Here is one Royal Academy exhibition that refuses to be pigeonholed

This isn’t an exhibition about Spain. Not the Spain you go on holidays to anyway. Not even the Spain of Velazquez and Goya – both of whose works feature prominently in the promotional material. But don’t worry. I am not suggesting that the Royal Academy is misleading you in any way.

Alhambra Silk, Nasrid, Granada, c. 1400. Silk, 237.5 x 152.3 cm. On loan from The Hispanic Society of America, New York, NY

The secret is in the title. “Spain and the Hispanic World. Treasures from the Hispanic Society Museum & Library.” It is a show about a collection, an incredible one. It is an exhibition of masterpieces – or treasures – no doubt.  It surveys a culture that goes way beyond the borders of Spain – that of the ‘Hispanic World’ – an entity without firm borders but defined by being related to Spain or Spanish language. In its turn Spain itself is shown as an amalgam of cultures – both in its origins and even in its present.

The exhibition is arranged chronologically. In the first room you’ll meet something familiar (if you are from the British Isles). Chunky silver jewellery with intricate swirling geometric motifs. Is it Celtic? Not quite – Celtiberian. These come from the Palencia Hoard and are around 2100 years old. The fascinating Celtiberians spoke a Celtic-style language, used the Iberian alphabet and were known to be fierce in battle, preferring suicide to surrender. This culture was one of many that can be associated with the territory of modern Spain. It was both an end of the world – with only massive ocean beyond it - and a crossroads of the world. DNA and archaeological studies confirm the presence of people originating from Africa, Asia and Europe.

Map of Tequaltiche, Teocaltiche, Jalisco, Mexico, 1584. Watercolour and ink on paper, 86.3 x 124.5 cm. On loan from The Hispanic Society of America, New York, NY

Like the rest of Europe, at some point even the ferocious local cultures succumbed to Roman rule. Once that was finished, Muslim culture quickly took over. And with it came scientific know-how unequalled anywhere else in Europe at the time. This made Cordoba – the califate’s capital – Western Europe’s biggest city. Multicultural, multi-faith Al-Andalus prized education, literature, arts, and trade. One of the shining examples of its culture is found in the second room – an Alhambra Silk from around 1400. It is believed Muslims introduced silkworms to Iberia. The area soon became well known for its intricate silks – this one with patterns similar to the tiles in Alhambra Palace in Granada. When Christians eventually forced the Muslims out, they were keen to keep the silks. This one ended up in a convent.

During the rule of Islam both Jews and Christians formed part of Al-Andalus society, but once the Muslims were out, Jews were expelled soon after. An absolutely magnificent illuminated Hebrew Bible is presented in the central grand room. With richly coloured images of real and imaginary animals, it shines with gilt text and borders. The story of this object is the story of antisemitism in Christian Europe of the 15th century. Written and illuminated in Spain, it travelled to Portugal in 1492, but soon after Jews and Muslims were banished from there too. In this exhibition – that seems to relish the intercultural connections – the Hebrew Bible is displayed next to the Black Book of Hours (c.1458). Made in Belgium, it was commissioned by María of Castille, but was never finished, as the patron died. It is one of only three known examples of illuminated books of hours that used black stained parchment. With silver and gold writing it does produce a striking effect.

Diego Rodríguez de Silva y Velázquez, Portrait of a Little Girl, c. 1638-42. Oil on canvas, 51.5 x 41 cm. On loan from The Hispanic Society of America, New York, NY

After slightly more sombre rooms with smaller or decorative objects we are then met by many seriously impressive paintings. Some by no other than Diego Velázquez. There is an intimate Portrait of a Girl (c. 1638-42) with a curious juxtaposition of carefully rendered face and almost modern use of loose brushstrokes for the dress. On another wall a grand portrait of the man who ran Spain on behalf of the king for two decades in the 17th century. Gaspar de Guzmán, Count-Duke of Olivares was Spain’s counterpart for France’s all-powerful Cardinal Richelieu. Velázquez uses almost minimalist background and concentrates (and exaggerates?) on the sitter’s grandeur and status. He occupies almost the entire surface of the painting – a tall, imposing man in intricately detailed clothes, showing off his regalia. Spain lost a lot during his rule, not least the loyalty of the Catalan people – whose anthem to this day is a celebration of beating the garrisons he sent.

Another twist of cultural exchange examined at the show is the mutual influence of Spain and its colonies. You might have heard that the sun has never set on the British Empire. Well, Spain got there first – in the 16th century. Rather a dubious achievement by modern standards, but also the source of all the riches that in turn led to the glorious accomplishments in art that the Hispanic Society and RA exhibition celebrate.

Portable writing desk, Pasto, Colombia, c. 1684. Barniz de Pasto lacquer on wood, 19 x 36 x 30.5 cm. On loan from The Hispanic Society of America, New York, NY

One example of this cultural exchange is a work by an indigenous Ecuadorian sculptor Manuel Chili, known as Caspicara, on a Christian subject. The Four Fates of Man (c.1775) shows in no uncertain terms the distinction between afterlife fates for different levels of sinners. Once your body is eaten by worms, would you like your soul to be roasted in hell’s fires, forced to repent forever, or pass straight into heaven in a rather lovely frock? Well, that’s up to you, think on your sins. If you want to indulge a bit in the unboxing videos craze, but still hold on to a modicum of decorum – head to the RA’s website to see this charming work arriving at the gallery.

Attributed to Manuel Chili, called Caspicara, The Four Fates of Man: Death, Soul in Hell, Soul in Purgatory, Soul in Heaven, Ecuador c. 1775. Polychromed wood, glass and metal, 17.9 x 11.8 x 8.4 cm, 17.9 x 14.5 x 8 cm, 16.9 x 11.1 x 12.3 cm, 17.6 x 11 x 12.3 cm. On loan from The Hispanic Society of America, New York, NY

Once you have recovered from all the doom and gloom, come face to face with the Hispanic Society’s ‘Mona Lisa’: The Duchess of Alba (1797) in full, resplendent mourning, by Francisco de Goya. She is on all the posters, she is full height and in all black (almost) – you can’t miss her. Goya is famous for paintings that deal with the darker side of life – war, madness, violence. However, it was this portrait that he kept in his studio long after the duchess died. There were rumours. Considering she is pointing at an inscription in the sand that reads ‘Solo Goya’ – Only Goya, that’s not surprising. He also painted two rings onto her fingers – after she died. Guess what they are engraved with. Yes: Goya and Alba. Historians believe the match was impossible due to class divide. They haven’t seen the movie Titanic.

But then again, she is wearing her late husband’s military sash. She is in appropriate mourning black. Except of course she isn’t – she is wearing gold, her black shawl barely covers the fact. Her pose, facial expression, choice of clothes – all show her confidence as ‘the incomparable widow’ and I reckon a bit of an affront – to death, or possibly to society? Goya was like that himself. Was ‘Only Goya’ a reference to his unrivalled skills as an artist, or did he ‘write his name in the sand’?

Francisco de Goya y Lucientes, The Duchess of Alba, 1797. Oil on canvas, 210.3 x 149.3 cm. On loan from The Hispanic Society of America, New York, NY

The exhibition finishes with works by artists who were contemporary to the Hispanic Society’s founder – the art collector Archer Milton Huntington. He was after both history and modern art – he was hoping to ‘condense the soul of Spain into meanings, through works of the hand and spirit.’ He chose two Spanish artists who portrayed opposing visions of the culture: Joaquín Sorolla and Ignacio Zuloaga. While Sorolla was ‘Spain’s painter of light’, Zuloaga’s paintings were sometimes viewed as undesirable images of the country. In his grand The Family of the Gypsy Bullfighter (1903) he addresses several controversial issues – Spain’s rather brutal traditions, the status of celebrity, and the Roma people’s position in that society. Bullfighting and flamenco seem like quintessential elements of Spanish culture to tourists and outsiders; both have links to Roma people. Zuloaga, like other European artists at the time, saw an affinity to la bohème – a French term for the Roma – admiring and romanticising their desire for freedom and unconventional living.

With such a variety of cultures, religions, and historical periods represented in the exhibition, it almost feels like a rapid museum visit. Oh wait – it all comes from one museum! The chronological display makes logical sense but means the beginning of the exhibition is interesting rather than impressive. This is far removed from the ‘immersive’ trend now propagated even by such old grands as the British Museum. To some extent the Hispanic Society Museum was an early adopter of immersive architecture – stepping into the museum, one is leaving New York and entering a Spanish Renaissance-style covered courtyard: 35ft-tall, specially-made, ornate architectural terracotta with designs copied from 16th century originals. If you can imagine a museum making an entrance, this would be the prime example.

In contrast, when walking into the exhibition at the RA I wondered if I was in the right place – the little entrance room is entirely black. I also overheard people wondering if the exhibition was about Spain, as the first room of Celtic-looking jewellery wasn’t quite saying ‘Spain’ as the posters were.

Possibly this was the point of the show – and the museum’s collection: that Hispanic culture is so rich and varied that it cannot and should not be pigeonholed into a set of touristy stereotypes. To some degree the exhibition even reveals that the Spanish themselves sometimes want to narrow their culture to exclude undesirable elements. And then there are those who would want to exclude themselves from this Hispanic world. But that is for another show.

Spain and the Hispanic World: Treasures from the Hispanic Society Museum & Library, Royal Academy of Arts, London, 21 January - 10 April 2023