Rarely has there been a press conference on such a massive adn prosperous artistic issue as the one held this Monday by the Bilbao Museum of Fine Arts in Seville. Last week, on trucks escorted by the police, 26 paintings and two sculptures arrived, a careful selection of the Spanish school owned by the Basque art gallery that the Fine Arts of the Andalusian capital will exhibit until March 16, 2025. ‘ Del Greco in Zuloaga. Masterpieces of spanish Art” is “the most critically important exhibition of the year” in that city, as underlined by the Andalusian Minister of Culture, Patricia del Pozo, who celebrated with great enthusiasm this collaboration between the two museums.
The mayor of Bilbao, Juan María Aburto, met in seville in an atmosphere of great enthusiasm; the director of the museum, Miguel Zugaza, and the curator of the exhibition, José Luis Merino, also responsible for the ancient art of the Bilbao Art Gallery. The latter has no doubts about the work that will have the greatest impact there, Mariano Fortuny’s painting ‘The Arena of Seville’ (1870), exhibited for the first time to the public, “and for the first time in Seville”, as he pointed out. the councilor just 900 meters from the arena he represents. The work was purchased in December last year by the Bilbao Museum for 250,000 euros, thanks to the donation of funds by Begoña María Azkue after her death. As Merino recalled, “we have a special museum, given that we own 60% of our works thanks to donations.” Two other works were recently purchased with Azkue’s money, a portrait of Satie painted by Zuloaga and “The Vow at Sainte-Anne d’Auray”, by the French academic William Bouguereau.
The Maestranza scene is just one of the works in the selection that José Luis Merino has been putting together for months for this occasion,and all this was possible thanks to the expansion works of the Bilbao institution,which forced many of his works to be saved paintings but also promoted initiatives like this.Mayor Aburto, at the same time president of the Museum Foundation, welcomed this collaboration in front of the large audience, made up of authorities such as the president of the Andalusian Parliament, dozens of journalists and personalities from the art world: «We appreciate this warm and cordial welcome to this majestic city. It is an honor to be here to inaugurate an extraordinary exhibition born from the renovation of our museum, where we are “open for work”, and we can also say that if there is no exhibition space in Bilbao, there is some in Seville. What we are doing here has great value,two administrations,two museums,two cities,which add up and multiply to obtain something extraordinary.”
It was the expert José Luis Merino who led the first guided tour in a small committee made up of the director of the Sevillian museum, Valme Muñoz, the mayor of Bilbao and Zugaza himself. The corner that houses the Fortuny arena accompanied by the painting ‘View of the Bermeo’ (1783), by Luis Paret, is undoubtedly the protagonist of one of the important moments of the exhibition, since both canvases, of similar dimensions, look like two open windows in distant places in space, time and concept, but here they remain as one of the tunnels or bridges that Merino has created to unite the two realities of both museums and cities.
“this is a space of celebration thanks to these synergies,” underlined Valme Muñoz, who had previously guided the basque delegation through two of the most impressive rooms of the center under his direction, which house, in an area of a former convent, the enormous works of Murillo and Zurbarán. Muñoz recalled that it is not the first time that both institutions collaborate on a similar initiative, as they have done in the past, for example, with the joint exhibition ‘The Young Murillo’. The Academy of fine Arts of Seville has created small portable catalogs for people with visual disabilities with which they can contemplate some works by touching small relief reproductions, such as Braille, with their fingertips.
The exhibition covers four centuries and is divided into three themes, portraits, sacred art, still life and landscape.The list of artists who traveled to Seville is completed with relevant names such as Alonso Sánchez Coello, El Greco, Juan Pantoja de la Cruz, Pedro orrente, Francisco de Herrera el Viejo, Francisco de Zurbarán, Bartolomé Esteban Murillo, Juan de Arellano, Claudio Coello, Luis Meléndez, Luis Paret, Francisco de Goya and Vicente López.
What are teh key highlights of the “Del Greco in Zuloaga” exhibition?
Interview between Time.news Editor and Art Expert José Luis Merino
Time.news Editor (TNE): Welcome, José Luis Merino, curator of the groundbreaking exhibition “Del Greco in Zuloaga. masterpieces of Spanish Art.” It’s an honor to have you here. Let’s dive straight in. This exhibition, with such a significant collection of Spanish art, is described as the most critically important of the year in Seville. What makes it so special?
José Luis Merino (JLM): Thank you for having me! This exhibition represents not just the convergence of two prestigious institutions—the Bilbao Museum of Fine Arts and the Sevillian venue—but also it showcases the richness and diversity of Spanish artistic heritage. The pieces selected, particularly the works of Del Greco and Zuloaga, highlight the evolution of Spanish art through different past contexts, making it a significant cultural event.
TNE: You mentioned the collaboration between the two museums.how critically important is this partnership for the promotion of Spanish art on a wider scale?
JLM: It’s incredibly important. Collaborations like this can transcend geographical boundaries, allowing institutions to share knowledge, resources, and collections. With works on loan from Bilbao, we are providing Sevillian audiences with access to pieces they might never have the possibility to see otherwise. What’s more, it fosters a deeper thankfulness for Spanish art as a whole.
TNE: The arrival of the 26 paintings and two sculptures, escorted by police, must have been quite the event. what was the atmosphere like during that moment?
JLM: It was electrifying! The arrival felt like an artistic milestone, with everyone—museum staff, local officials, and art enthusiasts—excitedly anticipating the unveiling of these masterpieces.It was a moment of pride for both cities, where art truly brought people together. The collaboration between the Mayor of Bilbao, Juan María Aburto, and the Andalusian Minister of Culture, Patricia del Pozo, added to that sense of celebration.
TNE: Among the pieces, you predict that Mariano Fortuny’s painting “the Arena of Seville” will have the greatest impact. Why do you think this particular work will resonate so much with the audience?
JLM: “The Arena of Seville” captures a dynamic moment in time that links back to the cultural heritage of Andalusia, which, as you know, is deeply rooted in traditions like bullfighting. Fortuny’s mastery in portraying light, movement, and emotional intensity makes this piece compelling. Furthermore, it’s a reflection of a unique moment in Spanish history, allowing viewers to connect with their cultural narrative on a profound level.
TNE: Moving forward, how do you envision this exhibition influencing future art collaborations in Spain?
JLM: I beleive it will set a precedent for how regional museums can collaborate and share their collections. This exhibition could encourage more institutions to pool their resources and expertise, creating a vibrant network that promotes Spanish art and artists. It’s not just the artwork that matters; it’s about how these pieces can stimulate discourse and engagement within the wider community.
TNE: As the exhibition will be open until March 16,2025,what message do you hope visitors take away when they leave?
JLM: I hope visitors leave with a renewed appreciation for Spanish art’s historical depth and contemporary relevance. Art should inspire curiosity and dialog, and I want people to feel a personal connection to the history and the artists behind these masterpieces. Ultimately, we want to emphasize that art is a living part of our culture, continuously echoing through time.
TNE: A powerful message, indeed. Thank you, José Luis, for sharing your insights. we wish you an incredibly prosperous exhibition that captivates and inspires all who visit.
JLM: Thank you for having me! I look forward to seeing how the audience engages with the works.