{"id":7529,"date":"2019-09-05T16:43:38","date_gmt":"2019-09-05T16:43:38","guid":{"rendered":"https:\/\/blogs.cervantes.es\/londres\/?p=7529"},"modified":"2019-09-06T13:16:20","modified_gmt":"2019-09-06T13:16:20","slug":"bartolome-bermejo-seduces-in-london","status":"publish","type":"post","link":"https:\/\/blogs.cervantes.es\/londres\/2019\/09\/05\/bartolome-bermejo-seduces-in-london\/","title":{"rendered":"Bartolom\u00e9 Bermejo, the great painter of the Crown of Aragon, seduces in London"},"content":{"rendered":"

\"\"<\/p>\n

The curatorial fellow of the National Gallery <\/span>exhibition<\/span> \u201cBartolom\u00e9 Bermejo. Master of the Spanish Renaissance\u201d, Akemi Herr\u00e1ez Vossbrink, gave a lecture on the life and work of this Spanish painter, organized by Instituto Cervantes in London in collaboration with the National Gallery.<\/span><\/p>\n

Bartolom\u00e9 Bermejo (h. <\/span>1440<\/span>-h. 1501), a Spanish Master from Cordoba who worked\u00a0 <\/span>in the territories of the Crown of Aragon, was one of the most fascinating personalities of the artistic panorama of the second half of the fifteenth century. <\/span>He led an itinerant lifestyle, working <\/span>in Valencia, <\/span>Tous,<\/span> Daroca, Zaragoza and, finally, Barcelona.<\/span><\/p>\n

\u201cIt is incredible to have seven of his works here. <\/span>This will probably not <\/span>happen again in a long time,\u201d said Herr\u00e1ez, in relation to the exhibition in the British capital, which will remain open until September 29. In addition, the director of Instituto Cervantes in London, Ignacio Peyr\u00f3, highlighted \u201cthe exceptional thing about having, in such a short space of time, Murillo, Sorolla and Bermejo, three Spanish painters, in a world-class institution such as the National Gallery\u201d.<\/span><\/p>\n

\"\"<\/p>\n

Herr\u00e1ez\u2019s lecture focused on the seven paintings in the exhibition, analysing their context and <\/span>considering them within <\/span>the development of Bermejo\u2019s artistic career. Among them, the <\/span>\u201cSaint Michael\u201d<\/span>, <\/span>\u201cThe Virign of Montserrat\u201d<\/span> and the \u201cPiet\u00e0 Despl\u00e0\u201d received special attention <\/span>comparing their patrons<\/span>, craftsmanship, location and historical context.<\/span><\/p>\n

\u201cSaint Michael\u201d <\/span>is Bermejo\u2019s only work on British soil, while the rest of the pieces in the exhibition travelled to London for the first time for this occasion. An exceptional occurrence, other paintings such as <\/span>\u201cThe Virgin of Montserrat\u201d<\/span> and \u201c<\/span>Piet\u00e0 <\/span>Despl\u00e0\u201d had not previously been moved for almost 500 years from <\/span>their respective <\/span>cathedrals of <\/span>Acqui Terme and Barcelona<\/span>.<\/span><\/p>\n

A few years ago, the National Gallery restored the painting <\/span>\u201cSaint Michael triumphant over the Devil with the Donor Antoni Joan.\u201d<\/span> This restoration highlighted Bermejo\u2019s masterful technique, mixing features of Flemish and Spanish painting, in a painting that has no equal among his Spanish contemporaries.<\/span><\/p>\n

The exhibition takes place in London, after two major Bermejo exhibitions were held recently at the Prado Museum in Madrid and at the National Museum of Art of Catalonia (MNAC) in Barcelona, \u200b\u200bboth showing <\/span>around 48 pieces<\/span> from different periods of Bermejo\u2019s career, <\/span>including works by the master, his contemporaries, copies and other comparative objects.<\/span><\/p>\n

\"\"<\/p>\n

Warm welcome<\/b><\/p>\n

Bermejo\u2019s exhibition at the National Gallery, directed by Gabriele Finaldi and with Letizia Treves as the main curator, has been well received by the British public over the course of the summer. Many of the visitors recognized the <\/span>\u201cSaint Michael\u201d<\/span>, which they had seen for years in the National Gallery, but now they can admire it in its restored form.<\/span><\/p>\n

\u201cPreviously, many details of the plants had been lost, it was quite brown and, <\/span>most noticeably<\/span>, the gold above had been <\/span>practically <\/span>lost. <\/span>Before the exhibitions, <\/span>a conservator, an external <\/span>gilder<\/span> and the scientific team here restored it, and thanks to that, we were able to start the project. A technical essay was written on the investigations that were done at the time and published in the <\/span>London exhibition catalogue <\/span>dedicated exclusively to <\/span>Saint Michael <\/span>and its context,\u201d added Herr\u00e1ez.<\/span><\/p>\n

Herr\u00e1ez also believes that the public is fascinated by Bermejo\u2019s attention to detail, especially by the animals and plants. \u201cIt\u2019s something that the public loves, as well as the <\/span>comical aspect <\/span>of the demons.\u201d<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

The curatorial fellow of the National Gallery exhibition \u201cBartolom\u00e9 Bermejo. Master of the Spanish Renaissance\u201d, Akemi Herr\u00e1ez Vossbrink, gave a lecture on the life and work of this Spanish painter, organized by Instituto Cervantes in London in collaboration with the National Gallery. Bartolom\u00e9 Bermejo (h. 1440-h. 1501), a Spanish Master from Cordoba who worked\u00a0 in […]<\/p>\n","protected":false},"author":269,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[4,6],"tags":[88,830,833],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/blogs.cervantes.es\/londres\/wp-json\/wp\/v2\/posts\/7529"}],"collection":[{"href":"https:\/\/blogs.cervantes.es\/londres\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.cervantes.es\/londres\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.cervantes.es\/londres\/wp-json\/wp\/v2\/users\/269"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.cervantes.es\/londres\/wp-json\/wp\/v2\/comments?post=7529"}],"version-history":[{"count":3,"href":"https:\/\/blogs.cervantes.es\/londres\/wp-json\/wp\/v2\/posts\/7529\/revisions"}],"predecessor-version":[{"id":7565,"href":"https:\/\/blogs.cervantes.es\/londres\/wp-json\/wp\/v2\/posts\/7529\/revisions\/7565"}],"wp:attachment":[{"href":"https:\/\/blogs.cervantes.es\/londres\/wp-json\/wp\/v2\/media?parent=7529"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.cervantes.es\/londres\/wp-json\/wp\/v2\/categories?post=7529"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.cervantes.es\/londres\/wp-json\/wp\/v2\/tags?post=7529"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}