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The Mezquita encapsulates about 1,500 years of Cordoban history in one location.

The building that you will see standing on this location is simultaneously called: the Mosque-Cathedral of Cordoba (Mezquita-Catedral de Cordoba), the Great Mosque of Cordoba (Mezquita de Cordoba), and Cathedral of Our Lady of the Assumption (Catedral de Nuestra Senora de la Asuncion). How on Earth did that come to pass? Well, a little history of the site...

Before the Christians were the Moors, and before the Moors, the Visigoths...who had built a (presumably humble, I imagine) church called St. Vincent's here. It was a Catholic church.

When the Moors came along in 711 A.D., everyone prayed happily in the church (most likely different times and different locations in the church). Eventually, the Moorish ruler, Abd al-Rahman I, bought out the Christian interest in the church and ordered construction of the Great Mosque on the site in 784 A.D..

Subsequent rulers expanded the mosque. Abd al-Rahman II ordered a new minaret (the current bell tower) to be built. (The site of the original minaret is a few meters inside the Door of Forgiveness on the patio of oranges.) Al-Hakam II enlarged the building and enriched the mihrab (most important section of the mosque) in 961 A.D. The last of the expansions took place in 987 A.D. under al-Mansur with the completion of the outer naves (practically doubling the size of the building) and courtyard. At that time, the mosque could accommodate about 35,000 people.

There have been subtractions, too. There was once a raised walkway that connected the mosque to the palace which no longer exists.

Architecturally, it was originally a square design with a central nave leading from the door to the mihrab with 5 naves on each side. The columns (jasper, onyx, marble, granite) are from a previous Roman building on site. The double arches are in horseshoe shape (typical Muslim design) and are made of stone and brick in the original section and painted stone in the "new" 987 A.D. expansion.

Well, that's a rough summary of the mosque, but this is a cathedral, too. When King Fernando III reconquered Cordoba in 1236, I'm told he found the mosque so beautiful he didn't want to destroy it. (Look at the Seville Cathedral in contrast; that was the site of the mosque and, well...it's almost completely gone.)

This is the opposite. The minaret stopped being a minaret calling Muslims to prayer and was converted into the bell tower that you see.

The most bizarre thing, though, is the interior of the mosque. Along the edges, the naves have primarily been converted into chapels. There are about 45 chapels around the building. There's also an (old) main chapel and a current chapel which is beautiful. Standing inside the current chapel, you almost forget you're in a mosque. Also, there's a sacristy that has a few treasures and looks like it has no business being in a mosque.

It's a very strange (and beautiful) dynamic that you see in this place. This doesn't come for free, though.

Spanish Muslims would like to pray here in the mosque. It's their history, too. They've petitioned both the Spanish church and the Vatican, only to be repeatedly denied. In 2010, a few Muslim tourists (from an eastern European tour group) prayed here and were stopped by guards who told them to continue with the tour or leave. They began to fight...

Who knows what the future of this place will be? Nothing on this planet seems to last forever.

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Ralph Fasanella, Born New York City 1914

died Yonkers, NY 1997

Iceman Crucified #4, 1958, oil on canvas, 36 x 25 in.

The Iceman Crucified series encapsulates some of Fasanella’s most powerful and poignant artistic themes. His father—Joe the Iceman—is cast as the crucified Christ to explore ideas of suffering and sacrifice, memory and personal growth. The series was a turning point for Fasanella; his artistic vision broke free from the confines of realism and his imagery became deeply personal.

As a child, Ralph worked alongside his father on his ice delivery route, putting in long hard days on tough streets. Iceman Crucified #4 was the final work in and pinnacle of the series. In it Fasanella encompasses old and new worlds and is simultaneously nostalgic and celebratory. The Christ figure is transformed into a heroic presence, serene and full of grace. The traditional INRI is replaced with the phrase that came to be equated with the artist himself: “Lest We Forget”—a clear message to viewers to remember who we are and where we come from.

Ralph Fasanella celebrated the common man and tackled complex issues of postwar America in colorful, socially-minded paintings. Fasanella was born in the Bronx and grew up in the working-class neighborhoods of New York. He became a tireless advocate for laborers’ rights, first as a union organizer and later as a painter.

Fasanella’s parents were among three million Italians who immigrated to America in the early twentieth-century in search of a better life. They taught Ralph about the costs and rewards of hard work. The most lasting lessons they imparted were that family and community came before personal gain, that younger generations stood on the shoulders of those who came before them, and that all Americans could—and should—always fight for their rights.

Fasanella worked as a garment worker, truck driver, ice delivery man, union organizer and gas station owner before he committed himself to painting in 1945. Untrained as an artist, Fasanella developed an astute and accessible style meant to foster social empowerment. His large paintings were memorial tributes, didactic tools, and rallying cries that made the possibility of a better society palpable to his community.

Fasanella is often remembered for his iconic admonition: “Lest We Forget,” an impassioned plea to remember the sacrifices of our forebears. In 2014, the exhibition Ralph Fasanella: Lest We Forget, united the artist’s most powerful works in a celebration of the hundredth anniversary of his birth.

americanart.si.edu/artist/ralph-fasanella-27813

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SAAM’s collection of folk and self-taught art represents the powerful vision of America’s untrained and vernacular artists. Represented in the museum’s collection are pieces that draw on tradition — such as quilts — as well as artworks that reveal a more personal vision. The museum has reimagined its permanent collection galleries for art by untrained artists, which now display several dozen recent acquisitions and an expanded presentation of the beloved Throne of the Third Heaven of the Nations Millennium General Assembly by James Hampton.

americanart.si.edu/exhibitions/folk-art

Recently acquired works by Consuelo Gonzalez Amezcua, Emery Blagdon, David Butler, Ulysses Davis, Ralph Fasanella, Clementine Hunter, Dan Miller, Joe Minter, Eddy Mumma, J.B. Murray, Achilles Rizzoli, Melvin Way, Charlie Willeto, Clarence and Grace Woolsey, Purvis Young, and Albert Zahn join visitor favorites by Thornton Dial, Lonnie Holley, Martín Ramírez, and Jon Serl. A striking presence in the galleries is a display of more than sixty sculptures and paintings by Emery Blagdon that represents his constantly changing Healing Machine. It is the second-largest installation of his work on public view in the United States.

The new installation of the Throne includes Hampton’s personal journal, written primarily in an asemic, or unreadable script, and a chalkboard still showing some of Hampton’s sketched plans for the Throne. Both are on public view for the first time; the journal will be on display for a limited time.

he Smithsonian American Art Museum’s collection of folk and self-taught art represents the powerful vision of America’s untrained and vernacular artists. SAAM is one of the only major museums to clearly advocate for a diverse populist and uniquely American voice within the context of what is traditionally considered great art.

Themes

Artists who are deeply engaged with personal exploration often create works of profound complexity. Recurring themes include struggle and persistence, salvation and protection, and the reshaping of personal worlds through creative expression.

The Collection

SAAM was among the first major museums to champion and collect works by self-taught artists. This aspect of SAAM’s collection spans works that emanate from folk traditions, such as quilting and woodcarving, to highly innovative works of great personal vision. It began in 1970, after the astonishing Throne of The Third Heaven of The Nations’ Millennium General Assembly, made by James Hampton, came to light in a makeshift studio not far from the museum following the artist’s death. Several donors made it possible for this iconic work, understood as a seminal representation of African American cultural and artistic heritage, to become the cornerstone of a collection that aimed to tell an ever-expanding story of America through the art of its people.

Since it acquired Hampton’s “Throne,” the museum has been recognized internationally as a leader in championing the importance of works by artists who have no formal art training. In the early 1980s and 1990s, Chuck and Jan Rosenak donated many important works to the museum. SAAM’s largest single acquisition of works by self-taught artists came in 1986 with more than 500 works from the ground-breaking collection of Herbert Waide Hemphill Jr., which firmly established the museum’s ongoing commitment to this work. Important gifts from Bill Arnett, David L. Davies, the Kallir Family, Josh Feldstein, Margaret Parsons, Judy A. Saslow, Patricia S. Smith, Mike Wilkins and Sheila Duignan, and others followed. In 2016, Douglas O. Robson donated ninety-three works of art from the collection of his mother, Margaret Z. Robson.

Today, SAAM’s collection of folk and self-taught art features more than 400 artists and 1,300 works of art. The collection is one of the most visited and widely admired of its kind.

americanart.si.edu/art/highlights/folk

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