with quintessentialexamplestoexplore Spanish culture, religion andhistory. informationabouteach painting.Soria’sdiscussed includingnew influenceprovided Marino Master paintings to contemporary art. She holds a Ph.D. in art history fromMawr Bryn She College. art. history holdsaPh.D.Master inart paintingstocontemporary Frank Lloyd Wright toGoogie, MSUPress, 2016.At Kresge, shecuratednumerous exhibitionsencompassing Old painting, Old Master prints,andAmericanModernism. Her mostrecent bookisMid-Michigan Modern: From until 2010.She haspublishedonGaspard Dughet,landscapepainter inRome, aseventeen-century onBaroque She asDirector served oftheKresge Museum Art (now theEli andEdythe Broad Museum Art atMSU)from 1986 1 by Francisco Zurbarán, Museum thatdatetotheitsfounding.Martin Soria’s role inacquiringThe Vision of St. Anthony elsewhere. At MSU,Marino tookadvantage ofthestrong Spanish holdingsintheBroad Art and herfriend,Susan J.Bandes recounts mutualinterests inthe Prado Museum collectionand explores that This article the art Nancy F. Marino knew, loved, historian and taught. As an art Abstract Palabras clave: Zurbarán, Dalí, Martin Soria, Madrid, Nancy F. Marino a Marino unoscuadros ejemplares paraexplorarlacultura,religión ehistoriadeEspaña. Dalí. También nueva información sobreaporta las tres obras. La influencia de Soria le proveía el cuadro San Sebastian procedente delestudiodeZurburán yRemordamiento adquisición porMartín Soria deLavisiónSan Antonio dePadua deFrancisco deZurburán, Broad Museum Art de Michigan State University. Aquí Bandes cuenta la historia de la sitios. Marino yaprovechaba disfrutaba delasobrasclásicasespañolasenelEli andEdythe yamiga,cuentadelosintereseshistoriadora delarte mutuosenelMuseo delPrado yotros admirado y enseñado por Nancy explora el arte Este artículo F. Marino. Susan J. Bandes, Resumen

Susan J.Bandes isProfessor HistoryatMichigan ofArt State University andwasDirector ofMuseum Studies. Artículo recibido: xx/xx/xxxx-aceptado: Michigan [email protected] St. Sebastian DALÍ AND NANCY F. MARINO On Zurbarán, Dalí andNancy F. Marino Susan J. Bandes ON ZURBARÁN, by Zurbarán’s studio, 1 and Salvador Dalí’s 1 de Salvador Remorse 131 is is

Miríada Hispánica, 17: pp. 131-150 Miríada Hispánica, 17: pp. 131-150 entourage by Diego Velasquez ondisplay inthemuseum. 132 oftheroyalpainting and then lookaround at laterequestrianportraits family andtheir positive imageofCharles V that continueseven today forthosewhostandinfront ofthe media publicitycampaign” asseenin ’s image, reinforced thealbeitexaggerated victorious emperors (Marino 2014 43-45).Asshewrote, theeffectiveness ofthe “multi- also referencing themythicSt. George andancient Roman equestriansculptures of setting, were literature (‘Avila informedby contemporary yZúñiga’s Comentario)while prints andsculpture. Details ofthe painting,includingthecolorsused,armorand of Mühlberg inthecontextofemperor’s propaganda agendathatincludedballads, attheBattle ofCharles enormous equestrianportrait V commemoratinghisvictory Titian’s oftheroyal portraits familywere alsoofinterest tous.Nancy wrote aboutthe continuing discourse. see thepaintingsinhishome,Ihadsensethathe wouldhave beenpleasedby our 1517 forhispalaceinBrussels, didsotoelicitconversation amongst thoseprivilegedto the personwhoisbelieved tohave commissioned theGarden ofEarthly Delights in reproduced mugs and cards. onnumerous teeshirts, Given that Hendrik IIIof Nassau, you really canseealloftheminutedetailsthatscholarsdiscussendlesslyandare my excitement at studying Hieronymous Bosch’s paintings in person. We discussed how and historicsites.Eachevening shewouldquizmeaboutwhatIhadseen.She shared Biblioteca Nacional deEspañaeachdaytoread manuscriptswhileIheadedtomuseums manytimesinMadrid,the sameapartment whichwasmanytimes.She went tothe experiences, conversation andcomraderie.Nancy wasa creature ofhabits.She rented her inMadrid fortheweek. Andthat’s how IendedupinMadrid thatMarch, sharing that I had not yet made spring break plans. She immediately invited me to stay with One cold winterdayin early 2012, whiledoingan exercise class together, I lamented explore Spanish andculture. history (formerly Kresge Museum) Art atMichigan State University thatsheusedinteachingto as inhighlightsoftheSpanish collectionintheEli art andEdythe Broad Museum Art childhoods. Here Iwill considerourmutualinterests inthePrado inart Museum aswell of New York pizza,the Metropolitan Museum andotherfamiliarplacesfrom our ofArt, travelled together. We alsobondedaseastcoasttransplantsin mid-Michigan andtalked coffee andmeals,inEastLansing,ourhometown, andin Madrid and Paris, where we as humanists, we had much in common. Lots ofmemories relate to conversations over historianwhoteachesRenaissanceart andBaroque myfieldisperipheraltohers,but art, to writeaboutherlove myheadbegantoswimwithimagesoffriend.Asan ofart, ofNancyWhen Iwasaskedtocontributethisspecialissueinmemory F. Marino and Keywords: Zurbarán, Dalí, Martin Soria, Madrid, Nancy F. Marino Susan J.Bandes Tell Us About theReal Thing?”Big Think,24Feb. 2012,accessed3/17/19. 2 it. close totheoriginalbutasscholarMartin Kemp said,there niggley-nessto isacertain would remain wastransferred inthestudioafterportrait tothepatron, itisquite with theLouvre’s, doneby oneofLeonardo’s unnamedstudioassistants.Asacopythat changes, leadingscholarstoconcludethatthePrado paintingwascontemporaneous and detailedtechnicalanalysisshowed compositionalrevisions thatreflected Leonardo’s closetoLeonardo’sunveiled alandscapevery paintingintheLouvre. Moreover, x-rays the blackbackground wasalateraddition.Minus thatbackground, theconservators for centuries,there treatment wasabuzzaboutthediscovery that duringconservation 2012 wastheyear thatthePrado’s copyoftheMona Lisa wasunveiled. Hidden instorage treasured Spanish author, and toSegovia, towalk the pathofitslostJewish heritage.In visit. Theseincludedside tripsto her most Salamanca topayhomage Cervantes, Each dayofmyMadrid stay, Nancy wouldlistsomeof herfavorite placesformeto paintings. lacey, reminding meofsomethelacecollarsandcuffsworn by womenin Spanish executingdifficultpatterns. Oftentheyperfectly very were exceedingly intricateand knitting. While thiswassomethingelsewe hadin common,shewasincredibly skilled, herself wasalwaysstylish.Moreover, oneofherperpetualjoys andconstantactivitieswas the women.It doesn’t surprisemethatNancy wouldturnherattentiontofashionasshe historicalinterpretations, scholarshaveart few paidattentiontothegarments wornby Nevertheless, in Velasquez’s complexpainting,whichhasbeenthesubjectofinnumerable Spaincentury butby mid-century, itwasviewedasoldfashionedintherest ofEurope. guarda infantawornby theInfanta reached unprecedented popularityinseventeenth- original coneshapetoexaggeratethewidthoffemale’s or hips. Thefarthingdale about. By theseventeenth century, moved thehoopsofunderskirt well beyond the Teresa verdugo andherattendantsoriginatedinthefifteenth-century thatshewrote of Nancy’s favorite paintings. The style of the dresses worn by the Infanta Margarita they sayaboutwealth, power andstatus(Colomar). Velasquez’s LasMeninas wasone on thetopicthatconsiderscomplexityofthesegarments,theirevolution, andwhat (Marino topayattentionhistoricSpanish 2001),Istarted fashionandtheliterature After reading Nancy’s about Queen Juana’s article scandalousbehaviorandgarments subtle andjustlyfamous. Lisa provided awaytodistinguishwhatmakestheLouvre paintingmore mysterious, we bothagreed thatwhilebeautifulandinformative, close lookingatthePrado Mona

2 Thatdidn’t stopthecrowds from oglingherinthe Prado, as Nancy andIdid.And Martin Kemp onthePrado Mona Does Lisa,quotedinBobDuggan, the Prado’s “What Mona LisaCopy On Zurbarán, Dalí andNancy F. Marino 133

Miríada Hispánica, 17: pp. 131-150 Miríada Hispánica, 17: pp. 131-150 introduce our students to art oftheperiod. introduce ourstudentstoart 134 Old Master paintings are no longeronview, with specialarrangementswe couldstill it moved buildingdesignedby Zaha Hadid. intoastrikingcontemporary Although the The Kresge Art Museum becamethe Eli and Edythe Broad Art Museum in2010when luckily, museum hassignificantexamplesshetookherstudentstosee. theuniversity art University, Nancy encouraged herstudentstobecomefamiliarwithSpanish and, art In coursesonSpanish herinterdisciplinary andculture atMichigan history State calligraphic flourishesthat were framed andhungintheirhome. things thatNancy enjoyed. She alsoacquired several manuscriptpageswithbeautiful depict shadowed cornersofrooms where womenread, sew, knitandpracticepiano,all by Peter theDanish artist Ilsted (1861-1933).Thesequiet,meditative andmoodyimages included oneofJacques Tissot’s (1836-1902)elegantFrench womenandfive mezzotints The Prisoners andCaprichios painters, especiallytheblackpaintingsinPrado. She owned examplesfrom Goya’s of Warprints suchastheMiseries were toinfluence Goya, anotherof Nancy’s favorite Gobbi of putti,andaprintfrom Jacques Callot’s (1592-1635)Gobbi etchings ofThe Poet andThe Flaying of , ItalianSt. prints Bartholemew sixteenth-century graduated from posterstoOld Master printsincludingJusepe Ribera’s (1591-1652) Nancy notonlyenjoyed withherhusband.They lookingatbutalsocollecting art production. scholar whodevoted herlifetoliterary room, extensive library, andthefamily’s upstairswasindeedatreat livingquarters fora who printedbooksinSpanish. To seethePlantain’s originalprintingpresses, thesales many ofthesmallerpresses inthecity, includingMartin Nuncio’s (active from 1540-58) The press thrived through thecenturiesbecauseofitssize andavailable capital,outliving won thecontracttoprintreligious works forKingPhillip IIaswell asforthepapacy. lavishly illustratedwithengravings.Thisnecessitatedahugeenterprisethateventually for publishingin1568theBiblia Polyglotta , abibletranslatedintofive languagesand largest, mostsuccessfulandlong-lived ofAntwerp’s bookpublishers.It waswell known UNESCO World Heritage Site, was founded in the sixteenth century, and became the collections ofrare booksandinthelattercase,manuscripts.The Plantain Press, a Martin BodmerFoundation inCologny, Switzerland, bothofwhichhave significant travelled, sheappreciated thePlantain-Moretus House inAntwerp, Belgium, andthe paintings. Elsewhere inEurope, where sheandherhusbandFrank McBath often a surprising collection of Bosch, Goya Spanish and numerous seventeenth-century places suchastheMuseo Lázaro Galdiano, aprivate houseturnedintoamuseumwith Madrid, inadditiontotheusualmuseums,shehadafondnessforsmaller, lessvisited depict grotesque, fat, misshapen and contorted dwarves. TheseandotherCallot dwarves. depict grotesque, fat,misshapenandcontorted series. Other nineteenth-century examples she collected series. Other nineteenth-century Susan J.Bandes series circa 1612.The instructor in1948.Heinstructor publishedonSpanish aswell asLatinandSouth art Americanart. seventeenth-century from Harvard University history in 1933andhisPhD inart in1949.He beganteachingatMSUasavisiting 1960) 259,fig.8. slides ofthegreat periodof Western TheacquisitionwasalsolistedinCollegeArt Journal, art. 19.1(Spring teach humanitiescourses,whichallMSUstudentsare required totake,insteadofusingbookillustrationsand workmark atMSU,” thebeginningofalargecollectionqualityart andthatthepaintingcouldbeusedto art, wasontheMSUfaculty.art, Dr. Martin S.Soria (1911-1961),awell-known scholarofSpanish seventeenth-century Mr. andMrs.Howard Stoddard; Mr. andMrs.Clarence S.Roe. Olds Anderson;Mr. andMrs.James F. Mr. Anderton; andMrs.Harold F. Gross; Mr. andMrs.Robert C.Lindell; by theMSU Development Fund; Motor Wheel Corporation;Michigan National Bank; J. W. Knapp Co.; Gladys and other important nineteenth-century British collectorsinSpain nineteenth-century and otherimportant benefitedfrom the Benjamin Williams, aBritish consul in from 1831 through 1856 (121). He the firstpaintingtobepurchased in museum. 1960forthenew February attributed toFrancisco Zurbarán (1598-1664),circa 1635-1640(Fig. 1).It wasalso paintingsinthecollectionisTheOne ofthemostimportant Vision of St. Anthony 5 4 3 in thecommunityprovided fortheacquisition. support Americanart. (thatis,contemporary) century To funds,manypeople raisethenecessary the direction oftheholdings,whichhadbeenenvisionedasspecializingintwentieth- secular institution.Soria arguedthatthis wasanunprecedented tohelpform opportunity acquire theZurbarán, counteringtheobjectiontopurchasing areligious paintingfora and itsearlyacquisitions.He persuadedthethen-President ofMSU,John Hannah, to in theearly19 It hasbeentracedbacktothecollectionofFrancisco Romero deBalsameda inSeville of Lord Wraxall, housedin Tyntesfield, mansionin his British country Wraxall, Bristol. architectural historianNicolas Pevsner madeSoria aware ofSt. Anthony inthecollection on Zurbarán andwasconsidered onthepainter. theleadingexpert In 1955theBritish American Museums,” 27 March 1960.By thenSoria hadcompletedhisdissertation The acquisitionofSt. Anthony madetheNew York Times “Notable Acquisitions in students atthemuseum. widow (Heath inStratton 90-91#6).Thesefeatured inthetoursthat Nancy gave toher thatwasdonatedtothemuseum by ofthesixteenthcentury Soria’sfrom thefirstquarter and awoodchoir-stallpanelfrom Cadiz,attributedtothecircle ofAndrés deNájera Spanish (orSouthern French) (Smith bishopfrom 73-78), thelatefourteenth-century he hadastrong influenceonthe Spanish holdings.Theseincludealargeseatedwood plane crashinBrussels on15February 1961enroute toaninternationalconference,

Soria’s briefbiographyisincludedinSorensen. He received hisBAdegree from theUniversity ofMadrid “MSU Acquires Painting” states the purchase price of $24,000, that President Hannah “hoped it would Broad Museum, Art accessionnumber59.29. Measurements: 180.34x113.03cm.MSUpurchase, funded th century. Nigel Glendinning identifiesitnextinthecollectionof Julian On Zurbarán, Dalí andNancy F. Marino 4 He inthedevelopment ofthemuseum wasinstrumental 5 Until Soria’s tragicdeathina 3 At thattime 135

Miríada Hispánica, 17: pp. 131-150 Miríada Hispánica, 17: pp. 131-150 dry, in Hendry n1.Gibbs erroneously attributesthe Zambrano toZurbarán. years,” Western Daily Press, 29Mar. 2011;accessed 3/12/19. of the collection and returnedpart it to Tyntesfield. “Old Master back in Tyntesfield’s great hall…after100 of the20 consigned by the Wraxall family toFrost andReed Ltd.,aLondondealer, inthemiddle tially from this one. tially from thisone. (Delenda, I,#112),andanotherintheMuseo Cadiz,1638-39(Delenda, deBellas I,#129)differsubstan- Artes, does itrelate stylisticallytoherexamples.Zurbarán’s St. Lawrence, 1636,now intheHermitage inSt. Petersburg 1690). for Seville Cathedral,by AlonsoCano(1601-1667),andJuan de Valdés Leal(1622- was paintedatleastthree timesby Jusepe Ribera,twiceby Murillo includingin 1656 The visionof popular subjectinseventeenth-century . St. Anthonywasa very It sale thattransferred thepaintingtoMSU. was purchased by John T. Sanders, aprivate collector. handledthe In 1960,thisgallery 136 9 8 7 6 where ofthe itcanbeseentodayaspart Trust’s collection. was soldtotheNational Trust thefollowing year. St. Lawrence remained inthehouse members. Following the 2001 death of William Gibbs’ great-grandson, the property the 1860s.Known as Tyntesfield, thehouseanditsfurnishings were inherited by family estatein Wraxalla country in1843andhaditextensively remodeled andexpandedin Zambrano (1598-1639)waslikelyacquired atthistimeaswell. of Gibbs, aBritish businessman,whenheandhiswifevisitedSeville in1853.Apainting Subsequently, St. Anthony wasoneofalargegroup ofpaintingspurchased by William Wadsworth Atheneum, Hartford, Connecticut. and, until1832,Zurbarán’s well-known Martyrdom ofSt. Serapion, 1628,now inthe Velasquez, Bartolomeo EstebanMurillo (1617-1682),probably theBroad’s St Anthony , until it was soldby 1844 (Glendinning 121 and nn24, 25). He owned examplesby Williams amassed what was considered one of the finest private collections in Seville, people orfewercameonthemarket (Glendinning 117).In the1830sandearly 1840s, Between from 1835and1841,theconfiscatedproperty religious institutionsoftwelve suppression of religious orders in1835-36andthesecularizationofreligious property. of St. Francis, Zurbarán is known to have versions painting only a few and additional Simone Cantarini,Domenico Piola, andGiulio Carpioni.Unlike hisnumerous images

St. Lawrence holdinghisGridiron andcrowned by aputtoattributedtoJuan Luis Stoichita, 125-132,on theevolution ofthethemefrom toMurillo. Letter from George Richard LawleyGibbs, 2ndLord Wraxall (1928-2001),16Mar. 1976toFay L.Hen- In 2011,theNational Trust purchased aMater Dolorosa by thestudioofMurillo thathad apparently been Zambrano is discussed in Delenda, II: 2010, 267-273. However, the Tyntesfield painting is not included nor 9 It Italian wasalsodepictedinseventeenth-century printsby Elisabetta Sirani, th century. 8 From there itwent to W. R.Fine Galleries, inDallas, 1948,where it Susan J.Bandes 7

St. Anthony, however, was 6 Gibbs hadpurchased and the importance ofprayer (197384pl.13). and theimportance example ofpost-CounterReformation thatemphasized contemplation, mysticism art Jonathan Brown wasthefirsttopublish Broad version, dating itcirca 1630-33,asan creating thedramaticlightandshadethatfallsonSt. Anthony, andthedaylightbeyond. the miraculous golden yellow and red glow around Christ that illuminatestheinterior, around ofAnthony’s Christ,andthebroad curves habit. Two lightsources are used; echoesthecircularon therightthrough clouds anopening.Thefallofthecurtain a heavyblue-green thatispulledbacktoreveal curtain thelandscapeandskybeyond future sacrifice(MSUAcquires Painting ). Thisscenetakesplaceina vague interiorwith of the child, the cross in his hand, and his reddish mantleofthe Passion, refer to his the goldenburstofclouds.AsMartin Soria explained,themature andmeditative look gazes uptowitnesstheheavens astheyopento reveal theyoung Christchildseatedin beside asimpleprie-dieu In theBroad painting,Anthony, whoiscrowned by abarely visiblegoldhalo,kneels spheres. ofmeditation, andtheinterminglingofheavenly andearthly importance visiondemostrastetheincreasing ofthemomentary him inhisarms.Theseportrayals heavens and other times close to Anthony whoreaches out to touch him or even cradle his humilityandpurityisalsoalwayspresent. TheChristchildsometimesappearsinthe Astalkofwhiteliliesreflectingplace oritmightbeclosedopenonanearby surface. afingertomark his always includedintheimages.Anthonymayholdit,perhapsinsert child whilesayinghisprayers inafriend’s houseinsouthernFrance. Aprayer bookis seventeenth century, thefocuschangedtomiraculousvisionhehadofChrist While inthesixteenthcentury, Anthony’s role asapreacher wasemphasized, by the full-length figure ofthe saint clothed inheavy monasticgarb, kneelingor standing. results ofapriorrestoration. treatment andshowsto the1993conservation the heavyblacklinesespeciallyonthefingers,which were the 11 tion inJerez delaFrontera. followers, 429-430 (# II-176, 177).She writes that another version of the Broad paintingis in a private collec- II, includestheBroad painting(attributedtohisworkshop, #II-175)plustwootherSt. Anthony’s attributedto His hands are clasped and his head is covered by the hood. A minute Christ appears in the upper left. Delende, The latterdepictsakneeling St. Anthonywithhisbookontheground, nexttotwoopenandclosedlilies. 10 examples are attributed tohisstudio. diagonal from upper lefttolower rightandtheChristchildisofsametypewith and publishedby her in2005,there are similarities inthedominantcompositional 35, discovered by Odile Delenda intheChurch ofSaint Romain in Etreham, France,

Brown included thesametextincondensedversion, Zurbarán, 1991,66-67.Theillustrationis prior Delenda liststwoinI;Etreham, 186-189,#42,andintheMuseu inSao deArte Paolo, 211-212,#50. upon whichare hisprayer bookandlilies. eyes, he With watery On Zurbarán, Dalí andNancy F. Marino 10 Images ofSt. Anthonytypicallyfocusonthe 11 In Saint Anthony In ofPadua , dated1630- 137

Miríada Hispánica, 17: pp. 131-150 Miríada Hispánica, 17: pp. 131-150 Anthony rangefrom 1630-35inSeville, orlaterinMadrid, orperhapsitwasexecuted by in 1658 andremained there untilhisdeathin 1664. World, tomore orlesssuccess,andhe,too,softenedhisstyle.He returned toMadrid coming into vogue. As a result, Zurbarán turned to sellinghis paintings in the New commissions, and Bartolomé Esteban Murillo’s newer, softer more refined style was however, the economic situation in the city was changing. There were fewer monastic the famenorcommissionshehadenvisionedandsoreturned toSeville. By 1640, inthedecorationofBuento participate Retiro. Unfortunately, thisbrought himneither Seville, he alsomet Velasquez, who was responsible for inviting him toMadrid in 1634 religious communitythatprovided alucrative market forlarge-scalecommissions.In his career there of the century. in the first quarter A wealthy city, it had an expanding Born inFuente deCantos,Badajoz, Zurbarán wasapprenticed inSeville andstarted examples. The weight ofthegarmentsanddeepcreases ofisfoldsechopolychrome sculptural familiar withnumerous paintedwoodensculptures ofsaintsfoundinSpanish churches. connection toanas-yet unidentifiedprintsource. awkwardand thesomewhat placementofChrist’s righthandmaybeexplainedby its vision. ScholarspointtoZurbarán’s frequent useofprintedimagesforhiscompositions revealing more ofhisfaceandfront, andhehasputhisbookasidetomeditateonthe less boneyBroad Saint Anthony, however, is turnedseveral degrees towards the viewer, tunic withwidesleeves, aknottedrope beltandahoodedcowl. Theslightly younger and masculinity. Both Saints Anthony wear theFriars Minor gray-brown ample and loose while apinkish-red clothswirlsbehindhimandawhitishmaterialmodestlycovers his tunic whereas in theBroad painting,heisseatedwithhischestandlegsuncovered 138 14 workshop tomakemultiplecopiesofanoriginal painting. Creator of Sacred Images,” inDelenda andBorobia, 45-51. He also discusses the useofprintsinZurbarán’s examples,seeBenito Navarrete16th century Prieto, “Concerning Wit, Ingenuity, andCopying:Zurbarán, which achildisheldinsomeone’s arms.On Zurbarán’s reliance Flemish onprints,inparticular andGerman 13 adumbrating Glendinning’s provenance. from Lord Wraxall’s lettertoHendry thattheBroad paintingwaspurchased by Gibbs inSeville in1853,thus from Williams. Although theEtreham paintinghadnot yet been discovered whenGlendinning wrote, we know Glendinning, 121,connectsdeLasRios’ mentiontotheMSUpainting,suggestingthatGibbs purchased it Amador deLasRíosin1844(1979,473),hisdescription of Julian Williams’ collection in Seville. However, scarce andthatitispossiblethiscouldbethepaintingofSaint AnthonywiththeChristchild referred toby Delenda andBorobia, 12 curly blondhair.

For of hislifeandstyle,seeJonathan abriefhistory Brown inBaticle, 1-24. Hendry, 5, speculates that this awkwardness may be due to adapting the position from a composition in Delenda, 2005,243-248.In herdiscussionoftheEtreham St. Anthony inI,186-189,#42,(aswell asin 12 104), shestatesthatreferences indocumentstohispaintingsdepictingSt. Anthonyare In theEtreham painting,hestandswearing anoversized pinkish Susan J.Bandes 13 Likewise, Zurbarán Likewise, wouldhave been 14 Dates proposed for the Broad St.

dark denseblacklines thatoutlinedthejointsoffingersandotherdetailshad made no attempt to get back tothe artist’s originalcolor or intent. On the other hand, ofthewallhave becomemuddled. the floorandstart In thiscase,the conservator of thepaintingwhere thedistanttrees are more brown thangreen andtheedgeof including greens andbrowns becomelessdistinct.Thisisevidentinthe darker areas Another consequenceoftheagingpaintisthattonalrelationships ofsomecolors and understandtheartist’s thoughtprocesses. leaving the connection between them.Nancy andIdiscussedthepros andconsofcovering upor created a parallel between Anthony’s handand Christ’s right hand, strengthening the revised theelongatedandopenpositionofhandtoaslightlyclosedgesture, he natural agingprocess ofoilpainting,theyreveal what isunderneath. When Zurbarán been paintedover butasthetoplayers by becometransparent the artist over timeinthe number ofotherpaintingshave similarpentimenti.Theseoriginalthoughtswouldhave was more exposed.Zurbarán oftenmademinoradjustmentsashewaspaintinganda placement ofAnthony’s lefthand and the garment covering his throat, which originally original composition.Elsewhere, theyshowed thatZurbarán changedhismindaboutthe visible inx-rays.TheseconfirmedthatChrist’s awkward rightarmisindeed Zurbarán’s aswell aswhatwasunderneath, inchofthesurface time Ibecamefamiliarwithevery in1993attheDetroit Lab,undertaken Institute Conservation duringwhich ofArts 16 workshop shouldbereconsidered. reproduced treatment aswell. appearstobepriortheconservation Therefore, bothattributionsto Zurbarán’s had seentheBroad paintinginperson.Gállego’s andthe imageDelenda bookisprior to the1993conservation between Michigan State University andthe University ofMichigan, andGállego’s error, itisdoubtfulthateither “Wichita and 260, fig. 234,places the painting in Falls: Midwestern University.” Based on Delenda’s confusion the artist’s ofthemaster, butnoparticipation studiowithsomesupervision Gállego, II,22.Likewise, 94,#216 by Zurbarán’s workshop after a lost original. She definesobrador, or workshop production as beingrealized in of Michigan’s collectioninAnnArbor, Michigan. Thisis repeated inII,429. To her, itisalater version done 15 someone inhisworkshop. vicissitudes ofwarsuffered at Tyntesfield. had itcleaned.By then,there wasalsowaterdamageontherightsideasaresult ofthe the Christchildhadbeenpaintedover andwasrevealed in1950whenLord Wraxall The Broad St. Anthony several restorations underwent over thecenturies.At onetime, Caravaggesque chiaroscuro. images ofsinglesaintsinmeditationilluminatedwithdramaticlight,andmodeled and stylethatmadeZurbarán famousandsoughtafterinhistime;quietdevotional

Letter from Gibbs to Hendry, n1. Delenda, 2005,246,errsinstatingthattheBroad painting,whichisinEastLansing,theUniversity pentimento visible, and ultimately, concurred that is was enlightening to see 15 On Zurbarán, Dalí andNancy F. Marino Nevertheless, itisanexcellent exampleofthetypesubject 16 Anextensive andlengthytreatment was 139

Miríada Hispánica, 17: pp. 131-150 Miríada Hispánica, 17: pp. 131-150 Christ childisabraded,undoubtedlycausedby theblackpaintthatcovered himup. highlights hadbeenflattenedasa result ofprevious around the relinings andthesurface 140 of paintlosses.Broad Museum Art collectionfile. lined andrevarnished in1960according tolabelonthebackbutvarnish isuneven andthere are anumber 19 ces Laboratory, Detroit Institute Broad ofArts; Museum Art collectionfile. 18 it easyforhisassistantstocopyand emulate. Sevilliancorded painting techniques, She contemporary alsoexplains Zurbarán’s simplifiedmethodthatmade 17 to easily and quickly achieve overall dark and light passages. follows Zurbarán’s typical wayofpaintingfoundinotherexamplesandallowed him imprimatura isagreyish whileitisred-brown colorintheupperportion below. This a two-tonedimprimatura (orfirstpaintlayer) andthenadditionalpaintlayers. The confirmed thatontopofabaseground layer ofwhiteleadinoil, Zurbarán applied aswere projectwas in-paintedby theconservator othersmalllosses.Theconservation burned oroverheated. Asaresult, there waslittleoriginalpaintleftinthisarea andit line. Perhaps tohave litcandlesonthealtarinfront ofthepaintingcausedsurface disintegrated inthearea oftheuppermostpetalstoplilyandbelow itinavertical wereprobably removed. beenaddedinthenineteenthcentury Additionally, painthad in 2000. room ofthefamilyhomeinEastLansingandwasdonatedtomuseum by hiswidow Bernabé deAyala,alittle-known pupilofthemaster(Fig. 2).It hunginthedining for himselfofSt. Sebastian thathe originally attributedtoZurbarán butchangedto Zurbarán was Martin Soria’s specialty. In the late 1950sin Spain, he purchased a painting Baroque Counter-Reformation religious imagery. being abletoshow studentsnotjusthis stylebutarepresentative exampleofSpanish quintessential monasticimageforwhichZurbarán becamefamous,Nancy appreciated beautifully rendered stilllifedetailsoftheprayer bookandthelilies.Because itisthe brown, grey andochre inthegarment, thesensitive playoflightandshade,the show thehallmarks ofZurbarán’s styleincludingthenuancedtonaltreatment ofbeige, painting couldbeappreciated. The result oftheproject wasto reveal areas thatclearly Once thediscolored varnish wasremoved andreplaced, thequalityanddelicacyof open. His shadedfaceisruddy, hischeeksandthetipofnoseare reddened, and ofatree.cloth andhislegsstraddlethetrunk He gazes upward withhismouthslightly and hisleftarmhangsbehindthisside.His torsoiscovered by alooselydrapedwhite youthful, nudeSt. Sebastian. His raised rightarmistiedabove hisheadtoatree limb then, ithasbeenpublishedonlyonce(Stratton-Pruitt 68fig.49). It depictsafull-length

Gift ofMarion ofMartin Soria, Soria 2000.21.1.Measurements: inmemory 107.95x52.7cm.It was Barbara Heller, Survey ConditionReport (12/10/90)and Treatment- Servi Essay(12/1993),Conservation Véliz discussesZurbarán’s techniqueinthecontextofFrancisco Pacheco’s El Arte delapintura,which re - 19 Until itstransfertothemuseum,ithadnotbeenseeninpublicandsince Susan J.Bandes 17 Areas of impasto in the 18

the lower left.Her torsoandhead,whichrests onherraisedrighthand, castalarge, (Fig. 3). Embedded intheSand isameticulouslypaintedsmalloilpaintingoncanvas dated1931 Dalí’s mostinnovative andcriticallyacclaimedperiodofthe1930s.Remorse or More recent Spanish intheBroad art collectionincludes astellarexamplefrom Salvador graphic paintinginherclassestoillustrateSpanish religion andculture. technique,Nancy andseventeenth-century of emotionalbaroque imagery usedthis passages ofpaintingthatare onlyhintedatinthecurrent condition.Asanotherexample ofthepaintingandacleaningwouldhelp torevealmay identifytheartist thebeautiful taut, and muscular body, denies his impending death and martyrdom. Further research mountains and is modeled with chiaroscuro. The Broad St. Sebastian, with his youthful, Like theBroad St. Sebastian, he,too,isseenagainstanaturalsettingofrocks and thatismoretree skeletalthanmuscular. buthisbent body formsalargecurve trunk dark hairhaseacharmtiedtoatree limbatwaistheight.He alsostraddlesthelarge in 1634.In Zurbarán’s St. Sebastian, (Delenda II618)thethin-bodiedsaintwithlong Hercules commissionedfortheHall ofRealms intheBuen Retiro Palace inMadrid St. Peter Nolasco (1629)inthePrado, andtheseriesoftenpaintingsLabors Institutethe earlyexampleinArt ofChicago(1627),theApparition ofSt. Peter to rarely paintednudesotherthanrepresenting Christonthecross several times,including violence. Zurbarán paintedonlyoneSt. Sebastian, dated1650-55,andmoreover, he Broad’s figure. However, Ribera’s figures andstrained,more wrackedwith are wiry the 1652half-lengthpaintinginPrado, thearmsare inthesamepositionas several versions. His 1624printdepictsanelderlyman,fallenonhisknees,whilein back, and often his legs are tied to the tree. Of Zubarán’s contemporaries, Ribera did against death.Sometimes hishandsare raisedandtied together, ortiedbehindhis prints by Dürer andSchongauer typicallyshow ahealthy, muscledoldermanstruggling St. Sebastian hadbeenapopularsubjectforseveralGerman centuries.Sixteenth-century 21 and followers inhercatalogueraisonée,yet, noneseemstobethepainterofthispainting. 20 there mightbe. isnoconsensus astowhotheartist painting confirmanattributionto Zurbarán’s schoolandadateofcirca 1650orlaterbut muscular bodyare strikinglyrealistic. Several scholarswhohave seenphotographsofthe the easiestimagetodinewitheachmeal,asSoria familyrecounted. Thefaceand side ofthebody. Thebodyispierced witharrows andsplotchedwithblood;itwasnot his hairandmustacheare dark. Strong lightfrom theupperleftilluminatesright

Gift ofJohn Wolfram, 61.8.Measurements: 19.05 x26.67cm. Broad Museum Art collection file. out Delenda II set about the huge taskZurbarán’s of sorting workshop 21 In it ablond-haired woman seenfrom the back,ishalfburiedin the sand in On Zurbarán, Dalí andNancy F. Marino 20

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Miríada Hispánica, 17: pp. 131-150 Miríada Hispánica, 17: pp. 131-150 condition thathekeepitforfouryears andthengive ittotheuniversity. were headquartered inLansing,Michigan, steppedintopurchase thepaintingon was the Vice President ofGeneral Motors andGeneral Manager ofOldsmobile, which the paintingfor$2,000butnoacquisitionfundswere available. John Wolfram, who University andwhentheyneededmoney, topurchase Department sheaskedtheArt and Burnham Nelson inherited it. Feragil, a New York gallery. Upon her deathin January 1954, her sonsSam Woodridge 142 26 collection file. 25 24 Collection.” exhibition at the Julian in New Levy Gallery York. Cody, 6-7, illustrates it “courtesy of Frank Crowninshield 23 22 I willdonateittoMichigan State University within five years atthethenappraised I willallow theUniversity todisplaythepaintingatleastfourmonthsa year andthat purchase arrangement wasmodifiedtoapriceof$1,500 “with theunderstanding that When Mr. Wolfram onthatsamedate,the Department wrote totheheadofArt Remorse isabeloved paintingthatiswell publishedandhasbeenexhibitedinternationally. oval faceandthecolorofherskin. appropriate asheexplainedinThe Secret Life of Salvador becauseofher Dalí 1942(VI), signed “Olive Salvador Dalí.” Olive wasthenicknameDalí gavewifeGala, tohisnew Dalí frequently used, and beside her is an eggshape on the ground. The painting is abound; underherskinare awoman’s shoeandaglassofmilk,popularfetishesthat an outcropping ofmountainsthatrecall Dalí’s native Catalonia. Various surreal details long dark shadow ontheground. Thebarren landscapestretches towards thehorizon to happy toconfirmthequalityandauthenticityof your picture.” Detroit Institute theNational ofArt, Gallery, etc.,inthefieldof Spanish painting,Iam Institute Having advisedmanymuseums,includingtheArt the artist. ofChicago,the since 1936,have methimanumberoftimes,andown oneofhisetchings,given meby height ofhissurrealist period….Ihave known Mr. Dalí personally, aswell ashiswork, on 2June 1960,hewrote toMrs. Woodbridge thatit“admirably represents himatthe university inbuildingitscollection.Martin Soria wasasked toevaluate thepaintingand philanthropist, Wolfram whointriguedhimbutalsoassistedthe by artists collectedart Crowninshield. at theJulien inNew LevyGallery York in1933andsoldthefollowing year toFrank Martin Soria hadahandinthepainting’s donationtoKresge. Remorse wasfirstexhibited

Letter from Martin R.Soria toMrs.Dana M. Woodbridge, EastLansing,2June 1960;Broad collectionfile. Letter from Paul Love, Director, Kresge Gallery Art totheSalvador Dalí Archives, 1Nov. 1973;Broad Letter from Sam Woodridge toFay Hendry, 12Sept. 1974; Broad collectionfiles. Riddell describesandillustratesthispaintingwiththetitle“Remorse,” in“Dalí- The Surrealist,” aboutan Among therecent publicationsforexhibitionsare: Bradley 65(detail),#13;Ades, #94;Gale, 84,il.47. 23 In September 1937, it was purchased by Virginia Nelson for $350 from 24 Susan J.Bandes Sam’s wife Dana worked for Michigan State 26 25 Agenerous 22

references discussing this arrangement with Lindsey Decker, then a painting faculty member; Broad collection file. relationship between Dalí andfilm(Gale 84ill.47), and theirrational.Recent exhibitionsin whichthepaintingwasincludedexplored the years encompassing Freudian analysis, dream imagery, and unleashing the unconscious Numerous broad-ranging interpretations ofthepaintinghave been offered over the and expandedtheSpanish art. holdingsintocontemporary best known andpublishedworks inthecollection,itwasprovident thatSoria prevailed Soria’s thepaintingmighthave beenrejected. andsupport, Asoneofthe intervention Pollock. Most wantedlittletodowithSurrealism orrepresentational andwithout art, was primarilyabstractpaintersincludingCharlesPollock, theelderbrother ofJackson facultyintheearly1960s in 1961,hedonatedthepaintingoutright.Thestudioart numerous interesting discussions.Ifeelprivileged tohave hadoccasionsformanyof If Soria’s thatheandNancy Iamcertain lifehadnotbeencutshort, wouldhave had of thelaterwork. difference istheclarityandsincerityofbaroque imageandtheconfoundingmessage supernatural are manifestinquiet,melancholicandmeditative images. Yet, asignificant also seenintheBroad’s Vision ofSt. Anthony. In both,themixofnaturalismand the unreal, imagessuchasthiscanrelate tothetraditionofSpanish religious paintings which theyare painted.By juxtaposingtheminutewithinfinite,and real with and multiple ways of reading his paintings, which seems at odds with the precise way in (Bradleythis timeandpopularized 65#13).Dalí inhisimagery encouragedambiguity Gala/Olive toGradiva, by story theheroineWilhelm ofashort Jensen heanalyzed at the shoeandglassofmilkcaughtbetween fleshandclinging robe. Dalí also related and sand,orburialintheseaofsubconscious.The “sexual instinct” issymbolized by burialinthesand.Theblue-greenand herpartial tonesalsosuggestanequationtosea in Dalí’s work isthesenseofdeath,impliedhere inthegreenish toneofthewoman’s skin than shedoesandisasconcrete andsolidasherbody(Lanthony114).Acommontheme shadow isasmuchthesubjectofpainting asthewoman.It occupieseven more space and despairtingedwitheroticism, andthehaunting,unendinglandscape. Theominous on Dalí’s (Stratton-Pruitt). art What isevidentinthispaintingthefeelingofisolation shadows inSurrealism (Lanthony114),andtheinfluenceof Spanish da, Museum ofModern New Art, York, 2007-2008. Dalí Foundation, withanextensive listingofexhibitionsand publications. 28 27 evaluation.” 29

Letter from J.F. Wolfram toMr. Howard 2June Church, ofArt, headoftheDepartment 1960. Wolfram The exhibitionwasatthe Tate LACMA,Modern (London), Salvador Dali Museum, St. Petersburg, Flori- It iscatalogue number268intheonlinecatalogueraisonné ofSalvador Dali, publishedby theGala-Salvador 27 Clearly, thiswastoprovide themaximumtaxbenefitto Wolfram but On Zurbarán, Dalí andNancy F. Marino 29 themeaningandextensive useof 28

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Miríada Hispánica, 17: pp. 131-150 Miríada Hispánica, 17: pp. 131-150 144 many ways—inherscholarship, teachingandfriendships. home. IsaluteNancy whoselifewastoobrief butwholeftasignificantfootprintin of finewines.Limoncellotheymadetogetherwouldbeoffered withabottletotake odestoherItalianand desserts, heritage.These were accompanied by Frank’s selections best were attheirhome.Nancy whippedupelaborate effortlessly Italian pastas,breads them with her. We often shared meals at local mid-Michigan ethnic restaurants but the Susan J.Bandes Delenda, Odile withAlmudenaRos deBarbero. Francisco deZurbarán, 1598-1664.Vol. I. Delenda, Odile. “San AntoniodePadua: unZurbarán inéditorecuperado enNormandia”, Goya Dalí, Salvador. The Secret Life of Salvador Dalí (transl.by Haakon Chevalier). New York: Dial Colomar, José Luis andAmaliaDescalzo. Spanish Fashion ofEarly attheCourts Modern Europe. Cody, Morrill. “Dalí andtheNew Art”, Art andArtists of Today I.6(1938):6-7. Brown, Jonathan. Zurbarán. New York: N.Abrams, Harry 1991. Brown, Jonathan. Zurbarán. New York: N.Abrams, Harry 1973. Bradley, Fiona andDawn Ades. . London: Salvador Dal i: AMythology Tate Gallery, 1998. Baticle, Jeannine. Zurbarán. New York: Metropolitan Museum 1987. ofArt, Ades, Dawn, Michael R. Taylor, andMontserrat Aguer. Dalí. New York: Rizzoli, 2004. Smith, Molly Teasdale. “A Gothic Woodcarving intheMSUCollection”, Selections from the Riddell, John. “A Byrd inthehand”, Vanity Fair Feb. 1935:49. “MSU Acquires Painting by Zurbarán”, Michigan State News 51.138Feb. 12,1960:1. Marino, Nancy F.V’ andthe Emperor’s “The‘Romance deCarlos Imperial Propaganda Machi Marino, Nancy F. “How thePortuguese Dame Scandalized theCourt”, Essays inMedieval Stu Lanthony, Philippe. Lumière, visionetpeinture. Paris: Citadelles & Mazenod, 2009. Kubler, George and Martin Soria. Hendry, Fay L.“Zurbarán’s Vision of St. Anthony”, Kresge Art Center Bulletin, IX.5(June 1976): Glendinning, Nigel. “Nineteenth-Century British Envoys in Spain and the Taste forSpanish Art Gallego, Julián andJosé Gudiol. Zurbarán, 1598-1664.London:Secker & Warburg, 1977. Delenda, Gale, Matthew, Dawn Ades, Montserrat Aguer, andF Zurbarán. Catálogo razonda ycrítico.Madrid: Fundación Hispánico, Arte 2009. Vol. II:Zur 307-8 (June-October 2005):243-248. Press, 1942. Madrid: CEEH(Centro deEstudiosEuropa Hispanica), 2014. 73-78. Kresge Art Center Bulletin, ed.Paul Love. EastLansing,MI:Michigan State University, 1974. 35-49. ne”, dies 18(2001):43-52. Dominions, UK:Penguin 1500-1800.Harmondsworth, Books,1959. 4-9. in England,” Burlington Magazine 131.1031(Feb. 1989):117-126. seum ofModern 2007. Art, ción báran. Losconjuntosyelobrador. Madrid: Fundación Hispánico, Arte 2010. Caliope: Journal oftheSocietyRenaissance andBaroque Hispanic Poetry, 19.2(2014): Colección-Thyssen Bornemisza,2015. Odile andGuerrero M.Borobia. Zurbarán: ANew Perspective. Madrid: Funda On Zurbarán, Dalí andNancy F. Marino Art and Architecture in Spain and Portugal and Their American Bibliography elix Fanes. Dali &Film. New York: Mu 145 - - - - -

Miríada Hispánica, 17: pp. 131-150 Miríada Hispánica, 17: pp. 131-150 Soria, Martin. The Paintings of Zurbarán. London:Phaidon Press, 1953;2 146 Sorensen, Lee,ed..“Soria, Martin S.” ofArt Historians , Dictionary Stratton, Suzanne L.Spanish Polychrome Sculpture 1500-1800inUnited States Collections , New Véliz, Zahira. “A Painter’s Technique: Zurbarán’s The Holy House of Nazareth”, The Bulletin of Stratton-Pruitt, Suzanne. Dali andThe Spanish Baroque. St. Petersburg, FL:Dalí Museum, 2007. Stoichita,I. Victor York: Books, 1995. the Cleveland Museum ofArt 68.8(1981):271-285. Spanish Institute, 1994. Visionary Experiences intheGoldenVisionary Age ofSpanish Art . London:Reaktion Susan J.Bandes http://arthistorians.info/soriam nd ed.,1955. .

Mr. and Mrs.James F. Mr. Anderton; andMrs.Harold F. Gross; Mr. andMrs.Robert C. Motor Wheel Corp.; Michigan National Bank; J.W. KnappCo.; Gladys Olds Anderson; Lindell; Mr. andMrs.Howard Stoddard; Mr. andMrs.Clarence S.Roe, 59.29 Broad Museum, Art MSUpurchase, fundedby the MSUDevelopment Fund; Fig. 1.Francisco deZurbarán (Spanish, 1598-1664) ca. 1635,Oil oncanvas, 180.34 x113.03cm. On Zurbarán, Dalí andNancy F. Marino The Vision of St. Anthony of Padua Appendix

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Miríada Hispánica, 17: pp. 131-150 Miríada Hispánica, 17: pp. 131-150 148 Broad Museum, Art Gift ofMarion ofMartin Soria, Soria 2000.21.1 inmemory Formerly attributedtoBernabé deAyala (Spanish, c.1625-1689) Fig. 2.SchoolofFrancisco deZurbarán (Spanish, 17thcentury) Saint Sebastian, ca.1650,Oil on canvas, 95x52,7cm. Susan J.Bandes

© Salvador Dalí, Fundació Gala-Salvador Dalí, VEGAP, 2019 Remorse, orSphinx Embedded intheSand, 1931 Broad Museum, Art Gift ofJohn F. Wolfram, 61.8 Fig. 3.Salvador Dalí (Spanish, 1904-1989) On Zurbarán, Dalí andNancy F. Marino Oil oncanvas, (19.05x26.7cm)

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