Docente

Part A. PERSONAL INFORMATION

(*) Optional

(**) Mandatory

A.1. Current position

A.2.Education

A.3. General indicators of quality of scientific production

• Six-year research period: 2 (two; 1º:1999/2004; 2º:2004/2018).

• Doctoral theses supervised since 2010

1. Las pioneras de la crítica de arte feminista en España (1875-1936). (María África Cabanillas Casafranca; 23/06/2013; UNED; Summa cum laude).
2. La pintora Anselma (1831-1907). Una “Femme du monde” entre Cádiz y París. (Laura Triviño Cabrera; 23/02/2014; UNED; Summa cum laude).
3. Amalia Avia: personalidad creadora e identidad femenina. (Eva Asensio Castañeda; 30/6/2015; UNED; Summa cum laude).
4. Carmen Perujo, una historia de vida. (Pilar Vicente Foronda; 10/12/2015; Universidad de Granada; Summa cum laude; codirection with Carmen Bermúdez).
5. Marga Gil Roësset, destino y destrucción de la escultora y ilustradora. (Montserrat Siso Monter; 16/9/2020; UNED; Cum laude).

Part B. CV SUMMARY

As a result of my doctoral thesis on English and American art criticism (Word and Painting: Anglo-American Art Criticism from 1950 to 1950, read in 1994, and published six years later by UNED), I understood to what extent words and theories are the basis of aesthetic judgement. This discovery occurred during my doctoral study stay in New York (in 1985-6, with a Fullbright scholarship). And there I also witnessed the surge of feminist art and aesthetics. This was then the subject of my next book Women in Art: Mirror and Reality (2000).
From then onwards, my interest has been directed towards the changing evaluation of women artists and the analysis of their works and life (as can be seen by the book chapters that I submit here, plus some before 2010). This perspective forced me to review the History of Art in its entirety and specially the study of women in the Renaissance (the only I+D that I have requested and obtained as IP), since it is then that the notion of "artist" is created and the first female artists emerge. From the courses that I directed, thanks to the I+D grant, a book publication issued: Portrait of the Renaissance Woman (UNED, 2012). This also led me to become interested in iconography as a means by which artists, both men and women, marked their personality on their self-portraits. This knowledge I later applied to the study of some 20th century artists in different articles and book chapters: Warhol (2015), Bill Viola (2016) and my studies on surrealist women artists (2019) and Remedios Varo (2017) which ended up leading to a book: Life of Remedios Varo (2020).

It is also present in my teaching; starting with the Doctorate course entitled: Art and Women, that I taught from 1988 to 2012, and its continuity in the degree of History of Art, as a TFG subject with the title: Woman in art: history, criticism and methodology, and in my TFM line. Logically, this is reflected in the doctoral thesis that I direct, mostly from my doctoral students and my line of TFM.

Fundamentally, I seek to understand and trace the evaluative, and therefore ideological, functioning that has determined the construction of the traditional artistic canon and that excludes women. To modify it, it is important to invent / create / discover new methodological tools and concepts. 

In 2014 I thought about applying sociological tools to the study of the History of Art of women artists in Spain and I began to summon former students. A group ensued with the title: Spanish female painters of the 20th century (PEMS20) was formed, initially mostly an informal group, with meetings throughout the course, until in 2016 it was regularized and attached to the UNED Center for Gender Studies (Ref. G/107) with which I had been collaborating for years.

This group, despite never having received any kind of subsidy or grant, has carried out an extensive and rigorous investigation. It has conducted forty-two personal interviews with painters (born between the twenties and fifties of the twentieth century) from all over the Spanish geography. On the other hand, the members of the group have published articles and reviews of exhibitions and books, both collectively and individually. We have also presented communications at national and international conferences. In addition to an exhibition: Portrait of the young (female) artist in the Central Room of the main UNED Library (from 3/5 to 4/15, 2020). 

This is the link to the exhibition: https://sites.google.com/site/retratodelajovenartistabibuned/

This is our group web link: https://pems20.weebly.com

This is the link to my CV: https://portal.uned.es/portal/page?-pageid=93,69654&-dad=portal&schema=PORTAL

Part C. RELEVANT MERITS

C.1. Publications

Books (Sole author)

-Autor (p. o. de firma): Amparo Serrano de Haro Soriano 

Título: Palabra y pintura, la crítica de arte anglo-norteamericana de 1850 a 1950 (Word and Paint, American and English art criticism from 1850 to 1950)

Clave: L Págs. 1-63 Fecha: 2000 

Editorial: UNED ISBN 84-362-4072-3 

Lugar de publicación: Madrid 

-Autor (p. o. de firma): Amparo Serrano de Haro Soriano 

Título: Mujeres en el Arte: espejo y realidad  (Women in Art: Reality and Reflection)

Clave: L Páginas, inicial: p. 1 final: p. 146 Fecha: 2000 

Editorial: Plaza y Janes ISBN 84-01-37682-3 

Lugar de publicación: Barcelona 

- Vida de Remedios Varo (Life of Remedios Varo). Madrid. Eila Editors. 2019, pp. 13-239. ISBN-13: 978-84-120068-2-7.

Chapters of books

- "The artist woman in the surreal night" (pp.118-136). Women in the Arts. Madrid's community. March. 2018. ISBN: 978-84-451-3738-3.

- “Warhol's raincoat: plastic skin” (pp. 243-287). The sense of skin: support and unveiling. Ekfrasis and Scoiatura. Cañada Blanc Foundation. Valencia. 2015. ISBN: 978-84-930140-6-3.

- “Sofonisba Anguissola: legend and painting” (pp. 19-44). Portrait of the Renaissance Woman, coordinated by Amparo Serrano de Haro and Esther Alegre. Madrid, Editorial UNED, Art and Humanities Collection, 2012. ISBN: 978-84-362-6147-9.

- "The female wound: representations of women in the history of painting" (pp. 173-195). The cultural substratum of gender violence, coordinated by Ángeles de la Concha. Madrid. Editorial Síntesis, 2010. ISBN: 978-84-9756675-9. This book received a Grant from the Institute of Equality (Ministry of Equality).

Book participation

- Brief Dictionary of Feminism. Rosa Cobo and Beatriz Ranea (eds.). Madrid. Catarata Books, 2020. ISBN: 978-84-1352-002-5.

- The spirit of Rome. Vernon Lee (Edition, Foreword and Translation) (pp. 15-165). Madrid. Editorial La línea del Horizonte. Madrid. 2019. ISBN: 978-84-17594-18-3.

Articles

- "The problem of Invitadas in the Prado: matter and methodology". M-Arte y cultura visual. Mujeres en las Artes Visuales (MAV), October 2020.

https://www.m-arteyculturavisual.com/2020/11/02/el-problema-de-invitas-en-el-prado-materia-y-metodologia/

- "The woman in the School of the Academy of Fine Arts of San Fernando (1873-1967)" Academy. Bulletin of the Royal Academy of Fine Arts of San Fernando, Madrid, nº 121. 2019, pp. 111-136 (In collaboration with Africa Cabanillas).

- "Sofonisba in the Prado Museum (2019)". M-arte y cultura visual. Mujeres en las Artes Visuales (MAV), 2019.

- "Tamara de Lempicka: another way to fail", M-Arte y cultura visual. Mujeres en las Artes Visuales (MAV), 2018.

- "Artist couples: a historical exhibition". M-Arte y cultura visual. Mujeres en las Artes Visuales (MAV), 2018.

- "Word and painting in the work of the surrealist painter Remedios Varo" in the special issue 150 of the online Venice magazine Engramma, October 2017.

- "Isabel Quintanilla, praise of the everyday". Descubrir el arte. ISSN: 1578-9047. Madrid, 2017.

- “The movement of miracles” (The movement of the miraculous in Bill Viola) included in the dossier directed by Mieke Bal for the magazine Espacio Tiempo y Forma. Series VII. Art History (New Era) 4. ISSN: 1130-4715. pp. 39-52. Madrid, 2016.

- “Painting before the storm”. Descubrir el arte. ISSN: 1578-9047. Madrid, 2011.

- "Dora Maar". Series VII. Espacio Tiempo y Forma. History of Art (New era) 1. ISSN: 1130-4715. pp. 379 – 380. UNED. Madrid, 2011.

- "Legendary friendships: Carrington and Kahlo". Revista de Libros. ISSN 1137-2249. Volume: 175-176. pp. 42-43. Caja Madrid Foundation. Madrid, 2011.

- "Chéri" or the fate of (late) flowers”Revista de Libros. ISSN 1137-2249. Volume: 160. pp. 35-36. Caja Madrid Foundation. Madrid, 2010.

C.2. Research projects

Project title: Spanish female painters of the 20th century (PEMS20). National University of Distance Education, Center for Gender Studies of the UNED. Approved by the Governing Council on 12/13/2016, Reference: G/107. Responsible researcher: Amparo Serrano de Haro Soriano. Number of participating researchers: 6.

Project title: The creation of the golden cage HUM2006-08950/ARTE. Funding entity: Ministry of Education (MECD), M. National Plan for Scientific Research, Development and Technological Innovation. Participating entities: UNED Duration: 2006-2009. Amount of the subsidy: € 18,000. Responsible researcher: Amparo Serrano de Haro. Number of participating researchers: 2.

Project Title: Literature and gender violence. The representation of violence and the violence of representation (BFF 2003-00655). Funding entity: Ministry of Education (MECD). Participating entity: UNED. Duration: 2003-2007. Responsible researcher: Ángeles de la Concha. Number of participating researchers: 12.

Project title: Mediation and Heritage Management in Europe, Magisthere. Formation continue pour les métiers de la Médiation du Patrimoine en Europe. Funding entity: Leonardo da Vinci Agency (EU) Nª2002-F/02/B/PP-118058. Participating entities: UNED and Úbeda (Spain), Université de Tours (France), Universitá di Cosenza (Italy), University of Pecs (Hungary). Duration: 2002-2005. Responsible researcher: Mª Dolores Antiguedad del Castillo. Number of participating researchers: 4.

C.3. Contracts, technological or transfer merits

2 Exhibitions:

Portrait of the young (female) artist, (Curator with the PEMS20 Group). Main Room of the Central Library of the UNED, from March 5 to April 15, 2020.

Jane Graverol. Le surréalisme au féminin (The feminine surrealism), (Curator) Rouge-Cloître Art Center, Auderghem (Belgium), June 6 and July 23, 2017.

Radio: 27 programs

https://canal.uned.es/buscador?q=Amparo+Serrano+de+Haro#gsc.tab=0&gsc.q=Amparo%20Serrano%20de%20Haro&gsc.sort=date

Art on Youtube: 15 programs

1.- Surrealismo en femenino: Identidad y Deseo (Fundación Cristino de Vera): https://www.youtube.com/watch?v=ceEJLyYFo2s&t=25s

2.- 03-02-2012 Berthe Morisot, la pintora impresionista: https://www.youtube.com/watch?v=KElvL-ywJpc

3.-Julia Margaret Cameron. La fotografía como arte: https://www.youtube.com/watch?v=wOb0ZJorooU

4.- Realistas de Madrid:

https://www.youtube.com/watch?v=hxy_Eb7TX88&t=214s

5.- Artemisia Gentileschi y Sofonisba Anguissola: dos estrategias artísticas diferentes (Fundación Cristino de Vera):

https://www.youtube.com/watch?v=NbXPY_04bQE&t=27s

UNED textbooks: 6 in total (3 from 2010 onwards)

Los realismos del Barroco (Realisms in the Baroque). Con Victoria Soto y VV.AA. Editorial R. Areces. Madrid. 1era ed. 2012, y última edición 2016. ISBN-13: 978-84-9961-213-3. El capítulo: ”Retrato de la pintora barroco (Portrait of the baroque female painter)”, pp. 368-402.

El Arte del siglo XX (Art in the 20th Century). Víctor Nieto y María Dolores Antigüedad. Editorial R. Areces. Madrid, 2011. ISBN-13:978-84-8004-966-5. Cap. 5 (pp. 133-157). Cap. 8-9 (pp. 225-271).

El Arte del siglo XIX (Art in the 19th Cent). Víctor Nieto (et alt). Editorial R. Areces. Madrid, 2010. ISBN-13: 978-84-8004-965-8. Cap. 2 (pp. 55-75). Cap. 6 (pp. 161-183) y Cap. 9 (pp. 245-262).

C.5. Participation in Scientific Activities

Conference Presentations

• The language of pearls in the portraits of Sofonisba Anguissola. The Renaissance Society of America (RSA). Annual meeting:   31 March-2 April 2016.
• The image of the woman artist in Spain: 1975. Journé ed’Étude WAS (Women Artists-Shows-Salons-Societies) : expositions collectives d’artistes femmes durant les années 1970 en Europe et Amérique du nord. Laboratoire de Recherche Artl@s, AWARE (Archives of Women Artists, Research and Exhibitions). Terra Foundation of American Art, Paris. June 14, 2018.

Course Director:

Director of the UNED University Postgraduate Course: History of Art in feminine. The woman artist in history: a proposal for education in equality (from December to May, since 2018).

Numerous other UNED summer courses:

For example: Spanish contemporary painters or those great unknown: a referent of inequality. Associated Center of the National University of Distance Education (UNED). Denia. March 12, 2018.

Conferences

La Magdalena penitente de José de Ribera, Museo Nacional de Prado, October 29, 2017.

Women’s art and the nature/culture debate. European Cultural Parliament, 14th sesión. Gerona, October 30, 2015. 

Autour d´Artemisia Gentileschi. Conference-colloque. Seminaire Biblioteque Universitaire Centrale. Université de Lille 3 (France), April 08, 2014.

Iconografía del Surrealismo en femenino: Identidad y Deseo. V Encuentro Arte y Pensamiento. Fundación Cristino de Vera. Espacio Cultural Caja Canarias (Tenerife), December 12, 2014.

A la luz de la luna eléctrica: paisaje urbano norteamericano. Museo Thyssen-Bornemisza. Madrid, July 12, 2013.

Clasicism, as a timeless concept European Ideas and their Greek Legacy. European Cultural Parlement. 10^th session. Athens, September 14-17, 2010.