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Mª Dolores Barreda Pérez received on November 7, 2019 an unexpected surprise when, in the framework of the jury’s decision, awards ceremony and inauguration of the 86th Autumn Salon of the Spanish Association of Painters and Sculptors, the most artistic event Ancient and prestigious of all those summoned in Spain, he received the title of “Perpetual Secretary” of the centenary entity.
N the event, which took place in the Casa de Vacas of Madrid’s Buen Retiro Park, was attended by a multitude of artistic personalities, such as the Minister of Culture and Tourism of the Community of Madrid, Marta Rivera de la Cruz, guy and mengano, the President of the Spanish Association of Painters and Sculptors, José Gabriel Astudillo, accompanied by his entire Board of Directors and artists such as Eduardo Naranjo, Alejandro Aguilar Soria, Ricardo Sanz, Paula Varona, the dean of the Art Critics, Tomás Paredes. .. municipal authorities and the general public.
Just when the title of “AEPE Honorary Member” had already been delivered to the journalist and writer Javier Sierra, and before the Secretary General herself proceeded to read the minutes of the Jury of the 86th Autumn Room, the President of the Spanish Association of Painters and Sculptors, José Gabriel Astudillo, skipping the established protocol, took the floor to read an Addendum to the Minutes of the meeting of the Board of Directors on June 18, 2019, in which it is explained that taking advantage of an absence of Secretary General of the entity, Mª Dolores Barreda Pérez, responsible for raising the official minutes of the session, and with the unanimity of the members of the Board, it was agreed to “distinguish Mª Dolores Barreda Pérez with the title of SECRETARY PERPETUAL OF THE ASSOCIATION SPANISH PAINTS AND SCULPTORS, in recognition of their excellent and unparalleled work and dedication to the entity.
We believe that it is fair to recognize the work of those people who are exceptional and essential in the art world, people who make real the saying that success always precedes work.
All the partners enjoy that success thanks to the attitude and work of those who make us bigger every day as an institution and ensure that day by day is attended not only diligently, but correctly and in a gratifying way. That is why this institution is better every day and provides an image of seriousness and prestige that, as I said, benefits everyone.
Placing a centennial entity of the first order in the 21st century has been an important challenge that our Secretary General has amply achieved in a work model that not only is the most successful, but that more than meets and exceeds the expectations generated in this regard. .
Modernization, transparency and attention and closeness to the needs of the associates have been an unwritten rule with which it has managed to awaken the spirit of our entity and thus contribute to the Spanish Association of Painters and Sculptors has developed as a diversified institution and open to the outside, until it becomes a modern and prosperous reality.
But in addition, preserving the history and heritage of the entity has been a priority in the work of Mª Dolores Barreda Pérez, who is carrying out through the Historical Archive “Bernardino de Pantorba”, a project that has crossed borders and makes us captain the research work on the history of art in Spain in the 20th century.
Its involvement is also leading us to recover the memory of the first artists of the Spanish Association of Painters and Sculptors and to be present, in this way, in the most important cultural events celebrated in Spain for this reason.
In the Spanish Association of Painters and Sculptors we have the honor of having magnificent artists, with exemplary people who have achieved success with a lot of work, dedication and talent.
And one of them is Mª Dolores Barreda Pérez, journalist, Director of the Gazette of Fine Arts, researcher, art historian, member of the Spanish Association of Art Critics but, above all, a magnificent person of overwhelming personality, who is of justice recognize and applaud his special dedication and dedication, his good work, full of commitment and honesty, his charisma, authenticity and talent.
The Spanish Association of Painters and Sculptors is increasingly prestigious and great because it knows how to recognize those who have a special talent and feel committed to making their work an engine for the expansion of that talent.
That is why Mª Dolores Barreda Pérez is a good portrait of the entity we want, with values and that values work, the desire to improve and the shared effort. It is the portrait of those people who fight every day for art, for artists, for culture and who do it also, investing a time, effort and a totally altruistic will and that must be recognized,
An entity is worthy of admiration when its members are too and when it treats those admirable people as they deserve. That is why we have the obligation to recognize this merit and in this way the Board of Directors of the Spanish Association of Painters and Sculptors wants to do it on behalf of all its partners, because making our entity better is a matter for everyone. Only in this way do we achieve that the best years of the artistic history of Spain are those that lie ahead, those that remain to be lived and those that remain to be written.
And so we signed in Madrid, on June 18, 2019, the rest of the members of the Board of Directors of the Spanish Association of Painters and Sculptors, keeping this resolution secret until the delivery of the distinction, which will take place within the framework of the Opening ceremony of the 86th Autumn Salon held at the Casa de Vacas of Madrid’s Parque del Retiro on November 7, 2019 ”.
Excited and visibly surprised, Mª Dolores Barreda Pérez picked up a plaque from the President and with the emotion of the moment, she was only able to thank everyone for the immense honor that the appointment entails, since in the entire history of the centenary entity, only There has been a Perpetual Secretary whose memory draws on countless historical accounts of the AEPE.
The philologist, poet, translator, essayist, columnist, critic, literary editor, researcher and musical lyricist Luis Alberto de Cuenca Prado, visited last Friday the headquarters of the Spanish Association of Painters and Sculptors.
In the course of the visit, the President of the centenary entity, José Gabriel Astudillo and the Secretary General of the AEPE, Mª Dolores Barreda Pérez, discovered the author, who was accompanied by his wife Alicia Mariño Espuelas, philologist and university professor, the history, prestige, human quality and profile of an institution of which he knew very little, and in which he claimed “to have found an important artistic and cultural redoubt and a transcendental journalistic collection such as the” Gaceta de Bellas Artes “.
The academician of the Royal Academy of History, corresponding academic in Madrid of the Academy of Good Letters of Granada and member of the Royal Board of the Prado Museum, has held many other positions such as Director of the National Library of Spain and Secretary of State for Culture, for which he valued in a special way the work of digitalization that the Spanish Association of Painters and Sculptors is doing with the Historical Archive “Bernardino de Pantorba”, works that were explained to him by the President and the General Secretary.
He was also able to see how the posters kept by the AEPE of Salón de Otoño, which are quite deteriorated, and the volume of the digitized file, as well as some copies of the Gaceta de Bellas Artes, which he looked at with great admiration, are being restored.
Luis Alberto de Cuenca is National Critic’s Prize for the poetic work La caja de plata, National Prize for Translation for El cantar de Valtario, Gran Cruz de Isabel la Católica, Culture Prize 2006 (Literature), for his poetic work, Prize ABC Cultural & Cultural Area of ABC Cultural and El Corte Inglés and National Poetry Prize for Holiday Notebook
To end the visit, at the request of the President, Luis Alberto de Cuenca signed in the Book of Honor of the centenary entity, promising to return as soon as their occupations allow it.
Mª Dolores Barreda and Itziar Zabalza, communicators at the International Congress of Art Criticism at the Reina Sofía Museum
The General Secretary of the Spanish Association of Painters and Sculptors and AECA member, Mª Dolores Barreda Pérez and the Presidency Advisor, Itziar Zabalza Murillo, presented a communication last Friday, June 22, 2018 at the International Congress of Art Criticism, inaugurated the previous day in the Reina Sofía Museum and organized by AECA, the National Association of Art Critics.
In the Congress, which has focused on analyzing the Art Critic and the crisis and renewal that they need, they presented the communication entitled “Go back to gain momentum: regeneration and reinsertion of art criticism”, a review of the current situation that crosses the sector, with “the agony that suffers the job of art critic and that is leading to extinction. The alarming thing is not only its disappearance, but the absolute indifference that its death will suppose “. A communication that made a brief analysis of the causes of this crisis in which to witness the current reality, with a basis to reflect deeply on what is happening.
And all this with a clear compared example of art criticism whose function and result are the most disparate, despite having a distance of more than eighty years. And also a series of clear, clear and simple proposals, in which to try to find the necessary regeneration, based on the knowledge of the sources and authorities of the world of art criticism and the null presence of it in the world of art. current creation.
This is the essence that both authors, representing the Spanish Association of Painters and Sculptors, presented clearly, pleasantly and studied.
Mª Dolores Barreda Pérez, General Secretary of the Spanish Association of Painters and Sculptors and member of AECA introduced some lines in which she examined the current situation that the Art Criticism is going through, establishing in a series of basic points the reality of the sector. “Nothing new that does not know who is attracted by art and read about it; only proven facts of an overwhelming reality “.
On the other hand, Itziar Zabalza Murillo, Adviser of Presidency of the AEPE, made a review comparing two art critiques separated by 80 years and in which it is very clear why criticism has been increasingly moving away from the public and society , since “while the criticism that was published in number 441 of the Gaceta de Bellas Artes, corresponding to the month of January 1935 (Year XXVI), signed by the Galician writer Enrique Estévez Ortega and entitled” A great exhibition “, is fully current and current, that of the critic Fernando Castro, entitled “Murillo, what we lack of the artist”, published in the Cultural ABC of December 12, 2017, is how the critic clearly distances himself from the reader “.
Finally, Mª Dolores Barreda Pérez presented some conclusions resulting from the in-depth analysis of the situation with a clear proposal that directly involved the Spanish Association of Art Critics.
The communication will be published later in the book “Art Criticism: crisis and renewal”, in paper format, but in this same web page, tab “News and Publications”, sub-tab “Interviews and Reports”, the text can be found complete.
The best selling author Javier Sierra rose yesterday with the LXVI Planet Prize novel with the manuscript of The Invisible Fire, presented with the provisional title of The Artificial Mountain under the pseudonym of Victoria Goodman. “I want to dedicate this novel to fellow writers,” he said excitedly for the “impressive moment” because “it is the word where lies the creative force of our civilization.” “It is in the use of the word where is the origin of goodness and evil, that is the invisible fire that we all have in our interior,” explained the author in relation to his novel. Specifically, the plot points to the origin of a word “that changed the fate of Europe in the twelfth century”: “That word is Grail.”
His special collaboration with the Spanish Association of Painters and Sculptors began in 2014, when at the headquarters of the centenary entity, presented for the first time to a specialized audience, composed of painters, restorers, art critics and artists in general, the novel The Master of the Prado.
As Javier Sierra himself said, it was the first time since the publication of the novel, which was directed especially at an audience consisting mainly of painters, that is, those who narrate with their canvases the stories he wanted to unravel in his book, noting the importance of how much they paint for all those who observe his works.
The public, who was enthusiastic about the direct, clear and simple way with which he showed the subject, was receptive until the last moment of the talk, opening after a turn of questions that was very lively and in which Javier Sierra answered to curious questions and qualified many affirmations.
In a lively conversation, and before the session was adjourned, the President of the Spanish Association of Painters and Sculptors, José Gabriel Astudillo, presented him with an engraving that reproduces the cover of the Gazette of Fine Arts, elaborated by the Engraving Department of the entity, as well as an AEPE Medal, which Javier Sierra thanked affectionately.
Soon after, he signed very artistically in the Book of Honor of the Spanish Association of Painters and Sculptors, and received a note of his portrait, elaborated by the students of the Portrait Workshop that took place in the headquarters of the entity.
Javier Sierra took a lot of interest in this meeting, proof of it is that he reflected on his twitter before and after the event, and also on his facebook.
Following this visit to the headquarters, the Gazette of Fine Arts of May 2014 published an exclusive interview conducted by the General Secretary of the AEPE, Mª Dolores Barreda Pérez, which can be seen in this same web tab ” News and publications “, sub-tab” Interviews and reports “.
In June 2014, the AEPE held an end-of-course party, a special day of open doors, which was attended by many members and friends and in which the President of the Spanish Association of Painters and Sculptors, José Gabriel Astudillo López, wanted to personally thank each of the attendees for his involvement with our entity.
For this end-of-course party, students from the Portraits Workshop, friends, partners and artists who wanted to hold a great session in which they painted those who wanted to pose for the occasion, and in which we had a model of exception as was the known writer and journalist Javier Sierra, who maintains a close relationship with the Spanish Association of Painters and Sculptors of collaboration and unconditional support.
But there was also another surprise is that the television network Telemadrid, wanted to live with us the exciting session and so expressed in its television news of 9, with a report by the journalist Teresa Iborra, which brought all viewers to reality of the portrait in Spain.
It is the fact that this has been the first time that television has entered our headquarters on Calle Infantas. It is true that some events organized by the Spanish Association of Painters and Sculptors have already been on television, but this was the first time our headquarters did.
Javier Sierra, who was delighted to pose for such a varied crowd, delighted those gathered there and was, as usual, attentive, kind, solicitous and patient, declaring himself “very honored” to act as an improvised model .
In September of that same year, Javier Sierra surprised us by mentioning the centenary Spanish Association of Painters and Sculptors in the book that had just seen the light “The Immortal Pyramid”, Javier Sierra’s last book in which Napoléon faces one of man’s greatest desires: eternal life. In 2002 Sierra published “The Egyptian Secret of Napoleon”, but this time it was a complete, improved, rewrite of that adventure, with a better plot and new characters.
The author’s generosity towards our organization led him to include the complete name of the Spanish Association of Painters and Sculptors in the section of Acknowledgments, where mentioned José Gabriel Astudillo and Mª Dolores Barreda as President and General Secretary respectively. As the author told us, he could have mentioned them individually and privately, but he preferred to give back part of the love that he has always received from the artists and partners.
Javier Sierra counted for the edition of this book with the special collaboration of Jose Gabriel Astudillo, who made four drawings of bas-reliefs, reason for which also appears in the first pages of the same one.
Already in March 2015, Javier Sierra did not hesitate to accept the invitation of the AEPE to form part of the Jury of the 50 Reina Sofía Prize for Painting and Sculpture, repeating his collaboration in the editions of the 51 and 52 Reina Sofia Prize.
Javier Sierra (Teruel, 1971) is not only one of the most translated fiction authors of recent times – around a quarter of languages - but is the only Spanish writer who has managed to climb the list of best-selling The New York Times. He entered the longed-for top ten in 2006 with The Secret Dinner.
Expert of the thriller of historical enigma and author of a ten of books between novel and essay, Sierra has more than a decade demonstrated more than his abilities of communicator in radio and television, like tertuliano, habitual collaborator or even director of several programs for the small screen, always around the mystery and the past. Among his works, the best-selling novel, The Secret Dinner (2004), the novels El Maestro del Prado (2013) and The Immortal Pyramid (2014) stand out, in order not to expose his essayistic production, such as The Forbidden Route and Other Enigmas of History (2007) and In Search of the Golden Age (2000).
Javier Sierra returns to its purest substance and to which most literary party has taken it because The invisible fire deals with the theme par excellence of the novels of the genre: the mystery of the Holy Grail. A young professor, based in Dublin, of Spanish origin and grandson of a famous writer, travels for a few days to Madrid to participate in a strange study group that is dedicated to follow the trail of the famous Christian relic in literature and the art. And what looks like mere scientific research will soon turn into something else, after the murder of one of the researchers. Following the dangerous track of the coveted Grail, the plot unfolds, as is usual in the author, much historical erudition and a great palette of cultural references, across multiple Spanish stages.