Last year James Lomax was awarded an Engine Micro Bursary to undertake a research trip to Madrid. He reports back:
I was very fortunate to be awarded one of the Engine Bursaries last year which I used for a research trip to Madrid. I had not visited Madrid before. The trip had two purposes; to visit museums and galleries (in particular the Museo del Prado), and to also make new connections in the city.
Madrid is rich with museums and galleries, and the Museo del Prado is at the centre of this. It was somewhere I had wanted to visit for a long time. It is the main Spanish national art museum and is renowned for having one of the finest collections of European Art in the world. It houses work from the 12th to 20th Century, based upon the Spanish Royal collection, and includes both painting and sculpture. Artists in the collection include Francisco Goya, Hieronymus Bosch, El Greco, Peter Paul Rubens, Titian and Diego Velásquez.
My practice is largely installation based, with a focus on print and sculpture, and is often influenced by and in dialogue with painting. I particularly wished to visit the Museo del Prado to experience Francisco Goya’s Pinturas Negras or Black Paintings and Hieronymus Bosch’s The Garden of Early Delights triptych. Goya’s Pinturas Negras consists of fourteen deeply moving paintings which the artist painted in oils directly onto the walls of his Madrid home in the latter years of his life. Not only dark in tone, the paintings are of far darker content, reflecting Goya’s bleak outlook on life – not only his own, but also reflecting the political climate at the time.
Hieronymus Bosch’s collection of paintings in the Prado combine works on board and larger panel works which are two sided, hinged, triptychs. The Garden of Earthly Delights triptych is a three part painting depicting the spherical earth when closed. Upon opening, the panels depict the fall of humanity, starting with Adam and Eve on the left and a descent to hell on the right. The colour and exquisite detail in the painting, undertaken in the late 1400s, is immense and overbearing. The experience of the Prado itself is one that reflect upon often. It was great to be able to witness these paintings in the flesh and to allow them to make their mark upon my own work.
During the course of my four day visit I was able to visit the Museo Nacional Centro de Arte Reina Sofía to see Dorothea Tannning’s exhibitions, Behind the Door, Another Invisible Door as well as the museum’s incredible collection. I also made a trip to Factum Arte, a specialist in art conservation and fabrication. Factum Arte seeks to construct a bridge between new technologies and craft skills in the conservation of cultural heritage and in contemporary art. They use their technologies to create identical replicas as well as recordings so that these works could be recreated in the event of being destroyed by a natural disaster etc. As well as this I attended a number of openings over the course of the visit and was able to meet with Madrid based curators and artists.