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Map As Tapestry: Science and Art in Pedro Teixeira's 1656 Representation of Madrid
The Art Bulletin ISSN: 0004-3079 (Print) 1559-6478 (Online) Journal homepage: http://www.tandfonline.com/loi/rcab20 Map as Tapestry: Science and Art in Pedro Teixeira's 1656 Representation of Madrid Jesús Escobar To cite this article: Jesús Escobar (2014) Map as Tapestry: Science and Art in Pedro Teixeira's 1656 Representation of Madrid, The Art Bulletin, 96:1, 50-69, DOI: 10.1080/00043079.2014.877305 To link to this article: http://dx.doi.org/10.1080/00043079.2014.877305 Published online: 25 Apr 2014. Submit your article to this journal Article views: 189 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rcab20 Download by: [Northwestern University] Date: 22 September 2016, At: 08:04 Map as Tapestry: Science and Art in Pedro Teixeira’s 1656 Representation of Madrid Jesus Escobar “Mantua of the Carpentana, or Madrid, Royal City” reads the attributed to the overreach of Philip IV’s royal favorite and Latin inscription on the banderole that hovers above Pedro prime minister, Gaspar de Guzman, the count-duke of Teixeira’s monumental map of the Spanish capital, the Topo- Olivares (1587–1645). In 1640, in the midst of the Thirty graphia de la Villa de Madrid (Topography of the town of Years’ War, rebellions arose in Catalonia and Portugal, com- Madrid) (Fig. 1). The text refers to a place from the distant pounding the monarchy’s ongoing financial crises and lead- Roman past, the purported origin of Madrid, as well as the ing to Olivares’s ouster. -
Four Tapestries After Hieronymus Bosch Author(S): Otto Kurz Source: Journal of the Warburg and Courtauld Institutes , 1967, Vol
Four Tapestries after Hieronymus Bosch Author(s): Otto Kurz Source: Journal of the Warburg and Courtauld Institutes , 1967, Vol. 30 (1967), pp. 150- 162 Published by: The Warburg Institute Stable URL: https://www.jstor.org/stable/750740 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms The Warburg Institute is collaborating with JSTOR to digitize, preserve and extend access to Journal of the Warburg and Courtauld Institutes This content downloaded from 132.198.50.13 on Thu, 25 Feb 2021 15:18:23 UTC All use subject to https://about.jstor.org/terms FOUR TAPESTRIES AFTER HIERONYMUS BOSCH By Otto Kurz he first modern biographers of Hieronymus Bosch, Carl Justi and Hermann Dollmayr, knew from F6libien (1685) about the existence of a tapestry after a design by the artist, which was once in the Royal Gardemeuble at Paris, and they had heard rumours about other tapestries after Bosch in the Spanish Royal Collection.' It was natural to assume that Bosch, like so many other Netherlandish painters, had designed tapestries. When in 190o3 the Conde V. de Valencia de Don Juan published, in good reproductions, the magnificent collection of tapestries belonging to the Spanish Crown,2 it became obvious that the tapestries connected with Bosch, although still dating from the sixteenth century, must have been woven a considerable time after the death of the artist (Pls. -
Danaëandvenus and Adonis
AiA Art News-service Danaë and Venus and Adonis Danaë, Titian, 1551-1553. Oil on canvas, 192.5 cm x 114.6 cm. The Wellington Collection, Apsley House Venus and Adonis, Titian, 1554. Oil on canvas, 186 cm x 207 cm. Madrid, Museo Nacional del Prado The first "Poesie" presented to Prince Philip were Danaë(1553) and Venus and Adonis (1554), versions of other previous works, but endowed with all the prestige of the commissioning party. In turn, these works became models for numerous replicas. Danaë depicts the moment in which Jupiter possesses the princess in the form of golden rain. Titian painted his first Danaë in Rome in 1544-45 for Cardinal Alessandro Farnese, in reference to the Cardinal's love affair with a courtesan. This Danaë was the model for the version created for Philip II, in which Cupid was replaced by an old nursemaid, whose inclusion enriched the painting by creating a series of sophisticated counterpoints: youth versus old age; beauty versus loyalty; a nude figure versus a dressed figure. Philip II received this work in 1553 and it was kept in the Spanish Royal Collection, first at the Alcázar and, subsequently, at the Buen Retiro Palace, until Ferdinand VII presented the work to the Duke of Wellington following the Peninsula War. Its original size was similar to that ofVenus and Adonis, but at the end of the 18th century, the upper third of the painting was removed for reasons of preservation. Historical descriptions and a Flemish copy reveal that the upper section included Jupiter's face and an eagle with bolts of lightning, both attributes of this particular god. -
Titian's Later Mythologies Author(S): W
Titian's Later Mythologies Author(s): W. R. Rearick Source: Artibus et Historiae, Vol. 17, No. 33 (1996), pp. 23-67 Published by: IRSA s.c. Stable URL: http://www.jstor.org/stable/1483551 . Accessed: 18/09/2011 17:13 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. IRSA s.c. is collaborating with JSTOR to digitize, preserve and extend access to Artibus et Historiae. http://www.jstor.org W.R. REARICK Titian'sLater Mythologies I Worship of Venus (Madrid,Museo del Prado) in 1518-1519 when the great Assunta (Venice, Frari)was complete and in place. This Seen together, Titian's two major cycles of paintingsof mytho- was followed directlyby the Andrians (Madrid,Museo del Prado), logical subjects stand apart as one of the most significantand sem- and, after an interval, by the Bacchus and Ariadne (London, inal creations of the ItalianRenaissance. And yet, neither his earli- National Gallery) of 1522-1523.4 The sumptuous sensuality and er cycle nor the later series is without lingering problems that dynamic pictorial energy of these pictures dominated Bellini's continue to cloud their image as projected -
Titian, the Rape of Europa, Isabella Stewart Gardner Museum, Boston
Titian, The Rape of Europa, Isabella Stewart Gardner Museum, Boston Titian, Danaë, Wellington Collection, Apsley House, London The National Gallery’s much anticipated exhibition Titian – Love, Desire, Death opened on Monday, 16 March and I was lucky enough to see it the following day. It closed on the Wednesday of that week, together with the Gallery’s permanent collection, due to the Coronavirus crisis. A remarkable display, the most ravishing small-scale exhibition I have ever seen, the official closing date is 15 June, so if the Gallery reopens before then, please try to see it. The exhibition is due to continue at three of the other four art galleries whose generous loans have made this ground breaking art historical event possible: Edinburgh’s Scottish National Gallery, 11 July – 27 September; Madrid’s Prado Mueum, 20 October – 10 January; and Boston’s Isabella Stewart Gardner Museum, 11 February – 9 May next year. So, should we not be able to feast our eyes on these spectacular works in London, we must hope for the opportunity elsewhere. The catalogue for the London, Edinburgh and Boston versions of the exhibition, also titled Titian – Love, Desire, Death is, given the closure of normal booksellers, widely available via Amazon or similar web suppliers: the ISBN number is 978 1 8570 9655 2 and costs £25. The Prado will publish a separate catalogue. As you may know, we have a Study Day in connection with the exhibition scheduled for 13 May and we very much hope that this may still be possible? Meanwhile, by way of anticipation I have written this short review of the exhibition, which I hope you will find of interest? 2 Titian, Venus and Adonis, Prado Museum, Madrid The exhibition represents a series of amazing ‘firsts’. -
'A Boy with a Bird' in the National Gallery: Two Responses to a Titian
02 TB 28 pp001-096 5 low res_REV_TB 27 Prelims.qxd 11/03/2011 14:25 Page 1 NATIONAL GALLERY TECHNICAL BULLETIN VOLUME 28, 2007 National Gallery Company Limited Distributed by Yale University Press 02 TB 28 pp001-096 5 low res_REV_TB 27 Prelims.qxd 11/03/2011 14:25 Page 2 This volume of the Technical Bulletin has been funded by the American Friends of the National Gallery, London with a generous donation from Mrs Charles Wrightsman. Series editor Ashok Roy © National Gallery Company Limited 2007 All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without the prior permission in writing of the publisher. First published in Great Britain in 2007 by National Gallery Company Limited St Vincent House, 30 Orange Street London wc2h 7hh www.nationalgallery.co.uk British Library Cataloguing in Publication Data A catalogue record for this journal is available from the British Library isbn 978 1 85709 357 5 issn 0140 7430 525049 Publisher Kate Bell Project manager Jan Green Editor Diana Davies Designer Tim Harvey Picture research Suzanne Bosman Production Jane Hyne and Penny Le Tissier Repro by Alta Image, London Printed in Italy by Conti Tipocolor FRONT COVER Claude-Oscar Monet, Irises (NG 6383), detail of plate 2, page 59. TITLE PAGE Bernardo Daddi, Four Musical Angels, Oxford, Christ Church, detail of plate 2, page 5. Photographic credits PARIS All photographs reproduced in this Bulletin are Durand-Ruel © The National Gallery, London, unless credited © Archives Durand-Ruel: p. -
THE SPANISH ROYAL HUJ\Lting PORTRAIT from Velazquez to GOYA
THE SPANISH ROYAL HUJ\lTING PORTRAIT FROM VELAzQUEZ TO GOYA by OLIVIA NICOLE MILLER A THESIS Presented to the Department ofArt History and the Graduate School ofthe University of Oregon in partial fulfillment of the requirements for the degree of Master ofArts March 2009 11 "The Spanish Royal Hunting Portrait from Ve1<izquez to Goya," a thesis prepared by Olivia Nicole Miller in partial fulfillment ofthe requirements for the Master ofArts degree in the Department ofArt History. This thesis has been approved and accepted by: Committee in Charge: Dr. Andrew Schulz, Chair Dr. James Harper Prof. Ron Graff Accepted by: Dean ofthe Graduate School III © 2009 Olivia Nicole Miller IV An Abstract ofthe Thesis of Olivia Nicole Miller for the degree of Master ofArts in the Department ofArt History to be taken March 2009 Title: THE SPANISH ROYAL HUNTING PORTRAIT FROM VELAzQUEZ TO GOYA Approved: Andrew Schillz At the Habsburg and Bourbon courts ofearly modem Spain, hunting served as an important regal pastime. It was regarded as both necessary training for warfare and an important court ritual. As a result, Spanish royal hunting portraits comprise a distinct geme ofportraiture, one with its own set ofconventions and iconography that encode monarchic power. This thesis investigates the evolution ofSpanish royal hunting portraits from the reign ofPhilip IV (r. 1621-1665) to that ofCharles IV (r. 1789-1808). It focuses in particular on works by Diego Velazquez (1599-1660) and Francisco Goya (1746-1828). v CURRICULUM VITAE NAME OF AUTHOR: Olivia Nicole -
"Roman Charity" Oil on Canvas: 12 ¼ X 16 Inches / 31.3 X 40.8 Cm
BARTOLOME ESTEBAN MURILLO (1617 Seville 1682) "Roman Charity" Oil on canvas: 12 ¼ x 16 inches / 31.3 x 40.8 cm This oil sketch for Murillo’s Caritas Romana, and a related drawing in the Boymans-van Beuningen Museum, are all that remain of a once-famous composition whose picaresque history ended with its destruction by fire at the Philadelphia Academy of Fine Arts in 1845. A rare classical subject in Murillo’s oeuvre, the theme of Roman Charity is based on the text of Valerius Masimus (Factorum et Dictorum, Book IV, V, 4) which describes how the Roman matron Pero saved the life of her dying father, Cimon, who had been condemned to death by starvation, by giving suckle from her breast. The theme, which was a common subject among the northern followers of Caravaggio, is usually interpreted as an allegory of filial love, but it has been noted that Caravaggio himself included it in his masterpiece The Seven Acts of Mercy (Capodimonte, Naples) as a reference to the charitable act of “feeding the hungry.” It is generally agreed that Murillo based his composition on several engravings after Rubens’s Caritas Romana in the Hermitage, but Enriqueta Harris, while acknowledging this, has astutely observed the differences between the compositions by Rubens and Murillo, and between Murillo’s own preparatory drawing and the finished painting. In the drawing, the matron touches her breast with her right hand, while in the oil sketch and the finished painting she extends her drapery with her right hand, partially covering the nakedness of her father. -
THE EARLY COMMERCIAL and CRITICAL FORTUNES of NEAPOLITAN BAROQUE STILL-LIFE PAINTING Christopher R
129 ‘MORE BEAUTIFUL THAN NATURE ITSELF’: THE EARLY COMMERCIAL AND CRITICAL FORTUNES OF NEAPOLITAN BAROQUE STILL-LIFE PAINTING Christopher R. Marshall Abstract This article considers the early reception of Neapolitan baroque still-life painting by seventeenth- and early eighteenth- century viewers. Although originating as a relatively cheap and critically under-valued picture type, Neapolitan still life nonetheless came to enjoy widespread popularity in baroque Naples. An analysis of primary and early secondary sources (ranging from payment documents, to art inventories, to early writings on art) reveals a surprisingly high value attached to Neapolitan still life from a relatively early date. This contrasts markedly with the situation in Rome where the local specialists were significantly under-priced relative to their Neapolitan counterparts. Neapolitan still life was highly valued in both a critical as well as an economic sense. Early writing on Neapolitan still life is also remarkably free of the commonplace deprecation of still-life imagery in relation to the supposedly more exalted category of history painting that is found so commonly expressed in other European art-theoretical writings. The positive Neapolitan attitude culminates in Bernardo de’ Dominici’s Vite de’ pittori napoletani (1742–45). While the early Roman biographers tended to downplay the achievements of the Roman still-life specialists or else ignore them altogether, de’ Dominici set the seal on the Neapolitan predilection for still life by writing the first systematic account of a regional school of Italian still-life painting. Keywords: Naples, baroque art, still-life painting, art-market studies, Luca Forte, Giacomo Recco, Giuseppe Recco Full text: http://openartsjournal.org/issue-6/article-7 DOI: http://dx.doi.org/10.5456/issn.2050-3679/2018w07 Biographical note Christopher R. -
Madrid, Bilbao, the Rioja & Barcelona November 11
Madrid, Bilbao, The Rioja & Barcelona November 11 – November 19, 2015 LIST OF PARTICIPANTS: 1. Ann Barrett 2. Olin Barrett 3. Barbara de Leon 4. Marcus de Leon 5. Edgar Hirst 6. Robin Hirst 7. Bert Lewitt 8. Raquel Lewitt, International/National Tours Chair 9. Jo Westervelt 10. Scott Westervelt 11. John Miller 12. Kim Miller 13. Jeffrey Rapp 14. Neil Silverman 15. Sherie Schneider 16. Alan Schneider 17. Todd Johnson 18. Deborah Johnson 19. Cathy Partridge 20. Susan Krane 21. Laurie Staude 22. Connie McCreight, Curators Lab Chair 23. Sharon Darnov, Curators Award Exhibition Chair 24. June Sattler 25. Anne Brilliant, Co-Chair 2 FULL TRIP LECTURERS LISA HAHN, Art Horizons International, President Lisa Hahn is President and Founder of Art Horizons International Inc., a special interest art and cultural tour company she formed in 1985 that promotes the arts by creating unique educational travel programs and study tours that focus on art, architecture, and the performing arts in selected cities around the world. Aside from her role in managing Art Horizons Int’l, Lisa personally conducts many of the art and cultural tours around the world… in Europe and in cities all around the U.S. SOFÍA BARROSO, Around Art, President BA in Art History, Universidad Complutense, Madrid. Sofia has run two Art galleries “Arte in Europe” and “Arte-Express” (1983-85/ 1986-89); lectured and directed summer programs for Syracuse University Centre in Spain (1992-2004); was head curator at the March Foundation Contemporary Art Museum in Palma de Mallorca (1995-1997); has directed the ARCO Collectors Program for over eight years and was member of the Board of Friends of ARCO from 2000 to 2006. -
Recommended Hotels Near the Venue
RECOMMENDED HOTELS NEAR THE VENUE Iberostar Las Letras Gran Vía**** Calle Gran Vía, 11, 28013 Madrid, Spain Tel: +34 915 23 79 80 Email: [email protected] Double room for Single use: 144 EUR/room/night including breakfast Double room: 164 EUR/room/night including breakfast Please click on this booking form to make your hotel reservation Deadline for reservation: 01 October 2018 Walking distance to the venue: 2 minutes MAP Vincci Soho Hotel **** Calle del Prado, 18, 28014 Madrid, Spain Tel: +34 911 41 41 00 Email: [email protected] Double room for Single use: 163 EUR/room/night including breakfast Double room: 179 EUR/room/night including breakfast Please click on this booking form to make your hotel reservation Deadline for reservation: 05 October 2018 Walking distance to the venue: 8 minutes MAP SOCIAL PROGRAMME SATURDAY, 24th NOVEMBER 2018 Join a walking tour to the oldest part of Madrid, combining the majestic Royal Palace with the popular atmosphere of Plaza Mayor and surroundings. We will stop to rest and enjoy a drink and a “tapa” at the Mercado de San Miguel. We will finish our visit with a nice lunch in a traditional Madrid restaurant. Plaza Mayor, La Encarnación Monastery and Plaza de la Villa, with buildings erected in the fifteenth, sixteenth and seventeenth centuries – Casa de la Villa (formerly, Madrid City Hall), Los Lujanes Tower, Cisneros House –, are the main architectural complexes built under the Hapsburgs. Another must-see landmark is the Descalzas Reales Monastery, a nunnery that was the royal seat of Charles I of Spain. -
The University of Chicago “What Was She Wearing
THE UNIVERSITY OF CHICAGO “WHAT WAS SHE WEARING?”: LOOKING AT SUSANNA IN GOLDEN AGE SPAIN A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ROMANCE LANGUAGES AND LITERATURES BY KATRINA JUNE POWERS CHICAGO, ILLINOIS DECEMBER 2017 Copyright 2017 by Katrina J. Powers ii In memory of Erik Toews iii Table of Contents List of Figures ............................................................................................................................... vi Acknowledgements .................................................................................................................... viii Abstract ...........................................................................................................................................x Introduction ....................................................................................................................................1 I. The biblical tale and its critics ..........................................................................................3 II. Susanna and rape culture ................................................................................................16 III. Structure and methodology ............................................................................................30 Chapter I: “Ora en el vano yace en gran delectacion”: Susanna in Two Sixteenth-Century Plays ..............................................................................................................................................34