Setdart
  • Salvador Dalí, “Christ of Saint John of the Cross”, no. 3/8

    Auction April 22nd

  • Luigi Valadier’s workshop

    Auction April 29th

  • Processional cross. Orense, 1575–1600

    Auction April 29th

  • Attributed to Luis Salvador Carmona

    Auction April 23rd

  • The Alonso Berruguete Circle

    Auction April 23th

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Setdart Magazine

Art exhibitions: a selection of this spring’s must-see events
March 27

Art exhibitions: a selection of this spring’s must-see events

The Easter season and the following months offer an excellent opportunity to combine travel and art with first class international proposals. This selection brings together art exhibitions that balance big names, interesting curatorial contexts and attractive destinations, ideal for both short breaks in Europe and more ambitious trips. Art exhibitions in Spain “In the manner of Italy. Spain and the Mediterranean Gothic” – Museo del Prado May 26 – September 20, 2026 More than an exhibition of “big names”, this proposal stands out for its approach: to understand how artistic ideas traveled in the Middle Ages. Through paintings and key
Skulls in art: from memento mori to hope
March 20
Skulls in art: from memento mori to hope

In art, skulls have been, since ancient times, one of the most powerful symbols to reflect on the human condition. Their presence in ancient painting not only responds to a disturbing aesthetic, but to a deep philosophical and spiritual charge that crosses centuries of history. Triumphal parades in ancient Rome occurred on rare occasions, usually after a major military conquest. The procession of legionaries, captives of the defeated people, treasures and exotic animals culminated with the entrance of the victorious general, acclaimed by the crowd. However, next to him, another man held the laurel wreath and whispered a warning: “you
Art and geography: territory as a strategic asset in the art market
March 19
Art and geography: territory as a strategic asset in the art market

In the current context of the art market – increasingly oriented to traceability, historical contextualization and narrative construction – the precise identification of the place represented in a work has become a differential factor of high economic and patrimonial impact. Within this framework, the axis of art and geography acquires a remarkable relevance. It is not only a matter of determining whether a landscape corresponds to a specific mountain or an identifiable aqueduct; it is a matter of transforming an aesthetic image into a documented territorial asset. When a work can be linked to a verifiable geographical enclave, its value
Francis Picabia in the 1940s: beauty as insurrection
March 6
Francis Picabia in the 1940s: beauty as insurrection

To speak of Francis Picabia is to invoke the great chameleon of the avant-garde, an artist who made contradiction his only homeland. Francis Picabia was a cubist, the driving force of Dadaism in New York and a convinced surrealist, but none of his phases has generated as much discomfort, debate and, finally, fascination as his production during the 1940s. As Europe crumbled under the weight of World War II, Francis Picabia deliberately abandoned abstraction and intellectual experimentalism to embrace an aesthetic that many labeled “vulgar”: female portraiture inspired by the eroticism of mass-market magazines and the iconography of cinema. Picabia
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