CV

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

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).

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).

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. 10th session. Athens, September 14-17, 2010.