The Hispanic Society of America in New York City is a hidden gem that houses a wealth of treasures, including the famous painting of La Duquesa de Alba by Francisco de Goya. As visitors cross the threshold of the museum, they are greeted by a sign posing the question, „Where is the duchess?“ This iconic painting is just one of the many treasures that the museum holds, and it has recently returned from a European tour, awaiting its reappearance in the fall.
The institution is currently celebrating the centenary of the death of Joaquín Sorolla, a renowned Spanish artist. Guillaume Kientz, the director of the Hispanic Society, explains that they are reopening with a special focus on Sorolla’s legacy. The museum, founded in the early 20th century by Archer Milton Huntington, a wealthy collector enamored with Spanish culture, has undergone extensive renovations over the past two years. The infrastructure upgrades have included improvements to the roof, facade, climate control, air circulation, lighting, and accessibility.
Kientz, who took over as director two years ago, has worked tirelessly to revitalize the museum and bring it back to its former glory. Despite its location in Upper Manhattan, away from the typical tourist hotspots, the Hispanic Society is a cultural treasure trove that is well worth a visit. The recent renovations have been a long and challenging process, with delays caused by a workers‘ strike adding to the timeline.
One of the highlights of the museum is the permanent exhibition dedicated to Joaquín Sorolla, featuring his stunning oil murals depicting the regions of Spain. These murals, commissioned by Huntington in 1911, have only left the museum once before. The museum’s central courtyard, with its red terracotta tiles, complements the Sorolla exhibition with additional works by the artist, including portraits of his wife, Clotilde, and other notable figures.
In addition to Sorolla’s works, the museum also features a unique display of jewelry designed by Luz Camino, as well as pieces by Venezuelan artist Jesús Rafael Soto. Kientz’s innovative approach to curating the museum involves pairing artists from different eras, creating a dialogue between their works. As the museum continues to expand and connect with neighboring buildings, Kientz aims to create a more streamlined and engaging experience for visitors.
The reopening of the Hispanic Society also includes a new exhibition showcasing a portrait of Juan de Pareja, an African artist who was once a slave of Diego Velázquez. Initially attributed to Velázquez, recent studies have revealed that the portrait was likely painted by Velázquez’s son-in-law and pupil, Juan Bautista Martínez del Mazo. As the museum prepares to unveil its renovated spaces and welcome back visitors, the anticipation for the return of La Duquesa de Alba continues to build.