The formation of the Bilbao Fine Arts Museum's Photography Collection
Abstract
This article is based on the conclusions of the doctoral thesis The Photography Collection of the Museum of Fine Arts of Bilbao (1914-2014): study, cataloging and analysis. Beyond the study of the photographic collections that the Museum keeps, the research raises adjacent issues that allude to the problematic of the conservation of the photographic heritage, as well as the difficulties that the medium had in its introduction in the institutions, especially as regards to the museums. With this, it is outlined with context in which to locate the paper that the Museum of Fine Arts of Bilbao in its main stage of conformation of the Photography Collection, from 1980 to 1997. On the other hand, it is sought to give to know the funds preserved in the Museum, as a contribution to the cartography of the Spanish photographic heritage and the problems of its lack of definition.
1Directed by José Manuel Susperregui and Concha Casajús, it was defended at the Complutense University of Madrid on February 20, 2019. Likewise, the research had as its starting point the BBK-Museum Scholarship, which was granted to me during the years 2014 to 2016, in order to catalog and make a first study of the Photography Collection of the Bilboko Arte Ederren Museoa = Museum of Fine Arts of Bilbao.
Downloads
References
Arteder’ 82: Muestra Internacional de Obra Gráfica: Sección: III Fotografía. Feria Internacional de Muestras de Bilbao, Bilbao, D.L. 1982
Bilbao a fines del XIX, Museo de Bellas Artes de Bilbao, Bilbao, 1985.
BRUSIUS, M., “William Henry Fox Talbot and the Variety of the Photographic Archive: Exploring Oxford’s Photography Collections”, History of Art at Oxford University: a blog about History of Art & visual issues, 19 de diciembre 2014. [29/11/16]. Disponible en: https://oxfordarthist.wordpress.com/category/history-of-photography-2
Cinco años de prensa gráfica: País Vasco 1975-80, Museo de Bellas Artes de Bilbao, [Bilbao], 1981.
Cirilo Martínez Novillo: Fotografías color 1957/1970, Galería Joan Gaspar, Madrid; Barcelona, 2010.
COBO, P. Museo, un espacio transformado, Museo Bellas Artes Bilbao, [Bilbao], 2002.
dFoto. Directorio de colecciones de fotografía en España,[03/05/2019]: http://dfoto.info/
FABRA ANTON, D. La Colección de Fotografía del Museo de Bellas Artes de Bilbao (1914-2014): estudio, catalogación y análisis. Tesis doctoral dirigida por José Manuel Susperregui y Concha Casajús, Universidad Complutense de Madrid, 20 de febrero 2019.
FRIZOT, M., A New History of Photography, Könemann, Köln, 1998, p. 11.
Gabriel Cualladó: Fotografías, Caja de Ahorros Vizcaína-Departamento de Cultural, Bilbao, 1985.
Hispania. Directorio nacional de recursos digitales,[03/05/2019]: http://hispana.mcu.es/es/inicio/inicio.do
JURÉNAITÉ, R. Lietuvos fotografija: Vakar ir siandien = Lithuanian Photography: Yerterday and Today, Lietuvos fotomenininku sajungos fotografiju fondas, Vilnius, 2003,
IZQUIERDO-MOSSO, L. M. Luis María, Seguir mirando, Caja de Ahorros Vizcaína-Departamento de Cultura, Bilbao,1986.
La fotografía en las colecciones reales, Patrimonio Nacional; Fundación La Caixa, [Madrid], D.L. 1999.
La fotografía y el museo, Dirección General de Bellas Artes y Bienes Culturales, [Madrid], D.L. 1997.
LERTXUNDI, M. Tomás de Acillona: Fotografías 1932-1957, Museo de Bellas Artes de Bilbao, Bilbao, 2010.
MICHELKEVICIUS, V. The Lithuanian SSR Society of Art Photography (1969-1989): An Image Production Network, Vilnius Academy of Arts Press =Vilniaus dailes akademijo leidykla, [Vilnius], 2011.
Patrimonio cultural:EMSIME.https://apps.euskadi.eus/emsime/catalogo-museos-pais-vasco/
Patxi Cobo: Argazkiak =Fotografía, Museo de Bellas Artes de Bilbao = Bilboko Arte Ederretako Museoa, Bilbao, D.L. 1990.
PÉREZ GALLARDO, H., y VEGA, C. Arte y fotografía III. La fotografía en el museo: entre el objeto documental y artístico, SOUGEZ, M. L., Historia general de la fotografía, «Manuales arte Cátedra», Cátedra, Madrid, 2009, pp. 570-588.
Plan Nacional de Conservación del Patrimonio Fotográfico,Secretaría General Técnica. Subdirección General de Documentación y Publicaciones, [S.l.], 2015. [10/08/18]. Disponible en: https://www.scribd.com/document/324267024/PLAN-NACIONAL-DE-CONSERVACIO-N-DEL-PATRIMONIO-FOTOGRA-FICO.
Ribas i Prous, Josep Maria «Guía de Exposiciones, 39», [Folleto], Museo de Bellas Artes de Bilbao, [Bilbao],octubre 1984.
Ría de Hierro = Burdinezko itsas-adarra = Iron River, Bilbao Metrópoli-30; Ediciones Laga, Bilbao, 1993.
RUFÍ-GIBERT, M. Atardecer 82 (Bilbao), Batik: panorama general de las artes, n.º 67, año X, abril 1982, pp. 14-15.
SÁNCHEZ VIGIL, J. M. (coord.), La fotografía en España: de los orígenes al siglo XXI, «Summa Artis.Historia general del arte», vol. XLVII, Espasa Calpe, Madrid, 2001, pp. 108-109.
SÁNCHEZ VIGIL, J.M. El documento fotográfico: historia, usos, aplicaciones, «Biblioteconomía y administración cultural, 14 0», Ediciones Trea, Gijón, D.L. 2006; J. M.
SÁNCHEZ VIGIL, J.M. La fotografía en España: otra vuelta de tuerca, «Biblioteconomía y administración cultural, 261», Ediciones Trea, Gijón, 2013
Schommer: Retrospectiva 1952 - 2009, Museo de Bellas Artes de Bilbao, Bilbao, 2010.
The Pencil of Nature fue publicado en seis volúmenes, de 1844 a 1846, por Longman,Brown,Green & Longmans de Londres.
VEGA, C. Fotografía en España (1839-2015): historia, tendencias, estéticas, Cátedra, Madrid, 2017.
ZUGAZA MIRANDA, M. Pasado y Presente del Museo de Bellas Artes de Bilbao, Maestros Antiguos y Modernos: Museo de Bellas Artes de Bilbao, Fundación BBK Fundazioa, Bilbao, 1999, pp. 15-29.
Copyright (c) 2020 Dolors Fabra Antón
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
1. The authors non-exclusively assign the exploitation rights (reproduction, distribution, communication and transformation) to the magazine.
2. The works published in this magazine are subject to the Attribution-ShareAlike 4.0 International license (CC By SA 4.0). Therefore, they can be copied, used, disseminated, transmitted and publicly displayed, provided that:
i) the authorship and the original source of its publication (journal, editorial and URL of the work) are cited, thus allowing its recognition.
ii) it is allowed to remix, transform or create from the material while maintaining the same license as the original.
3. Self-archiving conditions. Authors are allowed and encouraged to electronically disseminate the pre-print (version before being evaluated) and/or post-print (version evaluated and accepted for publication) versions of their works before publication, as it favors their publication. Earlier circulation and diffusion and with it a possible increase in its citation and reach among the academic community. Color RoMEO: verde.