Arte Entre España E Hispanoamérica
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Old Spanish Masters Engraved by Timothy Cole
in o00 eg >^ ^V.^/ y LIBRARY OF THE University of California. Class OLD SPANISH MASTERS • • • • • , •,? • • TIIK COXCEPTION OF THE VIRGIN. I!V MURILLO. PRADO Mi;SEUAI, MADKIU. cu Copyright, 1901, 1902, 1903, 1904, 1905, 1906, and 1907, by THE CENTURY CO. Published October, k^j THE DE VINNE PRESS CONTENTS rjuw A Note on Spanish Painting 3 CHAPTER I Early Native Art and Foreign Influence the period of ferdinand and isabella (1492-15 16) ... 23 I School of Castile 24 II School of Andalusia 28 III School of Valencia 29 CHAPTER II Beginnings of Italian Influence the PERIOD OF CHARLES I (1516-1556) 33 I School of Castile 37 II School of Andalusia 39 III School of Valencia 41 CHAPTER III The Development of Italian Influence I Period of Philip II (l 556-1 598) 45 II Luis Morales 47 III Other Painters of the School of Castile 53 IV Painters of the School of Andalusia 57 V School of Valencia 59 CHAPTER IV Conclusion of Italian Influence I of III 1 Period Philip (1598-162 ) 63 II El Greco (Domenico Theotocopuli) 66 225832 VI CONTENTS CHAPTER V PACE Culmination of Native Art in the Seventeenth Century period of philip iv (162 1-1665) 77 I Lesser Painters of the School of Castile 79 II Velasquez 81 CHAPTER VI The Seventeenth-Century School of Valencia I Introduction 107 II Ribera (Lo Spagnoletto) log CHAPTER VII The Seventeenth-Century School of Andalusia I Introduction 117 II Francisco de Zurbaran 120 HI Alonso Cano x. 125 CHAPTER VIII The Great Period of the Seventeenth-Century School of Andalusia (continued) 133 CHAPTER IX Decline of Native Painting ii 1 charles ( 665-1 700) 155 CHAPTER X The Bourbon Dynasty FRANCISCO GOYA l6l INDEX OF ILLUSTRATIONS MuRiLLO, The Conception of the Virgin . -
A History of Painting
Marjorie Lyrline Williams ""^ ^^^•^" THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES A HISTORY OF PAINTING A HISTORY OF PAINTING BY HALDANE MACFALL WITH A PREFACE BY FRANK BRANGWYN "^he Renaissance Edition OF THE HISTORY OF PAINTING LIMITED TO ONE THOUSAND NUMBERED COPIES. OF WHICH THIS IS NUMBER A HISTORY OF PAINTING BY HALDANE MAGFALL WITH A PREFACE BY FRANK BRANGWYN IN EIGHT VOLUMES. ILLUSTRATED WITH TWO HUNDRED PLATES IN COLOUR VOL. Ill LATER ITALIANS AND GENIUS OF SPAIN DANA ESTES AND CO. BOSTON Art Library 5o FOREWORD To the student who desires full information upon the significance of the Italian genius in painting after the great outburst of that genius in the Renaissance, in the years of the so-called Decline, I can findfew books to recommend in the English tongue—for the greatness of the Naturalisti has not yet been discovered, whilst the old vogue of the Eclectics was exaggerated as much in laudation as it is to-day condemned by contempt. But the great Spaniards have come into their own—or are coming. The best authorities on the scientific side concerning Velazquez and Spanish art generally are Beruete and Carl Justi, and they may be read in an English translation. An excellent survey of the Spanish achievement, setforth in fairly good balance, is the volume written by Mrs. Gasquoine Hartley, entitled " A Record of Spanish Painting." The writings of R. A. M. Stevenson, Sir William Stirling-Maxwell, Arthur Symons, W. Rothenstein, and the many brilliant students, English and foreign, who have done so much to set the bays on the heads of the great Spaniards, are helpful. -
In Memoriam. Semblanza Científica Del Prof
N MEMORIAM. SEMBLANZA CIENTÍFICA DEL I PROFESOR FERNANDO BENITO DOMÉNECH JOSÉ GÓMEZ FRECHINA1 Museo de Bellas Artes de Valencia Abstract: Divided into three parts, this study includes, on the one hand, a brief biographical note by Profes- sor Benito Doménech and a list of the major milestones of his research and, on the other hand, the contribu- tion of unpublished paintings concerning the main field of study covered by this researcher, specifically the painters of the Counter-Reformation and Baroque in Valencia. We include new works by Nicolás Borrás, Miguel Joan Porta, Cristóbal Llorens, Vicente Requena, Juan Sariñena, Francisco and Juan Ribalta, Vicente Castelló, Pedro Orrente, Jerónimo Rodríguez de Espinosa and his son Jerónimo Jacinto, Esteve and Miguel March, Pablo Pontons, Urbano Fos, a painting by Eugenio Cajés and two miniatures of Gio. Battista Castello “Il Genovese” and by Francesco da Castello. Also featured in this article is news about Vicent Macip and Joan de Joanes, painters about whom Benito devoted important and illuminating studies. Finally, a wide selection of bibliographical contributions by the much acclaimed Professor are appended. Key words: Fernando Benito Doménech / Renaissance / Counter-Reformation / Baroque / Painting / Minia- ture / Vicent Macip / Joan de Joanes / Nicolás Borrás / Miguel Joan Porta / Cristóbal Llorens / Vicente Re- quena / Juan Sariñena / Francisco Ribalta / Juan Ribalta / Vicente Castelló / Pedro Orrente / Jerónimo Rodrí- quez de Espinosa / Jerónimo Jacinto de Espinosa / Esteve March / Miguel March / Pablo Pontons / Urbano Fos / Eugenio Cajés / Il Genovese / Francesco da Castello. Resumen: Articulado en tres partes, este estudio incluye, por un lado, una sucinta nota biográfica del profesor Benito Doménech y una relación de los principales hitos de su investigación y, por otro, la apor- tación de pinturas inéditas relativas al principal campo de estudio hollado por este investigador, concreta- mente a los pintores de la Contrarreforma y del Barroco en Valencia. -
San Francisco De Asís En La Obra De Francisco De Zurbarán Y Joan Miró: Vigencia De Lo Santo Y Lo Bello En El Tiempo
San Francisco de Asís en la obra de Francisco de Zurbarán y Joan Miró: vigencia de lo santo y lo bello en el tiempo Higinia Silvia Bernad Gil ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tdx.cat) i a través del Dipòsit Digital de la UB (diposit.ub.edu) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX ni al Dipòsit Digital de la UB. No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX o al Dipòsit Digital de la UB (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tdx.cat) y a través del Repositorio Digital de la UB (diposit.ub.edu) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR o al Repositorio Digital de la UB. -
Art and Jesuit Patronage in Colonial Quito
ART AND JESUIT PATRONAGE IN COLONIAL QUITO: THE PROPHET PAINTINGS AT THE CHURCH OF LA COMPAÑÍA by Isabel Oleas-Mogollón A dissertation submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History Summer 2018 © 2018 Isabel Oleas-Mogollón All Rights Reserved ART AND JESUIT PATRONAGE IN COLONIAL QUITO: THE PROPHET PAINTINGS AT THE CHURCH OF LA COMPAÑÍA by Isabel Oleas-Mogollón Approved: __________________________________________________________ Lawrence Nees, Ph.D. Chair of the Department of Art History Approved: __________________________________________________________ George Watson, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ Douglas J. Doren, Ph.D. Interim Vice Provost for Graduate and Professional Education I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ Mónica Domínguez Torres, Ph.D. Professor in charge of dissertation I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ H. Perry Chapman, Ph.D. Member of dissertation committee I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ David M. Stone, Ph.D. Member of dissertation committee I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. -
CARAVAGGIO Y GEORGES DE LA TOUR
TRAS LA HUELLA DE CARAVAGGIO. PINTORES DE LA LUZ EN LA EUROPA DEL SIGLO XVII. GRADO EN HISTORIA DEL ARTE AÑO 2014/15 REVERÓN ÁLVAREZ, Enriqueta TUTORA: Clementina Calero Ruiz INDICE 1. INTRODUCCIÓN…………………………………………………………………………… 2 1.1 METODOLOGÍA………………………………………………………………. 3 1.2 OBJETIVOS……………………………………………………………………... 4 2. EL BARROCO……………………………………………………………………….. 5 3. LA PINTURA BARROCA……………………………………………………………… 6 4. CARAVAGGIO Y LA PINTURA ITALIANA DEL SIGLO XVII……………….. 7 4.1 LA LUZ…………………………………………………………………………... 16 4.2 EL COLOR………………………………………………………………… 18 4.3 LOS PROTAGONISTAS………………………………………………… 19 4.4 LOS AMBIENTES……………………………………………………………. 23 5. ESTELA DE CARAVAGGIO EN LA PINTURA EUROPEA DEL SEISCIENTOS. 24 5.1. FRANCIA Y GEORGE LA TOUR………………………………………. 24 5.2. HOLANDA. REMBRANDT Y LOS CARAVAGGISTAS DE UTRECH. 26 5.3. ESPAÑA………………………………………………………………………… 31 5.3.1 RIBALTA………………………………………………………… 34 5.3.2 RIBERA…………………………………………………………. 36 5.3.3 ZURBARÁN……………………………………………….. 39 5.3.4 EL JOVEN MURILLO………………………………………. 41 5.3.5 VELÁZQUEZ………………………………………………….. 45 6. CONCLUSIONES…………………………………………………………………………. 48 7. BIBLIOGRAFÍA………………………………………………………………………… 77 1 1. INTRODUCCIÓN Gracias a los avances tecnológicos que se han ido produciendo a lo largo de la Historia del Arte, con grandes innovaciones en cuanto a las imágenes como fenómeno artístico, nos atrevemos a desarrollar un tema dentro de un período tan apasionante como es el Barroco. Dentro de esta etapa, desarrollaremos variados aspectos de la obra de algunos artistas, que a través de sus pasiones y emociones -
Juan Ribalta's the Adoration of the Shepherds
A closer look at Juan Ribalta’s The Adoration of the Shepherds Peter Cherry 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: figs. 1, 2, 3, 12, 15 and 16 © Leonor Velarde de Cisneros / Isabel Velarde: figs. 5 and 6 © Museo de Bellas Artes, Valencia: fig. 4 © Museo de la Catedral de Segovia / Ángel Luis Arribas: fig. 10 © Museo Nacional Colegio de San Gregorio, Valladolid: figs. 7 and 8 © Museo Nacional del Prado, Madrid: fig. 11 © Museo del Patriarca del Real Colegio Seminario de Corpus-Christi, Valencia: fig. 13 © Parroquia de la Asunción de Nuestra Señora, Torrent: fig. 14 Text published in: B’08 : Buletina = Boletín = Bulletin. Bilbao : Bilboko Arte Eder Museoa = Museo de Bellas Artes de Bilbao = Bilbao Fine Arts Museum, no. 4, 2009, pp. 67-99. he small painting on copper of The Adoration of the Shepherds [fig. 1] by Juan Ribalta (Madrid, c. 1596/1597-Valencia, 1628) has long enjoyed critical acclaim; at least one distinguished art historian Tgoing so far as to declare it the masterpiece of this short-lived artist1. -
Leonardo M Bacarreza Dissertation
Food, Eating, and the Anxiety of Belonging in Seventeenth-Century Spanish Literature and Art by Leonardo Mauricio Bacarreza Department of Romance Studies Duke University Date:_______________________ Approved: ___________________________ Margaret R. Greer, Supervisor ___________________________ Sarah Schroth ___________________________ Laura R. Bass ___________________________ Richard Rosa ___________________________ José María Rodríguez-García Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Studies in the Graduate School of Duke University 2012 ABSTRACT Food, Eating, and the Anxiety of Belonging in Seventeenth-Century Spanish Literature and Art by Leonardo Mauricio Bacarreza Department of Romance Studies Duke University Date:_______________________ Approved: ___________________________ Margaret R. Greer, Supervisor ___________________________ Sarah Schroth ___________________________ Laura R. Bass ___________________________ Richard Rosa ___________________________ José María Rodríguez-García An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Studies in the Graduate School of Duke University 2012 Copyright by Leonardo Mauricio Bacarreza 2012 Abstract In my dissertation I propose that the detailed representation of food and eating in seventeenth-century Spanish art and literature has a double purpose: to reaffirm a state of well-being in Spain, and to show -
El Naturalisme En La Pintura Espanyola a Finals Del Segle XVI I Inicis Del XVII
El naturalisme en la pintura espanyola a finals del segle XVI i inicis del XVII L’obra de Maíno, Tristán, Ribalta i Velázquez Autor: Adrià Vázquez Vives Direcció: Francesc Miralpeix Treball final de Grau, 2013-14 Història de l’Art [1] [2] ÍNDEX 7 Introducció PRIMERA PART 11 Les primeres llums. El Escorial 17 L’aportació flamenca. El bodegó i el gravat 21 El colleccionisme espanyol. Vies de penetració d’art italià 29 L’arribada del caravaggisme: Caravaggio, Carlo Saraceni, Jusepe de Ribera, Orazio Borgianni, Bartolomeo Cavarozzi i Angelo Nardi. SEGONA PART 43 Juan Bautista Maíno 47 Luís Tristán 51 Francesc Ribalta 55 Diego Velázquez 61 Conclusions 63 Bibliografia 65 ANNEX [3] [4] PRIMERA PART [5] [6] Introducció Per parlar de la pintura del segle XVII, sovint esmentem la figura de Caravaggio com a màxim exponent del naturalisme pictòric i com punt de partida d’una nova forma concreta d’observar el món i d’entendre i assimilar les històries sagrades. Si bé és cert que Caravaggio significa un abans i un després en aquesta pintura del vero i en la representació d’escenes religioses, hem de tenir present que en d’altres centres, aquesta característica de representació d’un món pròxim al de la quotidianitat dels pintors, ja prenia força, encara que no de la mateixa manera, i tampoc en un sentit tant revolucionari. El treball que presento a continuació ha sorgit de la idea de veure i analitzar com aquesta pintura que solem anomenar naturalisme pren cabuda i es projecte en l’ambient artístic espanyol. Cert és que, com se sol fer de la pintura renaixentista i barroca espanyola, de la mateixa manera que de la pintura de la resta d’Europa, Itàlia resultarà un punt de partida per entendre molts conceptes artístics, veure com es van desenvolupar, i poder-los seguidament contraposar amb els d’aquí.