Nicolás Cortés Gallery and Dolce & Gabbana
An Art Exhibition of our Time
By Jessica de Pomar
Photo credits: Nicolás Cortés Gallery
“The Evolution of Portraiture and Fashion, 15th-20th Century “
Since the Renaissance, European cities and above all the city states of pre-unification Italy, such as Florence and Milan, have relied on the creation and contemplation of the aesthetic beauty of fine art, as a way to alleviate the strong challenges they have had to face during their history including wars, pandemics and social isolation as one of the consequences. This is one of the premises on which the Spanish antiques dealer Nicolás Cortés and the well-known Italian firm Dolce & Gabbana, must have based themselves to inaugurate a beautiful art show in Madrid, uniting great master portrait paintings with contemporary fashion design, which can also be virtually visited thanks to 3D technology, one of the most advanced digital platforms nowadays.
The narrative of the art exhibition “The Evolution of Portraiture and Fashion 15th-20th Century”, demonstrates that portraiture and fashion design evolved hand in hand and inspired each other, along the centuries. This can be appreciated throughout the three rooms that make up the exhibition, where the well-groomed protagonists of some twenty canvases, signed by masters such as Jacob Van Oost, Cornelius Schut, Mariano Fortuny, Ignacio Zuloaga and Ramón de Madrazo, among others, converse in subtle complicity with the delicate brocades and vaporous silks of the Dolce & Gabbana Alta Moda — Alta Sartoria, designs. The host of this timeless conclave of art masters and fashion is Nicolás Cortés, a creative and approachable Spanish gallery owner, whose knowledge about marketing strategies and digital synergies reveals him as an antique art dealer of our time.
In order to find out more about this exhibition and also to know his views on the current and future state of the fine arts market, Nicolás welcomed us in his light and spacious office. We start the interview, under the attentive gaze of historical figures depicted in the canvases and surrounded by still life paintings, carvings, art history books and catalogues from auction houses, like Sotheby’s . It is worth mentioning that Nicolás is a well-known participant in the art fair TEFAF Maastrich and his professional background included being linked to Colnaghi, the oldest art gallery in Europe.
In the uncertain times we live in, with this exhibition you have broadened the spectrum of international antiquarianism, taking it towards challenges that position it once again in the present day. How have you achieved this?
Thank you very much Jessica. Certainly the merit is not mine, but rather the incredible team that supports me, because although it is true that success in this profession is based on good intuition, and that passion for what you do is fundamental, surrounding yourself with people who have more expertise than you and knowing how to delegate, is essential. Likewise, Dolce & Gabbana is a prestigious international firm, which, as you know, has always been committed to classical art and I have very good friends there, for a long time.
We have recently seen how the Uffizi Gallery has bought its first “street art” piece. How do you see the future of classical art, a historical heritage that is increasingly articulated with the contemporary and where digital platforms are increasingly necessary?
Although I come from a family of antique art dealers, I’m very familiar with contemporary art and it seems to me that these are two segments that drive each other and that combine quite well. I think that this articulation is part of a natural evolution in line with current trends, just like technology, which is advancing more and more and I’m afraid it’s not going to go backwards.
As with the current pandemic, Brexit has also had important consequences for art and culture in Europe and the UK. How do you think the present and future of European art gallerists will evolve?
Of course. Definitely the bureaucratic red tape and the taxation costs that have been imposed on us are an impediment to the smooth running and fluidity of trade that we have had until now with the UK. For this reason, not being able to count on London, I envision the city of Paris, which also has a great historical, traditional and logistical heritage, as the new world hub for antiques. Actually, we would like to open our next gallery there. On the other hand, we consider the art show TEFAF Maastrich, as another solid base for the classical art trade in Europe.
With regard to Spain, ARCO has achieved great objectives for contemporary art, and has also positioned itself as the first reference for the Ibero-American world. Given the rich heritage and history that Spain and Latin America share, what would be needed to achieve a similar institution in fine art?
That is a very good question, shared by many art professionals. For a long time now, the appropriate laws have not been revised to provide the necessary facilities to promote a benchmark antiques fair, such as the heritage exemption law. I personally and professionally think it would be great to take advantage of the artistic and historical resources between the two regions, also including the ancient régime territory of Flanders, to enhance the value of this artistic heritage.
The evolution of Portraiture and Fashion, 15th-20th Century, from 26 January to 20 March, 2021
