Spanish Master Drawings from Cano to Picasso
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The Baroque Age by Gema De La Torre Is Licensed Under a Unit 8 – the Baroque Age Creative Commons Reconocimiento-Nocomercial 4.0 Internacional License
The Baroque Age by Gema de la Torre is licensed under a Unit 8 – The Baroque Age Creative Commons Reconocimiento-NoComercial 4.0 Internacional License Unit 8 – The Baroque age Index 1. Society ................................................................................................................................................... 2 2. Political Systems ................................................................................................................................... 2 2.1. Absolutism ..................................................................................................................................... 2 2.2. The Parliamentary Systems ........................................................................................................... 4 3. International Relations .......................................................................................................................... 5 3.1. The Thirty Years' War (1618-1648) ............................................................................................... 5 3.2 The Franco-Spanish War (1648-59) ............................................................................................... 5 4. The Scientific Revolution .................................................................................................................... 5 4.1. New Philosophical Movements. .................................................................................................... 6 Empiricism...................................................................................................................................... -
Scanned Using Book Scancenter 5022
The RUTGERS ART REVIEW Published Annually by the Students of the Graduate Program in Art History at Rutgers university Spring 1984 Volume V II Corporate Matching Funds Martin Eidclberg Carrier Corporation Foundation. Inc. Mrs. Helmut von Erffa Citicorp Dino Philip Galiano Seth A. Gopin Lifetime Benefactor Daria K. Gorman Henfield Foundation Mary C. Gray Nathaniel Gurien Benefactors Marion Husid In memory of Mary Bartlett Linda R. Idetberger Cowdrey Nancy M. KatzolT John and Katherine Kenfield Patrons Mr. and Mrs. Sanford Kirschenbaum In memory of Frank S. Allmuth, Julia M. Lappegaard Class of 1920 Cynthia and David Lawrence Mr. and Mrs. John L. Ayer Patricia I..eightcn Olga and Oev Berendsen Deborah Leuchovius Robert P. and Marcelle Bergman Marion and Allan Maiilin Dianne M. Green Ricky A. Malkin Frima and Larry Hofrichter Tod A. Marder Robert S. Peckar Joan Marter Paul S. Sheikewiiz, M.D. Thomas Mohle Jeffrey Wechsler Roberto A. Moya Scott E. Pringle Supporters Eliot Rowlands Carol and Jerry Alterman Anita Sagarese Randi Joan Alterman John M. Schwebke Richard Derr John Beldon Scott Archer St. Clair Harvey Mr. and Mrs. Eugene Seitz William E. Havemeyer Marie A. Somma Dr. Robert Kaita and Ms. Chiu-Tze Jack and Helga Spector Lin James H. Stubblebine Mr. and Mrs. Edward J. Linky Richard and Miriam Wallman Mr. and Mrs. James McLachlan Harvey and Judith Waterman Barbara and Howard Mitnick Michael F. Weber Elizabeth M. Thompson Sarah B. Wilk Lorraine Zito*Durand Friends Department of Art History, University of Ann Conover, Inc. Delaware Keith Asszony The Pennsylvania State University, Renee and Matthew Baigell Department of Art History William and Elizabeth Bauer The Graduate School-New Brunswick, Naomi Boretz Rutgers University Phillip Dennis Cate Jane Voorhees Zimmerli Art Museum Zeau C. -
Nueva Información Sobre Alonso Cano
AEA, LXXVII, 2004, 305, pp. 75 a 97. ISSN: 0004-0428 VARIA NUEVA INFORMACIÓN SOBRE ALONSO CANO Como aportación documental al cuarto centenario del nacimiento del pintor, escultor y arqui tecto granadino Alonso Cano (1601-1667) presentamos una nueva noticia que esperamos ayude en futuras investigaciones a precisar aún más sobre la vida y obra de tan destacado genio '. En contadas ocasiones hallamos testimonio escrito donde se efectúa un contrato artístico para una clientela particular al margen de los habituales encargos eclesiásticos o reales en tor no a los pintores españoles del siglo xvii ^. El 28 de mayo de 1660 Cano concierta en Madrid la elaboración de una nueva obra dentro de su producción pictórica I Licenciado, Racionero de la Santa Iglesia de Granada y Procurador Fiscal de la Cámara Apostólica de esta ciudad, se omite a priori junto a estos oficios su profesión por la pintura. El encargo se efectúa por orden de Blas López, un maestro del arte de escribir del que hasta el momento carecemos de más información. Mediante convenio se especifica que Alonso Cano «le halla de hacer de pintura un cuadro con dos figuras, la una de Nuestro Señor tendido en el regazo de Nuestra Señora, que a de ser la otra figura» con unas medidas de «dos varas y media de ancho y dos varas de alto». La obra será entregada en «octubre que viene de este presente año» y su coste será de mil reales de vellón haciéndose el pago mediante «diferentes alhajas y estampas». Tras el pro tocolo habitual en este tipo de contratos aparecen como testigos Tomás de Almansa y la Plaza, Juan Ruiz y Juan Alvarez '^. -
The Immaculate Conception C
[5] granada school, second half of the 17th century The Immaculate Conception c. 1650-1680 Black chalk, pen and black ink and white wash on paper 360 x 235 mm he frequent depiction of the Immaculate Conception rosy cheeks, her beautiful hair spread out and the colour of in 17th -century Spain can be seen as a responding gold [...]. She must be painted wearing a white tunic and to a desire to defend the cult of the Virgin and her blue mantle [and be] crowned with stars; twelve stars forming T 1 virginity against Protestant doubts. Stylistically, depictions a bright circle between glowing light, with her holy brow as of this subject evolved in parallel to the general evolution of the central point.” 2 17 th -century art. Thus, in the fi rst third of the century such Cano’s Immaculate Conceptions evolved in parallel to images were characterised by a restrained, tranquil mood with his work as a whole but always remained faithful to Pacheco’s the Virgin presented as a static, frontal fi gure. In the second precepts. They range from his most static depictions of the third of the century, however, a new approach showed her as early 1620s, such as the one in a private French collection, 3 advancing forward majestically with a suggestion of upward to those from the end of his career, which convey the greatest movement in the draperies. Finally, in the last third of the sense of movement, including the ones painted for the century the fi gure of Mary soared upwards, enveloped in cathedrals in Granada (c. -
The Fall Into Oblivion of the Works of the Slave Painter Juan De Pareja. Art in Translation, 4 (2)
Fracchia, C., and Macartney, H. (2012) The Fall into Oblivion of the Works of the Slave Painter Juan de Pareja. Art in Translation, 4 (2). ISSN 1756-1310 http://eprints.gla.ac.uk/68437/ Deposited on: 4 September 2012 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Art in Translation, 4:2 (June 2012), 63-84, translated by Hilary Macartney The Fall into Oblivion of the Works of the Slave Painter Juan de Pareja Carmen Fracchia Birkbeck College, University of London, UK In this essay I will focus on the mechanisms of forgetting and oversight of the works of the Spanish artist Juan de Pareja (Antequera, c. 1606 – Madrid, 1670), and the consequent lack of critical recognition he has suffered up to the last ten years. Juan de Pareja was a mulatto painter and slave who succeeded in forging an independent artistic career in seventeenth-century Spain, at a time when, in theory, only those who were free could practice the art of painting. Pareja was the slave and collaborator of the celebrated painter Diego Velázquez (1599-1660) at the court of Philip IV in Madrid, where he was an exceptional case, as was also the relationship between master and slave.1 Pareja, who was able to read and write, acted as legal witness for Velázquez in documents dating from 1634 to 1653, both in Spain and in Italy, where he went with his master from 1649 to 1651.2 During Velázquez’s second stay in Italy, he immortalized his slave in an extraordinary portrait which he exhibited in the Pantheon in Rome on 19 March 1650,3 six months before he signed the document of manumission of Pareja. -
José De Mora SAINT ANTHONY of PADUA
José de Mora Baza, 1642 – Granada, 1724 SAINT ANTHONY OF PADUA José de Mora Baza, 1642 – Granada, 1724 Saint Anthony of Padua Ca 1700-1720 Polychrome wood Saint: 40.5; plinth: 15; whole: 55.5 cm Saint Anthony: height 56.5 cm, plinth base width 22×22 cm, plinth height 16 cm Figure 40.5 cm Saint Anthony of Padua was actually of Portuguese descent, born to a noble family from Lisbon. When he was fifteen years old he became an Augustinian monk, changing into a Franciscan in 1221. As a preacher he traveled around Spain, northern Africa and Italy, where he even met Saint Francis. He taught theology in Bologna and later he toured France while exercising his pastoral ministry. He spent his final years in Padua, where he died in 1231. After the sixteenth century, his worship reaches an enormous dimension, and he becomes one of the most popular and beloved saints, his image being widely spread through many media. The work under study results from the miraculous scene that will have the greatest impact on the iconography of the Portuguese saint, the appearance of the Infant Jesus, which during the Early Modern Period will become his most common attribute and one of the classic representations. In addition, it is also very common for the Child to appear standing or sitting on an open or closed book. In fact, this latter iconographic element does not appear in the hagiographic account. It might stem from some other traditions in which the miracle is said to have occurred while the Saint was preaching about the Incarnation dogma, so the vision allegedly arose from his reading, with the Child descending in order to attest it. -
Velazquez's Las Meninas
Cambridge University Press 978-0-521-80057-0 - Velázquez’s Las Meninas Edited by Suzanne L. Stratton-Pruitt Excerpt More information 1 suzanne l. stratton-pruitt INTRODUCTION King Philip IV of Spain died in 1666, six years after the death of his court painter Diego de Velazquez´ y Silva. As required by the king’s death, the painter Juan Bautista Mart´ınez del Mazo, Velazquez’s´ son-in-law, proceeded to inventory the royal collection of paintings. In this 1666 inventory, the first written record of a work created in 1656, Mazo described a large painting “portraying” the Infanta Margarita with “her ladies-in-waiting [meninas] and a female dwarf, by the hand of Velazquez.”´ The first substantive description of the painting is in a manuscript treatise on painting, dated 1696, by the Portuguese Felix da Costa: To Diego de Velazquez´ the painter, Philip IV,King of Castile, gave the order of Santiago, which is the chief honor of that realm, as well as the key of the [royal] chamber. His own wit perpetuated this honor in a picture which adorns a room of the palace at Madrid, showing the portrait of the Empress, the daughter of Philip IV, together with his own. Velazquez´ painted himself in a cape bearing the cross of Santiago, with the key [to the chamber] at his belt, and holding a palette of oils and brushes in the act of painting, with his glance upon the Empress, and putting his hand with the brush to the canvas. At his left, and on the other side of the picture, we see the little Princess standing among kneeling ladies-in-waiting who are amusing her. -
Virgin and Child and Portraits Pedro Atanasio Bocanegra: the Creative Context
Virgin and Child and portraits Pedro Atanasio Bocanegra: the creative context Javier Portús This text is published under an international Attribution-NonCommercial-NoDerivs Creative Commons licence (BY-NC-ND), version 4.0. It may therefore be circulated, copied and reproduced (with no alteration to the contents), but for educational and research purposes only and always citing its author and provenance. It may not be used commercially. View the terms and conditions of this licence at http://creativecommons.org/licenses/by-ncnd/4.0/legalcode Using and copying images are prohibited unless expressly authorised by the owners of the photographs and/or copyright of the works. © of the texts: Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao Photography credits © Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao: fig. 1 © Catedral de Málaga. Photography: Eduardo Nieto, 2005: fig. 5 © Convento de San José de las Carmelitas Descalzas de Antequera, Málaga. Photography: Antonio Rama, 2005: fig. 2 © Curia Eclesiástica de Granada. Photography: Carlos Madero López, 2005: fig. 4 © Museo Nacional del Prado, cat. 6588, deposited, Museo de Bellas Artes de Granada. Photography: Vicente del Amo, 1998: fig. 3 Text published in: B’05 : Buletina = Boletín = Bulletin. Bilbao : Bilboko Arte Eder Museoa = Museo de Bellas Artes de Bilbao = Bilbao Fine Arts Museum, no. 1, 2006, pp. 43-66. Sponsored by: irgin and Child and portraits, by Pedro Atanasio Bocanegra (1638-1689) [fig. 1] is a quality addition to the collection of Bilbao Fine Arts Museum that already offers a notable overview of Spanish Golden V Age paint ing, with splendid works by Ribera, Zurbarán and Murillo, among others. -
Las Pinturas Barrocas De Antonio Palomino En La Bóveda De La Capilla Del Sagrario De La Cartuja De Granada
LAS PINTURAS BARROCAS DE ANTONIO PALOMINO EN LA BÓVEDA DE LA CAPILLA DEL SAGRARIO DE LA CARTUJA DE GRANADA Alumno: Pedro Román Rodríguez Tutor: José Javier Vélez Chaurri Grado en Historia del Arte Departamento Historia del Arte y la Música Facultad de Letras, Gasteiz. UPV/EHU Curso 2018/2019 1 RESUMEN Aunque en la ciudad de Granada su obra más reconocida es la Alhambra, en este trabajo nos hemos centrado en una obra barroca. Pretendemos estudiar la intervención de Antonio Palomino en las pinturas de la bóveda del Sagrario de la Cartuja granadina. La Cartuja de Granada acoge algunas de las obras que mejor representan al barroco español, como su sacristía y su capilla del Sagrario, construida por Francisco Hurtado Izquierdo a partir de 1709. En ella se encuentra la obra objeto de nuestro trabajo: las pinturas de la bóveda que llevó a cabo Antonio Palomino, el pintor español más importante del primer cuarto del siglo XVIII. Palomino, nacido en Córdoba, completó la capilla con una serie de cuadros y la decoración al fresco del techo, siendo partícipe del bel-composto que envuelve este espacio. Las pinturas de Palomino, realizadas a principios del siglo XVIII, complementan a las formas arquitectónicas diseñadas por Hurtado Izquierdo, uno de los grandes arquitectos del barroco español, y a las esculturas hechas por José de Mora, Duque de Cornejo y José Risueño. En las pinturas que Palomino realiza en el Sagrario se intuye la influencia de artistas españoles como Juan Carreño o Claudio Coello, pero sobre todo la del italiano Lucas Jordán. Este pintor, que estuvo trabajando en la Corte de Madrid, fue su principal referente y quien lo introduce en la pintura decorativa de techos, ya desarrollada en Italia por los Carracci, Mitelli y Colonna. -
BAROQUE ART Grading: ART HISTORY 344 Grading Will Be Determined by the Following: Mondays and Wednesdays 1
BAROQUE ART Grading: ART HISTORY 344 Grading will be determined by the following: Mondays and Wednesdays 1. Class participation (10%) Please come to class having read the 12-1:50 PM assigned readings. Although I will not take attendance, 10% of your grade is based VKC 261 upon participation, so your presence and active participation in class is expected. Instructor 2. A research paper on a 17th-century Dr. Hector Reyes painting in a Los Angeles museum, 8- [email protected] 12 pages. (30%) 213.821.5354 Guidelines for this paper will be posted on Blackboard on September 5th. This paper VKC 373A will be due on DECEMBER 12, 2014 at 11 Office Hours: Wed. 1:30-3:30 AM. Course Description 3. In class Midterm (15%) The seventeenth century ushered in an The midterm will consist of slide era of heightened artistic experiment, a identifications and short answer phenomenon which art historians have questions. A Powerpoint with the 60 broadly labeled "the Baroque." This course images to be memorized will be posted on will examine Baroque art (including Blackboard on September 5th. painting, architecture, sculpture and prints) of Italy, France, Spain, Flanders and the Dutch Republic. Dramatic changes 4. A take home midterm (15%) in economic, political and intellectual You will have a week to write TWO essays life, coupled with religious upheavals of based on the readings and material the late sixteenth century, provided the covered in class (One primary source essay context in which artists had more ability and one secondary source essay.) The to define the role and foundations of their essay prompts will be handed out on art during the seventeenth century. -
Gallery Spanish Art, 1600-1700
Gallery Spanish Art, 1600-1700 Spain was a part of the Hapsburg realm, which also included the Dutch provinces and the Holy Roman Empire in central Europe. In the late 16th century, King Philip II began an effort to lead Spain to the forefront of European culture. He imported the talent of the Venetian painter Titian, and during the reigns of Philip III and Philip IV, artists such as Velázquez and Murillo gained renown throughout the continent, trumpeting the refinement and position of the Spanish court. Philip IV rivaled his grandfather, Philip II, commissioning magnificent portraits and decorative cycles from Italian, French, Flemish, as well as Spanish artists of rising stature. Spanish painting was heavily influenced by northern European and Italian art, and native artists responded to the predilection for naturalistic detail and form while embracing the drama and emotion of the Italian Baroque. Bold contrasts between light and shadow – a technique known as tenebroso – created dramatic settings for religious scenes. Artists used strong diagonal compositions and pulled figures to the picture plane to create the illusion that the painted canvas extended into the viewer’s space, facilitating the mystical experience of personal interaction with the divine. The Docent Collections Handbook 2007 Edition Bartolomé Estabán Murillo Spanish, 1618-1682, active in Seville Saint Joseph with the Standing Infant Christ Child, c. 1670-75 Oil on canvas Bequest of John Ringling, 1936, SN 349 Though usually depicted with the Virgin Mary, in the 17th century the Christ child was often shown with his father, St. Joseph, who had become the focus of his own cult. -
The Sacred Made Real, Spanish Painting and Sculpture 1660-1700
THE SACRED MADE REAL SPANISH PAINTING & SCULPTURE 1600–1700 21 OCTOBER 2009–24 JANUARY 2010 Supported by the American Friends of the National Gallery as a result of a generous grant from Howard and Roberta Ahmanson Audio guide 5 Curator Xavier Bray gives a personal tour of the 3 exhibition accompanied by Brazilian painter and 4 sculptor Ana Maria Pacheco and Jesuit priest James Hanvey. The audio guide and exhibition film feature 2 6 specially commissioned music by leading British pianist Stephen Hough, who has created a modern interpretation of Tomás Luis de Victoria’s Requiem (1605). Individual movements of this beautiful string exhibition sextet can be listened to in rooms of the exhibition. 1 cinema Available in English, French and Spanish; £3.50, £3 concessions The Making of a Spanish Polychrome Sculpture Exhibition film To discover the incredible skill involved in making the The extraordinarily lifelike sculptures of the suffering painted sculptures in this exhibition, visit a free display Christ, the saints and the mourning Virgin in this upstairs in Room 1. Turn to the back of this guide exhibition remain compelling objects of veneration for more details and notes on technique. in churches around Spain. A short film showing in the exhibition cinema explores the contemporary Spanish Masterpieces trail relevance of these works, including dramatic footage of their procession by candlelight through To see further great works from the Spanish Golden the streets of Seville and Valladolid during Holy Age, including masterpieces by Velázquez and Week. You are welcome to view the 20minute Zurbarán, ask at Information Desks for our special film at any time during your exhibition visit.