Felix Monguilot
-Ph.D. in Art History: Research and Education
-Master of Arts
-
Art Historian and Cinema Researcher
Specialist in Art of the 20th Century
-
He has published and presented widely with particular interest in the following subjects:
-El Greco
-Relations between Spanish and Italian cinematographies
-Propaganda and Cinema
-Totalitarian cinemas
-Spanish Civil War
-Museum Education
-Contemporary Art
-20th Century European Art
-Construction and representation of identity in contemporary world
Felix has been the recipient of numerous fellowships for his work, including the Samuel H. Kress Interpretive Fellowship from The National Gallery of Art and the Culturex Grant from the Ministry of Culture of Spain.
-Master of Arts
-
Art Historian and Cinema Researcher
Specialist in Art of the 20th Century
-
He has published and presented widely with particular interest in the following subjects:
-El Greco
-Relations between Spanish and Italian cinematographies
-Propaganda and Cinema
-Totalitarian cinemas
-Spanish Civil War
-Museum Education
-Contemporary Art
-20th Century European Art
-Construction and representation of identity in contemporary world
Felix has been the recipient of numerous fellowships for his work, including the Samuel H. Kress Interpretive Fellowship from The National Gallery of Art and the Culturex Grant from the Ministry of Culture of Spain.
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Papers by Felix Monguilot
--------ABSTRACT ESPAÑOL:
El texto se basa en el estudio de las telas que El Greco realizó para la Capilla de San José en Toledo, a finales del siglo XVI.
El maestro firmó un contrato en 1597 mediante el cual se comprometió a llevar a cabo cuatro pinturas para los tres altares de la capilla privada que el comerciante Martín Ramírez financió con la fortuna que había acumulado en vida.
Para ello se construyeron tres retablos. El principal aún hoy conserva la pintura del santo titular del templo, coronado por otra con la Coronación de la Virgen.
Las otras dos telas con San Martín y el mendigo y la Virgen con el niño y las santas Martina e Inés fueron concebidas para los retablos laterales.
Estos dos cuadros se completaron en 1599 y permanecieron dentro de la capilla hasta 1907, año en el que fueron vendidos al coleccionista americano Peter Widener. De allí, pasaron a formar parte de la colección permanente de la National Gallery of Art de Washington DC. El estudio incluye información inédita sobre la venta de estas dos últimas obras.
--------------ABSTRACT ENGLISH:
The paper focuses on the history of the canvases that the painter El Greco made for the Chapel of San José in the Spanish city of Toledo.
The master signed a contract in 1597 for the completion of four canvases for the three altars of the chapel.
The main altar included a big retable with the image of Saint Joseph, culminated with the Crowning of the Virgin. The other paintings were conceived for the side altars and represented Saint Martin and the Beggar and the Madonna and Child with two saints.
These two canvases remained inside the chapel until 1907. After being brought to Paris, they were acquired by the American financier Peter Widener. They stayed in Philadelphia until 1942, when they were donated to the National Gallery of Art in Washington DC.
The paper analyzes these two paintings, but also the consequences of their removal from their original context.
http://offscreen.com/view/the-skin-i-live-in-pedro-almodovar
-------------- ABSTRACT ENGLISH: The Skin I Live In is a 2011 thriller from renowned Spanish director Pedro Almodóvar.
Transgender characters are not unusual in the cinema of Almodóvar, but for the first time, with this film, the process of the sexual change is not the result of an epiphanic process that comes after the liberation from the character's arbitrary gender. A new imposed sexual identity turns into a cage for the main character, resulting in unpredictable reactions.
The research developed in this paper is based on the main character of the film and a comparison with similar ones that appear in other films by the director. This research is also connected with the idea of gender captivity and the results of releasing sexual identity through the act of a sex change.
------ABSTRACT ESPAÑOL: La presente tesis aborda la colaboración cinematográfica que se lleva a cabo entre la Italia de Mussolini y la España de Franco, a lo largo del periodo comprendido durante los años 1939-1943. Este trabajo cuenta con dos grandes bloques. El primero se basa en el contexto histórico, político y cinematográfico en el que dicha colaboración se desenvuelve. El segundo bloque ofrece un análisis pormenorizado de cada una de las películas que resultan de esta producción hispano-italiana.
------ABSTRACT ENGLISH: The thesis “Cinematographic Coproduction and Collaboration between Spain and Italy during the years 1939-1943” examines the subject of the cooperation in the field of cinema that took place between Spain and Italy in the last years of Mussolini’s regime and the first ones of Franco’s dictatorship. This work is divided in two sections. The first section is based on the historical, political and cinematographic context, where collaboration between Mussolini and Franco developed. The second section offers a detailed analysis of each one of the films that were a result of the above-mentioned Spanish-Italian cooperation.
No sólo se trata de la mayor aportación que el sistema de las coproducciones hispano-italianas deja en el cine español e italiano a principios del franquismo y finales del fascismo, sino también uno de los mejores ejemplos de cine bélico y propagandístico realizados en Europa.
-----Cit: Felix Monguilot Benzal, Sin novedad en el Alcázar: historia, imagen y propaganda de un hito del cine bélico franquista, en Julio Pérez Perucha; Agustín Rubio Alcover (eds.), De cimientos y contrafuertes. El papel de los géneros en el cine español. Actas del XIV Congreso Asociación Española de Historiadores de Cine (AEHC). Bilbao, 2013, pp. 163-175. ISBN-13: 978-84-695-9074-4
Looking At Looking Into
Exhibition curated by Arianna Mercanti
Catalogue curated by Felix Monguilot
La Linea Arte Contemporanea
9-30 April 2013
Rome
Recensión y análisis de la tercera etapa de la exposición "Joan Miró: la escalera de la evasión"(2012) en la National Gallery of Art de Washington DC.
Recensione in spagnolo della terza tappa della mostra "Joan Miró: The ladder of escape" (2012) alla National Gallery of Art de Washington DC.
Texts in English.
Editing began as a meeting of twelve countries of Central and Eastern Europe – Austria, Bulgaria, Croatia, the Czech Republic, Germany, Hungary, Italy, Macedonia, Romania, Serbia and Slovakia – in Gorizia in October 2005. The book gathered the research, journeys, and choices of the protagonists of that meeting. Four workshops followed during which the artists of the different countries listened to and lived the city for a brief period. "Editing Memorandum" is also the presentation of the projects conceived during the stay in Gorizia."
--------ABSTRACT ESPAÑOL:
El texto se basa en el estudio de las telas que El Greco realizó para la Capilla de San José en Toledo, a finales del siglo XVI.
El maestro firmó un contrato en 1597 mediante el cual se comprometió a llevar a cabo cuatro pinturas para los tres altares de la capilla privada que el comerciante Martín Ramírez financió con la fortuna que había acumulado en vida.
Para ello se construyeron tres retablos. El principal aún hoy conserva la pintura del santo titular del templo, coronado por otra con la Coronación de la Virgen.
Las otras dos telas con San Martín y el mendigo y la Virgen con el niño y las santas Martina e Inés fueron concebidas para los retablos laterales.
Estos dos cuadros se completaron en 1599 y permanecieron dentro de la capilla hasta 1907, año en el que fueron vendidos al coleccionista americano Peter Widener. De allí, pasaron a formar parte de la colección permanente de la National Gallery of Art de Washington DC. El estudio incluye información inédita sobre la venta de estas dos últimas obras.
--------------ABSTRACT ENGLISH:
The paper focuses on the history of the canvases that the painter El Greco made for the Chapel of San José in the Spanish city of Toledo.
The master signed a contract in 1597 for the completion of four canvases for the three altars of the chapel.
The main altar included a big retable with the image of Saint Joseph, culminated with the Crowning of the Virgin. The other paintings were conceived for the side altars and represented Saint Martin and the Beggar and the Madonna and Child with two saints.
These two canvases remained inside the chapel until 1907. After being brought to Paris, they were acquired by the American financier Peter Widener. They stayed in Philadelphia until 1942, when they were donated to the National Gallery of Art in Washington DC.
The paper analyzes these two paintings, but also the consequences of their removal from their original context.
http://offscreen.com/view/the-skin-i-live-in-pedro-almodovar
-------------- ABSTRACT ENGLISH: The Skin I Live In is a 2011 thriller from renowned Spanish director Pedro Almodóvar.
Transgender characters are not unusual in the cinema of Almodóvar, but for the first time, with this film, the process of the sexual change is not the result of an epiphanic process that comes after the liberation from the character's arbitrary gender. A new imposed sexual identity turns into a cage for the main character, resulting in unpredictable reactions.
The research developed in this paper is based on the main character of the film and a comparison with similar ones that appear in other films by the director. This research is also connected with the idea of gender captivity and the results of releasing sexual identity through the act of a sex change.
------ABSTRACT ESPAÑOL: La presente tesis aborda la colaboración cinematográfica que se lleva a cabo entre la Italia de Mussolini y la España de Franco, a lo largo del periodo comprendido durante los años 1939-1943. Este trabajo cuenta con dos grandes bloques. El primero se basa en el contexto histórico, político y cinematográfico en el que dicha colaboración se desenvuelve. El segundo bloque ofrece un análisis pormenorizado de cada una de las películas que resultan de esta producción hispano-italiana.
------ABSTRACT ENGLISH: The thesis “Cinematographic Coproduction and Collaboration between Spain and Italy during the years 1939-1943” examines the subject of the cooperation in the field of cinema that took place between Spain and Italy in the last years of Mussolini’s regime and the first ones of Franco’s dictatorship. This work is divided in two sections. The first section is based on the historical, political and cinematographic context, where collaboration between Mussolini and Franco developed. The second section offers a detailed analysis of each one of the films that were a result of the above-mentioned Spanish-Italian cooperation.
No sólo se trata de la mayor aportación que el sistema de las coproducciones hispano-italianas deja en el cine español e italiano a principios del franquismo y finales del fascismo, sino también uno de los mejores ejemplos de cine bélico y propagandístico realizados en Europa.
-----Cit: Felix Monguilot Benzal, Sin novedad en el Alcázar: historia, imagen y propaganda de un hito del cine bélico franquista, en Julio Pérez Perucha; Agustín Rubio Alcover (eds.), De cimientos y contrafuertes. El papel de los géneros en el cine español. Actas del XIV Congreso Asociación Española de Historiadores de Cine (AEHC). Bilbao, 2013, pp. 163-175. ISBN-13: 978-84-695-9074-4
Looking At Looking Into
Exhibition curated by Arianna Mercanti
Catalogue curated by Felix Monguilot
La Linea Arte Contemporanea
9-30 April 2013
Rome
Recensión y análisis de la tercera etapa de la exposición "Joan Miró: la escalera de la evasión"(2012) en la National Gallery of Art de Washington DC.
Recensione in spagnolo della terza tappa della mostra "Joan Miró: The ladder of escape" (2012) alla National Gallery of Art de Washington DC.
Texts in English.
Editing began as a meeting of twelve countries of Central and Eastern Europe – Austria, Bulgaria, Croatia, the Czech Republic, Germany, Hungary, Italy, Macedonia, Romania, Serbia and Slovakia – in Gorizia in October 2005. The book gathered the research, journeys, and choices of the protagonists of that meeting. Four workshops followed during which the artists of the different countries listened to and lived the city for a brief period. "Editing Memorandum" is also the presentation of the projects conceived during the stay in Gorizia."
the Chapel of San José in the Spanish city of Toledo. The master signed a contract
in 1597 for the completion of four canvases for the three altars of the chapel. The
main altar included a big retable with the image of Saint Joseph, culminated with
the Crowning of the Virgin. The other paintings were conceived for the side altars
and represented Saint Martin and the Beggar and the Madonna and Child with
two saints. These two canvases remained inside the chapel until 1907. After being
brought to Paris, they were acquired by the American fi nancier Peter Widener. They
stayed in Philadelphia until 1942, when they were donated to the National Gallery
of Art in Washington, DC. The paper analyzes these two paintings, but also the
consequences of their removal from their original context.
http://c.ymcdn.com/sites/www.rsa.org/resource/resmgr/RSA_2014_NYC_Conference_Prog.pdf
Symposium coordinated and organized by Felix Monguilot and the Department of Academic Programs (DEAC) of the National Gallery of Art with the support of SPAIN arts & culture."
http://latino.foxnews.com/latino/entertainment/2014/10/29/washington-commemorates-el-greco-genius/
Federico Utrera nos habla de arte con Félix Monguilot a través del libro Vida de Caravaggio de Giovanni Baglione de la editorial Casimiro Libros.
MINUTO: 16:00 - 22: 27
ENLACE: http://www.rtve.es/alacarta/audios/un-idioma-sin-fronteras/idioma-sin-fronteras-01-08-13/1975076/
Resumen: El texto se basa en el estudio de las telas que El Greco realizó para la Capilla de San José en Toledo, a finales del siglo XVI. El maestro firmó un contrato en 1597 mediante el cual se comprometió a llevar a cabo cuatro pinturas para los tres altares de la capilla privada que el comerciante Martín Ramírez financió con la fortuna que había acumulado en vida. Para ello se construyeron tres retablos. El principal aún hoy conserva la pintura del santo titular del templo, coronado por otra con la Coronación de la Virgen. Las otras dos telas con San Martín y el mendigo y la Virgen con el niño y las santas Martina e Inés fueron concebidas para los retablos laterales. Estos dos cuadros se completaron en 1599 y permanecieron dentro de la capilla hasta 1907, año en el que fueron vendidos al coleccionista americano Peter Widener. De allí, pasaron a formar parte de la colección permanente de la National Gallery of Art de Washington DC. El estudio incluye información inédita sobre la venta de estas dos últimas obras.
Abstract: The paper focuses on the history of the canvases that the painter El Greco made for the Chapel of San José in the Spanish city of Toledo. The master signed a contract in 1597 for the completion of four canvases for the three altars of the chapel. The main altar included a big retable with the image of Saint Joseph, culminated with the Crowning of the Virgin. The other paintings were conceived for the side altars and represented Saint Martin and the Beggar and the Madonna and Child with two saints. These two canvases remained inside the chapel until 1907. After being brought to Paris, they were acquired by the American financier Peter Widener. They stayed in Philadelphia until 1942, when they were donated to the National Gallery of Art in Washington DC. The paper analyzes these two paintings, but also the consequences of their removal from their original context.