The ideas of cultural federalism of the Minister of Culture and Sports, Miquel Iceta, have claimed the first victim. The general director of Fine Arts of the Ministry of Culture, Dolores Jiménez-Blanco, has presented her resignation, according to what has been advanced
eldiario.es and has been able to confirm ABC in the environment of the historian, who will return to the university.
Already in his inauguration speech, Miquel Iceta announced that he would implement cultural federalism as a policy in the ministry, a nod to the territorial powers and his own brand, since the Catalan politician has been present in the design of the PSOE pacts with the nationalists, as Minister of Public Administrations. Now according to the aforementioned sources, the minister has pressured Jiménez-Blanco to approve the transfer of several outstanding works of the National Archaeological Museum, among which the Lady of Elche, the Costix bulls or the Flavia Malacitana law.
The general director has put on the table the negative reports who have already advised against the transfer of such fundamental pieces of cultural heritage on other occasions. But Iceta and his advisers have put an order on the table, so Jiménez-Blanco has decided to resign. The party that piloted the transfer to Catalonia of the Salamanca Archive papers, unjustifiably sending several hundred thousand documents that did not even comply with the law, and that has just approved the decree by which it injects 20 million euros into Barcelona for the Called cultural and scientific “cocapitality”, it is now turning over, thus discovering this resignation, in the dismantling of one of the main national museums, that of Archeology, for the sake of theory and the taste of the new Minister of Culture.
The trajectory of this historian passes through the Prado Museum, of which she is a great connoisseur. The tension has accompanied his passage through the ministry because as soon as he arrived, the previous secretary general, Javier García Fernández, who was appointed by Minister José Guirao, had undertaken an in-depth reform of his department. Upon the arrival of Iceta, this tension was revealed by the desire to implement this cultural federalism that would lead to the decentralization of the main works of the National Archaeological Museum, to begin with, within the framework of the campaign to disaffect the role of Madrid. as capital of cultural infrastructures.
The long-awaited Heritage Law (put in the freezer by Iceta) and Patronage (never completely baked) is left without being able to pass, and without even achieving the signing of the agreement with Baroness Carmen Thyssen for the rental of her collection.
Granada, born in 1959, does not honor the, let’s say, difficult character of her countrymen and does show great friendliness. He knows the art world very well, from two perspectives: university and museum, which he has combined throughout his career. Doctor in Art History from the Complutense University of Madrid and Master of Art History and Museum Training at the George Washington University of Washington DC, since 2018 she is director of the Department of Art History of the Complutense. Between 2002 and 2006 she taught at the Pompeu Fabra University of Barcelona, in 2014 she was a visiting professor at the Tres de Febrero University of Buenos Aires and in 2017 she was elected professor of Cultures and Civilizations at the Rey Juan Carlos I Center of the University of New York.
As for museums and art centers, in addition to the aforementioned link to the Prado, has collaborated with international institutions prestigious such as the Phillips Collection in Washington or the Guggenheim Museum in New York. In addition, she has served as a curator in exhibitions for the Museo Reina Sofía (‘Campo Cerrado’ or ‘Art and Power in the Spanish postwar period, 1939-1953’), the Mapfre Foundation, the Juan March Foundation and the César Manrique Foundation in Lanzarote, among other centers. He has also collaborated in the cultural supplement of the newspaper ‘La Vanguardia’.
His publications include ‘Spanish Art in New York’ (Association of Friends of the Hispanic Society and El Viso), ‘Beauty Seekers’ (Ariel) -a history of the great art collectors-, both books written together with Cindy Mack; and a critical edition of ‘Juan Gris. Correspondence and writings’ (Cliff).