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FCG International Restoration and conservation Award 2010: JONATHAN BROWN
His studies on Spanish painting of the Golden Age, are an essential reference for those ones who continuously are taking into account not only the historical and aesthetic aspects, but also the conservation and restoration, crucial to the correct value. Special mention should have all his works on Salón de Reinos del Buen Retiro. Also his current dedication to the colonial painting, has been essential in the preservation, restoration and re-assessment of these groups of works of art so important”.
The Jury met in Valladolid, July 16, 2010 under the Presidency of Mr. Miguel Ángel Cortés Martín and with Mr. Fernando Checa Cremades acting as Secretary; It was composed of Mr. Miguel Ángel Cortés Martín, Representative in Valladolid for Grupo Parlamentario Popular and also Ex Secretary of State for Culture (1996-2000); Mr. Fernando Checa Cremades, Professor of Art History at Universidad Complutense de Madrid and also Director of El Prado Museum (1996-2001); Mr. Carlos Escudero de Burón González, President of the Fundación Carlos III; Mr. Ubaldo Sedano Espín, director of Conservation at the Thyssen-Bornemisza Museum.
Biography
Jonathan Brown (1939, Springfield, Massachusetts)
Title: Carroll and Milton Petrie Professor of Fine Arts Institute of Fine Arts, New York University Birthdate: July 15, 1939 Degrees: Dartmouth College, A.B., 1960 Princeton University, M.F.A., 1963 Princeton University, Ph.D., 1964 Oxford University, M.A., 1982 (honorary) Positions: 1965-1966 Instructor, Princeton University 1966-1971 Assistant Professor, Princeton University 1971-1973 Associate Professor, Princeton University Associate Chairman, Department of Art and Archaeology 1973-1977 Associate Professor, Institute of Fine Arts, NYU 1973-1978 Director, Institute of Fine Arts, NYU 1977- Professor, Institute of Fine Arts, NYU Honors, Awards, and Appointments: Pray Modern Language Prize, Dartmouth College, 1960 Rufus Choate Scholar, Dartmouth College, 1960 Fulbright Scholar, 1964-65 Bicentennial Preceptor, Princeton University, 1969-72 American Council of Learned Societies, Fellowship, 1968-69 Arthur Kingsley Porter Prize, College Art Association, 1971 National Endowment for Humanities, Fellowship, 1978-79 Institute for Advanced Study, Visiting Member, 1978-79 Guggenheim Memorial Foundation, Fellow, 1980-81 Slade Professor of Fine Arts, Oxford University, 1981-82 Meadows Distinguished Visiting Professor, Southern Methodist U., 1981-82 American Council of Learned Societies, Travel Grant, 1983 Comendador de la Orden de Isabel la Católica, 1986 Medalla de Oro de Bellas Artes, Ministry of Culture, Spain, 1986 Nominee, Award for Biography, National Book Critics’ Circle, 1986 Julius Held Lecturer, Williams College, 1987 American Philosophical Society, 1988 Corresponding Member, Hispanic Society of America Corresponding Member, Real Academia de Bellas Artes de San Fernando, Madrid Corresponding Member, Real Academia de Bellas Arte de San Carlos, Valencia Editorial Advisory Board, Master Drawings Advisory Committee, Department of European Paintings, Metropolitan Museum of Art, 1974-79 Museum Studies Committee, American Association of Museums, 1977-78 Advisory Committee, Meadows Museum of Art, 1985-89 Chairman, Fine Arts Advisory Committee, Spanish Institute, New York, 1985-96 Board of Directors, Spanish Institute, New York, 1986-96 Advisory Committee, Provenance Index, J. Paul Getty Trust, 1986 Advisory Council, Art Museum of Princeton University, 1987- Junta de Protectores, Real Fundación de Toledo Patrón, Fundación Duques de Soria Curator, American Philosophical Society, 1992-98 Final Selection Committee, Andrew W. Mellon Fellowship in Humanistic Studies, 1992-2000 Council, The Frick Collection, 1994- Executive Committee, Alumni Council, Princeton University, 1993-5 Chairman, Academic Programs for Alumni, 1993-5 Andrew W. Mellon Lecturer in Fine Arts, National Gallery of Art, Washington, 1994 Member, Consejo Científico, Museo S. Pío V, Valencia Fellow, American Academy of Arts and Sciences, 1996 Gran Cruz de la Orden de Alfonso X el Sabio, 1996 Member, Comité Científico, Museo del Prado, Madrid, 1996- Advisory Committee, Sociedad Estatal para la Conmemoracion de los Centenarios de Felipe II y Carlos V, 1997-2000 Premio Elio Antonio Nebrija, Universidad de Salamanca (for lifetime achievement in Spanish studies), 1997 Advisory Committee, Fundación Carolina (Spain), 2001-2004. Advisory Committee, Sociedad Estatal para la Acción Cultural Exterior (Spain), 2001- Conseil Scientifique de l'Ecole Doctorale, Université de la Sorbonne, 2001- Chairman, Comité Cientifico, Pintura de los Reinos, Fondo Cultural Banamex, 2008— Sorolla Medal, Hispanic Society of America, 2009 Distinguished Scholar Award, College Art Association of America, 2010
PUBLICATIONS
BOOKS--AUTHOR 1. Zurbarán. Harry N. Abrams, 1973 2. Prints and Drawings by Jusepe de Ribera. The Art Museum, Princeton University, 1973. 3. Murillo and His Drawings. The Art Museum, Princeton University, 1976. 4. Images and Ideas in Seventeenth-Century Spanish Painting. Princeton University Press, 1978; Spanish edition, 1981, Rumanian edition, 1982; French edition, 1990. 5. (with J.H. Elliott) A Palace for a King: The Buen Retiro and the Court of Philip IV. Yale University Press, 1980; Spanish edition, 1981; Dutch edition, 1993. Second revised edition, 2003. 6. Velázquez, Painter and Courtier. Yale University Press, 1986; Spanish edition, 1986; French edition, 1988; German edition, 1988. 7. Jusepe de Ribera, grabador, Madrid, R.A. de Bellas Artes de San Fernando, 1989. 8. (with R.G. Mann), Spanish Painting of the Fifteenth Through the Nineteenth Centuries. The Collections of the National Gallery of Art, Systematic Catalogue. Cambridge, 1990. 9. The Golden Age of Painting in Spain. Yale University Press, 1991; Spanish edition, 1990; French edition, 1991. 10. Kings and Connoisseurs: Collecting Art in Seventeenth Century Europe. Yale University Press and Princeton University Press, 1995. Spanish edition, 1995. 11.La Sala de Batallas de El Escorial. La obra de arte como artefacto cultural, Universidad de Salamanca, 1998. 12. (with Carmen Garrido) Velázquez. The Technique of Genius. Yale University Press, 1998; Spanish edition, 1998. 13. Painting in Spain, 1500-1700. Pelican History of Art. Yale University Press, 1998. EDITOR/ CURATOR 14. (with R. Enggass) Sources and Documents in the History of Art: Italy and Spain, 1600-1750. Prentice-Hall, 1970. 15. Figures of Thought: El Greco as Interpreter of History, Tradition, and Ideas. Studies in the History of Art, vol. 11. National Gallery of Art, Washington, 1982; Spanish edition, 1984. 16. (with J.M. Pita Andrade), El Greco: Italy and Spain. Studies in the History of Art, vol. 13. National Gallery of Art, Washington, 1984. 17. (with R. Rotberg and T. Rabb) “The Evidence of Art,” Journal of Interdisciplinary History 17 (Summer 1986); Cambridge University Press, 1988. 18. Franklin and Condorcet. Two Portraits from the American Philosophical Society. American Philosophical Society, 1997. 19. “The Word Made Image. Religion, Art, and Architecture in Spain and Spanish America, 1500-1600.” Fenway Court (Isabella Stewart Gardner Museum), vol. 28 (1998). 20. Picasso and the Spanish Tradition. Yale University Press, 1996; Spanish edition, 1999. 21. Project Director, Los siglos de oro en los virreinatos de América, 1550-1700, Museo de América, Madrid, 1999; Palacio Nacional, Mexico City, 2000. 22. Velázquez in New York Museums. The Frick Collection, Nov. 16, 1999--January 16, 2000. 23. Velázquez, Rubens y Van Dyck. Pintores Cortesanos del siglo XVII. Museo del Prado, Madrid, December 17, 1999-March 5, 2000 (two essays and entries on 18 paintings by Velázquez). 24. El Greco: Themes and Variations, The Frick Collection, May 15-July 29, 2001. 25. (with Sir John Elliott) La Almoneda del siglo. Relaciones artísticas entre España y Gran Bretaña, 1605-1655 (Madrid, Museo del Prado, 2002). English edition, Yale University Press. 26. Consulting Co-curator (with Sir John Elliott), Paintings for the Planet King. Philip IV and the Buen Retiro Palace (Madrid, Museo del Prado, 2005). 27. Co-curator (with Susan Grace Galassi), Goya’s Last Works. The Frick Collection (Yale University Press, 2006). 28. Collected Writings on Velazquez (Centro de Estudios Europa Hispánica and Yale University Press, 2008). 29. Art in Spain and the Hispanic World. Essays in Honor of Jonathan Brown (Center for Spain in America, 2010). ARTICLES 1. “Dos obras tempranas de Bartolomé Bermejo, “ Archivo Español de Arte 36(1963), 269-279. 2. “On the Origins of ‘Las Lanzas,’” Zeitschrfit für Kunstgeschichte 27(1964), 240-245. 3. “Zurbarán’s Claim to Fame,” Art News, Jan. 1965, 31-33+. 4. “La teoría artística de Pablo de Céspedes,” Revista de Ideas Estéticas, no. 90 (1965), 95-105. 5. “Herrera the Younger, Baroque Artist and Personality,” Apollo 74(July 1966), 34-43. 6. “Algunas adiciones a la obra de Blas del Prado,” Archivo Español de Arte 41(1968), 29-33. 7. “Hieroglyphs of Death and Salvation: The Decoration of the Church of the Hermandad de la Caridad, Seville,” The Art Bulletin 42(1970), 265-277. 8. “Notes on Princeton Drawings 6: Jusepe de Ribera,” Record of The Art Museum of Princeton University, December 1972, 2-7. 9. “Spanish Drawings from the Sperling Bequest, Metropolitan Musem of Art,” Master Drawings 11(1973), 374-378. 10. “Notes on Princeton Drawings 10: Bartolomé Esteban Murillo,” Record of the Art Museum of Princeton University, 1973, 28-33. 11. “Pen Drawings by Herrera the Younger,” in Hortus Imaginum. Essay in Western Art University of Kansas, 1974. 129-138. 12. “More Drawings by Jusepe de Ribera,” Master Drawings 12 (1974), 367-372. 13. “Drawings by Herrera the Elder and a Follower,” Master Drawings 12 (1974), 235-240. 14. “A Portrait Drawing by Velázquez,” Master Drawings 13 (1974), 46-51. 15. “Valdés Leal: Atribuciones y falsas atribuciones,” Archivo Español de Arte 45 (1976), 331-336. 16. “The Holy Family by Luis Tristán,” Minneapolis Institute of Arts Bulletin 62 (1975), 28-34. 17. “Un Ribera enderezado,” Archivo Español de Arte 52 (1979), 174-178. 18. “In Detail: Velázquez’s Las Meninas,” Portfolio 2 (Feb-March 1980), 36-41. 19. “Reflections on an Exhibition: European Art at the Court of Spain in the Eighteenth Century,” Arts Magazine 54 (June 1980), 139-141. 20. “In Detail: El Greco’s View of Toledo,” Portfolio 3 (Jan.-Feb. 1981), 34-39. 21. “Un italiano en el taller de Velázquez,” Archivo Español 53 (1980), 207-208. 22. “El Greco: The Man and the Myths,” in El Greco of Toledo, National Gallery of Art, Washington, 1982, 15-33. 23. “El Greco and Toledo,” in El Greco of Toledo, National Gallery of Art, 1982, 75-147. 24. (with Richard L. Kagan), “View of Toledo,” in Figures of Thought: El Greco as Interpreter of History, Tradition, and Ideas, 1982, 19-30. 25. (with Dawson Carr), “Portrait of a Cardinal: Niño de Guevara or Sandoval y Rojas,” in Figures of Thought: El Greco as Interpreter of History Tradition, and Ideas, 1982, 33-42 26. “Murillo, pintor de temas eróticos,” Goya, nos. 169-171 (1982), 35-43. 27. “Velázquez and the Evolution of High Baroque Painting in Madrid, in Painting in Spain 1650-1700, A Symposium, Record of the Art Museum of Princeton University 41, no. 2 (1982), 4-11. 28.”La problemática zurbaranesca,” in Ponencias y comunicaciones del Symposium Internacional Murillo y su Epoca, Seville, 1982. 29. “The Prints and Drawings of Jusepe de Ribera,” in Jusepe de Ribera, lo Spagnoletto, Kimbell Art Museum, Fort Worth, 1983, pp. 70-90. 30. “Murillo: New Drawings, Old Problems,” Master Drawings 21 (1983), 160-162. 31. “Selected Drawings by Spanish Baroque Masters, “ Master Drawings 21 (1983), 401-407. 32. “Drawings by Andalusian Masters,” Apotheca 3 (1983), 9-13. 33. “The Redefinition of El Greco in the Twentieth Century,” in El Greco: Italy and Spain. Studies in the History of Art, 13 (National Gallery of Art, 1984), 29-32. 34. “A New Identification of the Donor in Caravaggio’s Madonna of the Rosary,” Paragone no. 407 (1984), 15-21. 35. “Mecenas y coleccionistas españoles de Jusepe de Ribera,” Goya no. 183 (1984), 140-150. 36. “Jusepe de Ribera, St. Peter, and Francisco de Goya, Marqués de Caballero,” in Masterpieces of Spanish Painting from the Cintas Foundation, New York, 1985. 37. “Los retablos del coro alto de Guadalupe: Dos obras maestras de Zurbarán olvidadas,” Boletín del Seminario de Estudios de Arte y Arqueología de la Universidad de Valladolid, 51 (1985), 387-391. 38. “Enemies of Flattery: Velázquez’ Portraits of Philip IV,” Journal of Interdisciplinary History 17 (1986), 137-154. 39. “Felipe II, coleccionista de pintura y escultura,” in IV Centenario del Monasterio de El Escorial. Las colecciones del rey. Pintura y escultura, Madrid, 1986, 19-31. 40. “Felipe II, coleccionista y mecenas artístico,” in Ciudades del Siglo de Oro. Las vistas españolas de Anton van den Wyngaerde, Madrid, 1986, 25-36. 41. “El Greco, between the Renaissance and the Counter-Reformation,” in Art and Religion: Faith, Form, and Reform. The 1984 Paine Lectures in Religion, University of Missouri, 1986, 40-66. 42. (with J.H. Elliott) “The Marquis of Castel Rodrigo and the Landscape Paintings in the Buen Retiro,” Burlington Magazine 129 (1987), 104-106. 43. (with Richard L. Kagan) “The Duke of Alcalá: His Collection and Its Evolution,” Art Bulletin 59 (1987), 231-255. 44. “Patronage and Piety: Religious Imagery in the Art of Francisco de Zurbarán,” in Zurbarán, Metropolitan Museum of Art, 1987, 1-24. Editions in French and Spanish. 45. “Felipe IV, el rey de coleccionistas,” Fragmentos. Revista de Arte no. 11 (1987), 4-20. 46. “Obras maestras en la colección del Patrimonio Nacional,” Reales Sitios 25 (1989), 68-74. 47. “Academies of Painting in Seventeenth-Century Spain,” Leids Kunsthistorisch Jaarboek 6-7 (1986-87), 177-185. 48. Introduction to C. Pemán, Zurbarán y otros estudios sobre pintura del XVII español, Madrid, 1989. 49. “Felipe IV, Carlos I y la cultura del coleccionismo en dos cortes del siglo diecisiete,” in La España del Conde Duque de Olivares, Valladolid, 1990, 83-97. 50. “La pintura en la corte española, 1746-1808: Entre el barroco y el neoclasicismo,” in El arte de los Bayeu, Zaragoza, 1991, 21-23. 51. “Spain in the Age of Exploration: Crossorads of Artistic Cultures,” in Circa 1492. Art in the Age of Exploration, National Gallery of Art, Washington, 1991, 149-168. 52. “Retrato de Juan Martínez Montañés. Diego de Silva Velázquez (1599-1660), “ in Mirar un cuadro, Madrid, 1991, 162-164. 53.”Another Image of the World: Spanish Art 1500-1920,” in The Hispanic World, ed. J.H. Elliott, London, 1991, 149-168. 54. Introduction of José Luis Morales y Marín, Mariano Salvador Maella, Madrid, 1991. 55. “Jusepe de Ribera, incisore,” in Jusepe de Ribera, 1591-1652, Naples, 1991. English edition, 1992. 56.”La colección real y el Museo del Prado,” in El Prado Vivo, Madrid, 1992, 47-50. 57. “Der spanische Hof und die flämische Malerei,” in Von Brueghel bis Rubens. Das goldende Jarhhundert der flämischen Malerei, Cologne, 1992, 93-101. 58. “La prueba de la grandeza,” Caminos de Santiago, Spring, 1992, 52-53. 59. “La monarquía española y el retrato de aparato de 1500 a 1800,” in El retrato en el Museo del Prado, Madrid, 1994, 135-159. 60. “‘Nos quedamos atónitos ante de cantidad de pinturas.” El coleccionismo regio en el siglo XVII,” in El Real Alcázar de Madrid, Madrid, 1994, 448-459. 61. “El mecenazgo y el olvido,” Revista de Occidente no. 180 (1996), 39-46. 62. “Picasso and the Spanish Tradition of Painting,” in Picasso and the Spanish Tradition, ed. J. Brown, Yale University Press, 1996, 1-25. 63. “La Visión de San Juan de la Inmaculada Concepción, de El Greco,” in La Inmaculada, de El Greco del Museo de Santa Cruz, Real Fundación de Toledo, 1997, 11-21. 64. “More Drawings by Murillo from the Collection of Baron St. Helens,” Master Drawings 36 (1998), 25-28. 65. “Prologue,” Philippus Rex, Madrid, 1998, 13-15. 66. “ ‘Peut-on Assez Louer Cet Excellent Ministre?’ Imagery of the Favourite in England, France and Spain,” in The World of the Favourite, eds. J.H. Elliott and L.W.B. Brockliss, Yale University Press, 1999, 223-235. 67. “Velázquez in den 30er und 40er Jarhen des 17. Jahrhunderts,” in Museo del Prado. Velázquez, Rubens, Lorrain. Malerei am Hof Philipps IV, Bonn, 1999, 36-44. 68.(with the collaboration of J.H. Elliott and Carmen Garrido) “Las Meninas como obra maestra,” in Velázquez, Fundación Amigos del Museo del Prado, Madrid, 1999, 85-125. 69. “Diego de Velázquez, Painter and Gentleman,” and three catalogue entries, in Velázquez in New York Museums, The Frick Collection, 1999, 8-12. 70. “Introducción. Tres pintores cortesanos,” in Velázquez, Rubens, Van Dyck. Pintores cortesanos del siglo XVII, Madrid, Museo del Prado, 1999, 33-49. 71. “Entre tradición y función. Velázquez como pintor de corte,” in Velázquez, Rubens, Van Dyck. Pintores cortesanos del siglo XVII, Madrid, Museo del Prado, 51-66. 72. “Velázquez en el Archivo Histórico de Protocolos. Un tesoro oculto, un tesoro recobrado,” in 25 Documentos de Velázquez en el Archivo Histórico de Protocolos, Madrid, 1999, unpaginated. 73. “La antigua monarquía española como área cultural,” in Los siglos de oro en los virreinatos de América, Madrid, 1999, 19-25. 74. “El Salón de Reinos,” in El Palacio del Buen Retiro y el Nuevo Museo del Prado, Madrid, 2000, 43-61. 75. “Velázquez y lo velazqueño. El problema de atribuciones,” Boletín del Museo del Prado 18 (2000), 51-69. 76. "The Paintings of the Hispanic Society, 1550-1800," in The Hispanic Society of America. Tesoros (New York, 2000) 69-93. 77. "Velázquez and Italy," in L'Europa e l'arte italiana. Collana del Kunsthistorisches Institut in Florenz (Florence, 2000), pp. 307-319. Reprinted with minor revisions in Susanne Stratton-Pruitt, ed., The Cambridge Companion to Velázquez (Cambridge, 2002), pp. 30-47. 78. "The Hall of Realms and the Thirty Years' War," in Der Frieden. Rekonstrucktion einer europaischen Vision (Munich, 2001), vol. 2, 207-214. 79. "Arrancando a Ranke: La práctica de la historia del arte en España a partir de 1975," in El hispanismo anglonorteamericano. Aportaciones, problemas y perspectivas sobre Historia, Arte y Literature españolas, ed. José M. de Bernardo Ares (Córdoba, 2001), vol. 1, pp. 107-119. 80. "Yo Picasso! Jonathan Brown on El Greco," Artforum, 39, no. 9 (May 2001), 61-62. 81. "The Devotional Paintings of Murillo," in Bartolomé Esteban Murillo. Paintings from American Collections (Fort Worth, Kimbell Art Museum, 2002), pp. 31-45. 82. "Relaciones artísticas entre España y Gran Bretaña, 1604-1654," in La Almoneda del siglo. Relaciones artísticas entre España y Gran Bretaña, 1604-55 (Madrid, Museo del Prado, 2002), pp. 41-68. 83."Minerva, Arachne and Marcel," in Elena del Rivero (University of Salamanca, 2002), pp. 54-61. 84. “A Restored Velázquez, a Velázquez Restored,” in Velázquez Rediscoverd (New York, Metropolitan Museum of Art, 2009), pp. 10-15. NEWSPAPER AND MAGAZINE ARTICLES
1. “El médico español y el pintor griego,” El País (May 14, 1987), 10. 2. “The Painted Face,” Vogue, October 1989, 421-425. 3. “Velázquezmanía,” ABC (January 23, 1990). 4. “El genio olvidado (Juan de Valdés Leal),” El Sol (March 7, 1991), 26. 5. “En busca del Renacimiento español,” ABC (January 6, 1992). 6. “Medicis y Habsburgos, dos modelos de mecenas,” ABC (April 7, 1992). 7. “The Eyes Have It,” Art News (March 1993), 132. 8. “El Prado enfermo,” ABC (November 19, 1994), 35-36. 9. “Velázquez en el año 2099,” ABC Cultural (May 29, 1999), 37. 10. “Diego Superstar,” El Cultural de La Razón (June 6,1999), 32-33. 11. “El año de Velázquez,” El Semanal (June 6, 1999), 46-50. 12. “Entrevista al profesor Jonathan Brown,” Historia y Vida, vol. 31, Número Extra 92 (1999), 162-171. 13. “Cuatro siglos de genio,” El Correo de Andalucía, Especial, “Velázquez y Sevilla,” (October 1, 1999), 1. 14. “Los siglos de oro en América,” ABC Cultural (November 13, 1999), 33-35. 15. "El debate de Dresde," ABC (January 20, 2001). 16. "Menos mal que ha occurido," ABC (February 11, 2001) 17. "Reflexiones sobre el futuro del Prado," ABC (July 30, 2001). 18. " Una señal de resistencia" (Reaction to bombing of World Trade Center. Sept. 11, 2001), ABC (September 13, 2001), 4. 19. "Estaba traumatizado y sigo igual" (Reaction to bombing of World Trade Center September 11, 2001), ABC (October 11, 2001), 30. 20. "La batalla del claustro," (Defense of plan to expand Museo del Prado), ABC( July 14, 2002). 21. "España es la nueva Francia," ABC (August 18, 2003). REVIEWS 1. D. Angulo Iñiguez and A.E. Pérez Sánchez, Pintura madrileña, Art Bulletin 54 (1972), 97-99. 2. A.E. Pérez Sánchez, Museo del Prado, Catálogo de dibujos, I: Dibujos españoles, siglos XV-XVI, Master Drawings 12 (1974), 286-289. 3. G.M. Smith, Spanish Baroque Drawings in North American Collections, Master Drawings 14 (1976), 60-63. 4. D. Angulo Iñiguez and A.E. Pérez Sánchez, A Corpus of Spanish Drawings. Volume One, 1400-1600, Master Drawings 14 (1976), 176-180 5. D. Angulo Iñiguez and A.E. Pérez Sánchez, Historia de la pintura española. Escuela toledana de la primera mitad del siglo XVII, Art Bulletin 59 (1977), 646-647. 6. M.A. Mazón de la Torre, Jusepe Leonardo y su tiempo; J. Gállego and J. Gudiol, Zurbarán, 1598-1664; A. Martínez Ripoll, La iglesia del Colegio de San Buenaventura; J. Gállego, El pintor de artesano a artista; M. Agulló Cobo, Noticias sobre pintores madrileños de los siglos XVI y XVII, Art Bulletin 61 (1979), 496-500. 7. R. Wallace, The Etchings of Salvator Rosa, The Print Collectors’ Newsletter 11 (July-August 1980), 107-108. 8. R Arnáez, Museo del Prado, Catálogo de dibujos II: Dibujos españoles, siglo XVIII A-B, and A.E. Pérez Sánchez, Museo del Prado, Catálogo de dibujos III: Dibujos españoles, siglo XVIII, C-Z, Master Drawings 13 (1980) 9. A.E. Pérez Sánchez, El dibujo español de los siglos de oro, Master Drawings 14 (1981) 10. La galerie espagnole de Louis-Philippe au Louvre, 1834-1840, Burlington Magazine 124 (1982), 250-251. 11. Jardines clásicos madrileños, Journal of Garden History 2 (1982) 12. Marianna Haraszti-Takacs, Spanish Genre Painting in the Seventeenth Century, Kunstchronik 38 (1985, 250-251. 13. Eleanor Tufts, Luis Meléndez, Art in America 73, no. 10 (October 1985), 17-18. 14. Carnavales. Colección de carteles del Círculos de Bellas Artes, P.S. The Quarterly Journal of the Poster Society 1 (1986), 13-14. 15. E. Rosenthal, The Palace of Charles V in Granada, American Historical Review, 1987 16. Simon Schama, The Embarrassment of Riches, New York Review of Books January 21, 1988), 11-14. 17. Goya and the Spirit of Enlightenement, The New Republic (May 15, 1989), 30-35. 18. “Colliding Cultures in a Medieval Spanish Court,” New York Times, April 19, 1992. 19. Robert Hughes, Barcelona, The New Republic (May 18, 1992), 33-39. 20. Catherine Wilkinson Zerner, Juan de Herrera, Architect to Philip II of Spain, The New York Review of Books (October 7, 1993), 26-28. 21. “Spanish Still Life: The High Art of Humble Objects,” New York Times, March 19, 1995. SELECTED LECTURES AND SYMPOSIA Museums--Museo del Prado; National Gallery, London; National Gallery of Art, Washington; Metropolitan Museum of Art; Musée du Louvre; J. Paul Getty Museum; The Frick Collection; Museo de Bellas Artes, Sevilla; Museo de Bellas Artes, Bilbao; Kunsthistorisches Museum, Vienna. Universities--Harvard University; Princeton University; University of San Diego, California; Duke University; University of Oxford; Université de Paris, Sorbonne; University of Leeds; University of Missouri; University of Wisconsin; Dartmouth College; Boston College; University of Massachusetts, Amherst; Southern Methodist University; Florida State University; Kunsthistorisches Institut, Florence; BUA de Puebla. Symposia, organizer--College Art Association of America; Fundación Duques de Soria; Universidad Internacional Menéndez Pelayo; Universidad Complutense; Isabella Stewart Gardner Museum; Spanish Institute, New York; Institute of Fine Arts, New York University Supervisor, twenty-one doctoral dissertations on Spanish and Latin American Art, 1500-1800., with five in progress Post-doctoral supervisor of Spanish art historians from: Universidad Complutense, Madrid; Museo Nacional del Prado; Universidad de Valladolid; Universidad de Córdoba; Universidad Nacional de Educacion a Distancia; Universidad de Barcelona; Universidad de Sevilla. Founding Advisor, Center for the History of Collecting in the USA, Frick Art Reference Library, New York City. Co-Founder, Colloquium on Spanish and Latin American Art and Visual Culture, Institute of Fine Arts, New York University.