff/Faculty: Free Non-member Household: Free For more information and to register, email museumaccess@smu.edu, or call 214.768.2740.

Member Household: Free SMU Student/Staff/Faculty: Free with admission Non-member Household: Free with admission

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Family Programs IN-PERSON CHILDREN’S DRAWING FROM THE MASTERS SUNDAYS, ONCE PER MONTH: SEPTEMBER 18, OCTOBER 23, NOVEMBER 20, DECEMBER 18 | 3:40–4 pm Ian O’Brien, artist

Enjoy afternoons of informal drawing instruction with artist and elementary art teacher Ian O’Brien. Each session provided children ages 5–12 with the opportunity to explore a variety of techniques and improve drawing skills. Drawing materials will be available, but participants are encouraged to bring their own sketchpads and pencils. Free with regular museum admission; no advance registration required. Attendance is limited to 20 on a first-come, first-s ved basis. This is not a d op-off program; children must be accompanied by at least one adult over the age of 18.

Member Household: Free SMU Student/Staff/Faculty: Free with admission Non-member Household: Free with admission

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NATIONAL ADOPTION DAY AT THE MEADOWS MUSEUM NOVEMBER 19 | 2–4 pm

The eadows Museum celebrates the creation of new families through foster care, kinship care, and adoption.

Join other foster families, kinship families, adoptive families, and birth families for an afternoon of shared creative experiences. Enjoy artmaking, gallery activities, storytime, and more as you create new family memories.

Strollers are welcome. Changing tables and healthy snacks will be available.

FREE

MEMBERSHIP NEWS AND EVENTS

Now is an exciting time to be a member of the Meadows Museum! This ear we launched a new membership level—Plensa Ambassador—with benefits tailo ed to satisfy those with an interest in contemporary art. In spring 2023, we will once again resume our Member Travel Program, traveling to Marfa and Spain with our director ad interim and curator, Amanda Dotseth.

Your support as members not only allows us to develop exciting exhibitions, but also to serve the larger Dallas community through tours, workshops, and family programming. In order to say thank you, we offer members a wide range of benefits, includi

complimentary admission, exclusive member events, member access to education events, a subscription to At the Meadows magazine, and travel opportunities.

To register for a member event, contact Visitor Services at 214.768.8587 or contact Kaitlin Sanson at ksanson@ smu.edu.

BELOW: Members of the Plensa Ambassadors launch committee (Jenny Mullen, Stacey McCord, Janet Kafka, and Terri Provencal) with director ad interim and curator, Amanda Dotseth, and artist, Ignasi Aballí. Photo by Celeste Cass.

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TRAVEL WITH THE MEADOWS MUSEUM

Join director ad interim and curator Amanda Dotseth as we return to Spain and walk in the footsteps of the artist Sorolla. We are excited to resume travel with our members, and look forward to offering inside acces to private collections and exhibitions as we visit Madrid and Valencia in spring 2023.

Be on the lookout for the trip announcement this fall!

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Views of the garden at the Museo Sorolla in Madrid, Spain.

Member Spotlight: Barbara Benac, Meadows Museum member since 1997 I joined the museum when it was still in the old Owen Arts Center. I was walking through the building and saw a modest sign next to a very interesting wooden door and decided to check it out. I was completely shocked by what was inside!

The e was a massive exhibition of Goya etchings and so much grand Spanish art that I felt I’d wandered into a secret treasure cave. I was raised as a lover of art museums and was so delighted to find this hidden t ove within walking distance of our home. Our family had moved to Dallas from the New York City area in 1992, and we had been devoted members of The etropolitan Museum of Art. We continued the museum habit when we arrived in Texas.

Barbara and Bill Benac

I strongly believe in contributing to art institutions and joining them to support the great work they do.

I love the special member events and traveling with fellow members on art trips when the opportunity presents itself. In addition, I have greatly enjoyed serving as a Meadows Museum docent for the past seventeen years. It has been one of the best experiences of my life. I love getting to know the art on a deeper level and having a chance to constantly have my knowledge challenged and expanded when new exhibitions come to the museum. It is one of the great pleasures of my life to share the joy of art appreciation with so many people who have joined my tours over the years. I’ve also enjoyed the many speakers who come from around the world to share their unique knowledge on both the art of the permanent collection and special exhibitions. A couple of my favorites were the great Etruscan art exhibition, another exhibition on Greek vases, and, surprisingly, a fashion exhibition featuring the splendid couture of Cristóbal Balenciaga. My husband and I have also enjoyed hosting the docent corps and museum staff members at our home ver the years for special events. These fell w art lovers have become some of my most cherished friends since moving to Dallas thirty years ago.

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FALL 2022 MEMBER PROGRAMS

September SEPTEMBER 16 | 6-7:30 pm Cava and Conversations Exclusive to members at the El Greco Circle level and above. Tickets $35

Join Meadows Museum director ad interim and curator Amanda W. Dotseth for a conversation and reception with Xavier F. Salomon, The rick Collection’s Deputy Director and Peter Jay Sharp Chief Curator. Guests will have the opportunity to view Diego Velazquez’s King Philip IV of Spain, on loan from The rick Collection before it opens to the public. This maste work is the second installment of the Masterpiece in Residence series.

SEPTEMBER 21 | 7–9 pm ARTafterDARK: Members and Friends

Explore the Meadows Museum at this special after-hours event that includes wine, light bites, and art-making activities. Tickets are $30 for members and $35 for non-members.

SEPTEMBER 29 | 6–8 pm The Warehouse Tour

Plensa Ambassador members and above are invited to a private tour of The Warehouse, an adapted industrial building featuring the collections of Cindy and Howard Rachofsky and Vernon Faulconer, with wine and canapés. Invitation to follow. Tickets are $35 and non-refundable.

October OCTOBER 15 | 10 am–2 pm Members’ Preview Hours

Members get a sneak peek at Dali/Vermeer: A Dialogue before the exhibition opens to the public.

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OCTOBER 15 | 6–8 pm Members’ Preview Reception

Join us for a special preview of our newest exhibition, exclusively for members.

OCTOBER 23 | 1–4 pm Meadows Museum Trick-or-Treat

Join us for the annual Meadows Museum Trick-or-Treat!

Bring the kids and grandkids in costume to explore the museum with a map that leads to works of art that have come to life. Once completed, the map can be exchanged for a spooky treat. This e ent is free for members, SMU faculty and staff, and is f ee to the public with the price of admission. Children must be accompanied by at least one adult over the age of 18.

Photo by Carrie Sanger.

November NOVEMBER 6 | 2–2:45 pm Member Meetup with Mellon Curatorial Fellow Clarisse Fava-Piz

Join our 2021–23 Mellon Curatorial Fellow, Clarisse Fava-Piz, for an outdoor tour of the Meadows Museum Sculpture Garden.

Learn more about the iconic sculptures that have graced the plaza over the years. Tickets are $15 and nonrefundable. To register, contact visitor services at 214-768-8587.

December DECEMBER 7 | 6–8 pm Meadows Museum Holiday Soirée

Celebrate the beginning of the holiday season with music and sweet bites at the museum. Invitation to follow.

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SNAPSHOTS: 1. Ignasi Aballí visits the studio of SMU undergraduate Connor Rowe. 2. Plano ISD spring teacher workshop. 3. Plano ISD spring teacher workshop. 4. SMU acapella groups perform at Spring 2022 College Night. Photos by Anne Kindseth.

MEADOWS MUSEUM CONTACTS Membership Kaitlin Sanson, membership manager ksanson@smu.edu, 214.768.2765 Education For programs: Anne Kindseth, director of education akindseth@smu.edu For tours and access programs: meadowsmuseumtours@smu.edu museumaccess@smu.edu Media Carrie Sanger, marketing and PR manager csanger@smu.edu

Collections Anne Lenhart, director of collections and exhibitions alenhart@smu.edu

At the Meadows Managing Editor: Anne Keefe Design: Anne Humes Design Printing: ColorDynamics, Inc.

Facility Rentals Briana Long, museum visitor experiences manager and events coordinator brianal@smu.edu

© 2022 by Meadows Museum, SMU ISSN:2475-8698

Box Offic 214.768.8587 Gift Shop museumshop@smu.edu, 214.768.1695 Museum Main Number 214.768.2516

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ON THE COVER: Diego Rodríguez de Silva y Velázquez (Spanish, 1599–1660), King Philip IV of Spain (detail), 1644. Oil on canvas, 51 1/8 × 39 1/8 in. (129.9 × 99.4 cm). The Frick Collection, NY. Photo by Michael Bodycomb.

Non-Profit O g US Postage PAID Dallas, Texas Permit No. 856

5900 Bishop Boulevard Dallas, TX 75275-0357

MEADOWS MUSEUM meadowsmuseumdallas.org

214.768.2516 MUSEUM SERVICES

Membership 214.768.2765 Tours 214.768.2740 Box Office 214.768.85 Museum Shop 214.768.1695 Rentals 214.768.4771 HOURS

Tuesday–Friday, 10 am–5 pm Saturday, 10 am–5 pm Sunday, 1 pm–5 pm Thursdays until 9 p

Handmade retablos by Lynn Garlick now available in the shop!

ADMISSION

BISHOP

$12 general admission; $10 seniors.

Free to members; children under 12; SMU faculty, staff, nd students.

Free Thursdays after 5 p Free public parking is available in the garage under the museum.

These handmade, pine retablos are crafted by artist Lynn Garlick.

Based in Taos, New Mexico, the artist has been influenced by th landscape and cultures of the area and wants to make work that encourages healing and kindness.

Visit meadowsmuseumdallas.org

SMU BOULEVARD

DART Mockingbird Station

The The DART DART Route Route 743 743 (Museum (Museum Express) Express) provides provides FREE FREE continuous continuous service service GREENVILLE

Meadows Museum

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Ride the DART Museum Express!

Bush Presidential Center

from SMU fromMockingbird MockingbirdStation Stationtotothe theGeorge Bush Center W. Bush onPresidential SMU Boulevard, Center on SMU and Boulevard, on to the Meadows and on toMuseum the Meadows on Bishop Museum Boulevard, on Bishop all courtesy Boulevard, of SMU. all courtesy Hours of SMU. of service Hours on of service the specially on themarked specially shuttle marked are shuttle 10 am–5 arepm 10 am–5 pm Tuesday Tuesdaythrough throughSaturday Saturdayand and1–5 1–5pm pmon onSunday.

Sunday.

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