Spain and the Hispanic World: Treasures from the Hispanic Society Museum and Library @ The Royal Academy
Spain and the Hispanic World: Treasures from the Hispanic Society Museum and Library at The Royal Academy presents the viewer with a wealth of Spanish and Latin American objects that take the visitor chronologically on a journey through time and geography. Spanning different mediums, subjects, and themes, the exhibited objects date from 2400 BC to the early twentieth century. The works are on loan from New York’s Hispanic Society Museum and Library, founded by collector Archer M Huntington in 1908, and are on display for the first time here in the UK. The exhibition amasses an absolute trove of material, filling nine rooms with over 150 diverse objects. Notably, three of these rooms are specially dedicated to the fine and decorative arts of Latin America produced during the colonial period, giving the viewer an extended understanding of Spain’s global reach.
Exterior view of the Royal Academy of Arts, London. Image: Ilaria Bevan.
Throughout the show, themes of diversity, Spanish identity, and world connections are highlighted. These are themes that are brought forward from the original collecting strategies of Huntington. As the son of a late nineteenth-century industrialist, Huntington was able to translate his love for the Hispanic world into an incredible art collection. However, he did not limit himself only to the fine arts; he accumulated maps, fine books, and historical objects. Huntington’s diverse appreciation for Hispanic objects also extended to the array of cultures which have shaped Spain throughout history. He took great interest in the Islamic arts of Spain, even learning Arabic to better expand his knowledge of the Hispanic world. Huntington’s collection of Hispanic objects from the Iberian Peninsula to Latin America truly showcases Spain’s complete geographical identity. Entering the exhibition, visitors are greeted with objects from Spain’s ancient period. These first two rooms explore the numerous cultures which found their home in the Iberian Peninsula; the Bell Beaker people, Celtic migrants, Romans, and many more.
A stunning example of multiculturalism within these first rooms is this Roman mosaic. Fifty-seven centimetres wide, this medallion shows the head of Medusa detailed in polychrome tesserae. The head is surrounded in precisely laid black and white patterns. The medallion dates from the late second to early third century and was found in modern-day Seville. At the time of its production, this area would have been controlled by the Roman Empire, leading to the production of objects such as this, blending Spanish and Roman history.
Unknown Artist, Circular Medallion with Head of Medusa, (c. 175-225). Mosaic, 58.2 x 57.5 cm. Source: Maria Whitby.
Moving on from the antique objects, the exhibition continues to an overview of the arts in medieval and Early Modern Spain. Here, the emphasis again rests on the diversity of the region as well as Spanish identity. This period was defined by tensions between those practising Muslim, Christian, and Jewish faiths. While the interplay between these cultures resulted in hybrid objects, ultimately, the Catholic church established a forced dominance over the other religions, made visible in the bulk of the objects presented in this room.
Here, there are spectacular examples of Italian and broader European Gothic influences on Christian Spanish art production. Specifically, this central panel of a polyptych altarpiece by Miguel Alcañiz displays ornate architectural elements alongside richly coloured figures. The central subject of Christ ascending draws the eye with its vibrant reds, yellows, and blues, almost overpowering the gold leaf decoration. The opulence of this piece draws the viewer’s eye and pulls them through the other equally stunning medieval works.
Miguel Alcañiz the Elder, The Ascension of Christ, (1420-1430). Tempera on Panel, 210 x 82.5 cm. Source: The Hispanic Society Museum and Library.
Proceeding through the rooms, viewers next encounter the masters of Spain’s “Golden Age”. The sixteenth and seventeenth centuries saw great Old Master artists such as El Greco, Diego Velázquez, and Francisco de Zurbarán come to the fore. In a period of courtly and religious patronage, these artists serve as true identifiers of Spanish culture, and their works are widely recognised as iconic images inherently tied to that culture.
This unique portrait of a young girl by Velázquez finds a place of quiet reflection in the exhibition. Unusually for Velázquez, the girl depicted is not a member of royalty but perhaps a yet unidentified family member. Yet, she retains the same commanding presence as Velázquez’s portrait of the Count-Duke of Olivares displayed nearby. The sitter’s gaze exudes a powerful tranquillity that is only enhanced by the room's environment. Displayed at the back of the room, the subdued colours of the work are complemented by the deep blue wall on which the piece hangs. Juxtaposed with luxurious objects of the medieval and early modern eras, this portrait lures the viewer into a calm yet powerful viewing experience.
Diego Velázquez, Portrait of a Girl, (1639-42). Oil on Canvas, 51.5 x 41 cm. Source: Royal Academy.
Perhaps the most striking of the displays is the rooms which explore the Spanish colonisation of Latin America. In these three dedicated rooms, the curators continue to present a diverse human history by engaging with the Spanish presence in Latin America. However, there is a tonal shift. Gone is the romantic historical view of the Iberian Peninsula, and replacing it is the harsh reality of Spain’s role in genocidal conquest and the larger Transatlantic slave trade. Postcolonial discussions are necessary for modern-day exhibitions such as this, and the team at the RA certainly curated the show with these concerns in mind. The colonial history is presented carefully while also acknowledging the devastation which took place. Further, Indigenous art creation is given a platform in the dedicated rooms displaying Latin American art. The convergence of different groups of people in Spain’s colonial territories resulted in cultural production that highlighted humanity and difference.
José Agustín Arrieta’s El Costeño (The Young Man from the Coast) provides a perfect example of the diversity of populations within Spanish Latin America. Much like Velázquez’s quiet Portrait of a Girl, Arrieta’s portrait arrests the viewer with its simplicity. Painted in Mexico, this portrait shows a young man from Veracruz. His African descent reflects Spain’s position in the Transatlantic slave trade and the forced transport of enslaved people to the colonies of Latin America. In this portrait, the hybridity of Spanish style, Mexican setting, and African subject highlights the crossover of cultures within the colonies at the time, making it a truly striking piece.
José Agustín Arrieta, El Costeño (The Young Man from the Coast), (After 1843). Oil on Canvas, 114.2 x 94.2 cm. Source: The Hispanic Society Museum and Library.
It is only after the viewer has experienced the wealth of the previous six rooms and centuries of history that the identifying work of the exhibition appears. This is Francisco de Goya’s The Duchess of Alba, painted in 1797. As the work hangs in a room entirely dedicated to the artist, it represents a departure from the curatorial strategy of cross-display employed throughout the exhibition. This choice isolates Goya from the rest of the exhibition while elevating his works to a higher level by deeming them worthy of independent display. However, despite being surrounded by pieces by the artists, this portrait of a woman of the court, with its powerful colours and central composition, draws attention from the rest of the works. Depicting the widowed Duchess, this work defines a romantic and aristocratic view of Spain. The striking woman is set against a natural landscape representing the Spanish crown and the territory itself.
Francisco de Goya, The Duchess of Alba, (1797). Oil on Canvas, 210.3 x 149.3 cm. Source: Royal Academy.
The final work in the exhibition serves to surmise the historical context presented before it as well as bring Huntington back into conversation with his collection. In 1911, Huntington commissioned the modernist painter Joaquín Sorolla to create an imposing mural cycle called Vision of Spain for the Hispanic Society Museum. These works remain in New York; however, Sorolla’s sketches are displayed in this exhibition. This panoramic sketch has a natural focus on the human, presenting diverse groups of people and taking the viewer on a tour of Old and New Castille. Sorolla’s Vision of Spain is an incredible culmination of the exhibition; it is a final visualisation of Spain as a home to diverse individuals and cultures and the care with which Huntington curated his own collection.
Joaquín Sorolla, Vision of Spain (Sketch, detail), (1912-13). Gauche on Paper, 107 x 191 cm. Source: Royal Academy.
Overall, Spain and the Hispanic World is an outstanding exhibition that completely immerses the viewer in Spanish culture. The generous loans from the Hispanic Society offer a completely unique viewing opportunity that should not be missed.
Spain and the Hispanic World: Treasures from the Hispanic Society Museum and Library is on display at the Royal Academy of Arts until April 10, 2023.
Maria Whitby
Contributing Writer, MADE IN BED