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The Art of Fresco Painting
THERT A OF FRESCO P AINTING. * BRIGHTON: P RINTED BI ARTHUR WALLIS, BARTHOLOMEWS, O PPOSITE THE TOWH HALL. N THERT A FRESCO P AINTING, AS P RACTISED By THE OLD I TALIAN AND SPANISH MASTERS, A P RELIMINARY INQUIRY THE N ATURE THE C OLOURS USED IN FRESCO PAINTING, WITH O BSERVATIONS AND NOTES. MRS. J MERRIFIELD, TRANSLATOR O F CENNINO CENNINI, "f O all kinds of painting, Fresco Painting is th« finest and mott masterly." Vasari.— P achkco. LONDON : P UBLISHED FOR THE AUTHOR, BY CHARLES G ILPIN, 5, BISHOPSGATE STREET ; AND ARTHUR WALLIS, BRIGHTON. MDCCCXLVI, "feeder~ J #<tix^ THE R IGHT HONOURABLE SIR R OBERT PEEL, Bart. M.P. ONEF O THE COMMISSIONERS ON THE FINE ARTS, THIS T REATISE HEON T ART OF FRESCO PAINTING, IS, B Y HIS PERMISSION, MOST R ESPECTFULLY DEDICATED BY HIS O BLIGED AND OBEDIENT SERVANT, MARY P HILADELPHIA MERRIFIELD. CONTENTS. PAGE. Introduction V Colours u sed in Fresco Painting xi Red C olours — Amatito. xiii Siaopia . x xix Blue C olours .. x xxiv Green C olours li Black C olours . l iii White, Y ellow, and Brown Colours .. l iii Concluding R emarks .. l iv THERT A OF FRESCO PAINTING. PART I . Of G uevara Directions a nd Observations of Vitruvius with the commentary of G uevara 2 Directions o f the Monk Theophilus 17 Of L eon Batista Alberti. 19 Directions a nd Observations of Leon Batista Alberti 19 Directions o f Cennino Cennini 24 Of V asari 27 Directions a nd Observations of Vasari 27 Of B orghini 33 Directions a nd Observations of Borghini £3 Of A rmenino 35 Directions a nd Observations of Armenino 33 Of A ndrea Pozzo 52 Directions a nd Observations of Andrea Pozzo . -
Maltechnische Und Soziale Diskurse in Spanischen Der Kunstliteratur Des
Maltechnische und soziale Diskurse in der spanischen Kunstliteratur des 17. Jahrhunderts Dissertation zur Erlangung des Doktorgrades (Dr. phil.), eingereicht am Fachbereich Geschichts- und Kulturwissenschaften der Freien Universität Berlin im Jahr 2016 vorgelegt von Petra Schuster Gutachter: Betreuer und Erstgutachter: Prof. Dr. Werner Busch, Freie Universität Berlin Zweitgutachter: Prof. Dr. Joachim Rees, Freie Universität Berlin Tag der Einreichung der Dissertation an der Freien Universität Berlin: 29. November 2016 Tag öffentlichen Verteidigung: 9. Mai 2017 1 Inhalt Dank ................................................................................................................................. 4 1 Einleitung .................................................................................................................. 6 2 Forschungsprobleme ................................................................................................. 9 3 Die Kunsttheoretiker ............................................................................................... 25 3.1 Gutiérrez de los Rios (1568/ 9-1606) ............................................................................. 25 Historische Einordnung .................................................................................................... 25 Gutiérrez’ Noticia general para la estimación de las Artes (1600) .................................. 29 3.2 Vicente Carducho (1576/ 78-1638) ................................................................................ 33 -
Ekphrasis and Agustín Moreto's La Loa De Juan Rana Felipe E. Rojas
Mirror on the Stage: (Refl)Ekphrasis and Agustín Moreto’s La loa de Juan Rana Felipe E. Rojas University of Chicago Best known for his play El lindo Don Diego (1662), the remainder of Agustín Moreto’s oeuvre, including his entremés1 work, has been mostly ignored by critics. Cayetano Alberto de la Barrera y Leirado asserts: “Su ingenio, viveza y natural festivo, le abrieron las puertas de los saraos y academias, y acaso debió al jóven é ilustre Calderón la entrada y parte que tuvo en los festines literarios del Buen Retiro” (275).2 Like Pedro Calderón de la Barca, Moreto composed theatrical works for a famous actor of the Spanish royal courts, Juan Rana, alias Cosme Pérez (1593-1672). Eugenio Asensio has asserted that Juan Rana represented “la más completa identificación del actor con su personaje” (166).3 Hannah E. Bergman similarly observes that this character preserves “rasgos del bobo del teatro anterior, que se destilan en algunos toques característicos: la ‘flema’ que desespera a los demás interlocutores, las disparatadas ‘razones’ de sus explicaciones, un determinado traje, ciertos ademanes, gestos, cualidades de la voz” (67).4 With these numerous accolades one may easily have overlooked the fact that in 1636 Juan Rana was arrested by Spanish authorities and found guilty of sodomy. This could have single-handedly ended a person’s career and, at times, his life, yet his popularity grew after receiving a curious pardon from the Spanish monarchy.5 Peter E. Thompson analyses many interludes written specifically for this Spanish gracioso and demonstrates that “what is important […] Laberinto Journal 6 (2012): 1-25 2 Mirror on the Stage: (Refl)Ekphrasis and Agustín Moreto’s La loa de Juan Rana are the many Juan Rana entremeses that constitute a professional, public, and flagrant confession of the actor’s irregular sexuality” (8). -
Morisca Acts of Resistance and the Subversive Agency of Isabel/Zelima in María De Zayas's La Esclava De Su Amante Bradford El
Morisca Acts of Resistance and the Subversive Agency of Isabel/Zelima in María de Zayas’s La esclava de su amante Bradford Ellis St. Norbert College “Zelima soy, no doña Isabel; esclava soy, que no señora; mora soy, pues tengo dentro de mí misma aposentado un moro renegado como tú, pues quien faltó a Dios la palabra que le dio de ser mío, ni es cristiano ni noble, sino un infame caballero.” – María de Zayas, La esclava de su amante. With these cathartic words, the protagonist Isabel Fajardo confronts the man who has raped and abandoned her. Her autobiographical account, entitled La esclava de su amante, is the opening tale of the Desengaños amorosos, María de Zayas’s second frame-tale collection of short stories, published in 1647. While Isabel’s words express the frustration and suffering she has endured as the object of Manuel’s actions, they also display her resistance to the cruelty women faced under the honor code in early modern Spain. From the moment she is raped, Isabel begins to redefine herself and emerges as what Lisa Vollendorf has called “an autonomous subject, an agent of self-invention” (77). Although a Christian aristocrat, Isabel disguises herself as a female Muslim slave named Zelima to secretly pursue Manuel, in the hopes that he will marry her and thereby restore her honor. This disguise as the Muslim Zelima does more than reflect Laberinto Journal 6 (2012): 26-56 Bradford Ellis 27 Isabel’s loss of honor and social status after she is raped. It also empowers her as a subversive presence within the Desengaños amorosos. -
The Art of Fresco Painting, As Practised by the Old Italian and Spanish
•-'.^u. ?«8 &^t /I /-</-' , '// ' -^•'^ fr /•r^//' // . "f/ c THE ART FRESCO PAINTING BRIGHTON: PRINTED BY ARTHUR WALLIS, BABTUOLOMEWS, OPrOSITB THE TOWN HALL. THE ART FRESCO PAINTING, AS PRACTISED BY THE OLD ITALIAN AND SPANISH MASTERS, A PRELIMINARY INQUIRY * INTO THE NATURE . ov THE COLOURS USED IN FRESCO PAINTING, WITH OBSERVATIONS AND NOTES. MRS. MERRIFIELD, TRAKSLATOK OF CENNINO CBNMNI. Of all kinds of painting, Frcscu Painting is the finest and most maiiterl.T.' Vasaei.—Pacheco. LONDON : PUBLISHED FOR THE AUTHOR, BY CHARLES GILPIN, 5, BISHOPSGATE STREET; AND ARTHUR WALLIS, BRIGHTON. MDCCCXLVI. Art MD Z4-J0 Mb5'a_ I? 46 THE RIGHT HONOURABLE SIR ROBERT PEEL, Bart. M.P. ONE OF JHE COMMISSIONERS ON THE FINE ARTS, THIS TREATISE ON THE ART OF FRESCO PAINTING, IS, BY HIS PERMISSION, MOST RESPECTFULLY DEDICATED BT HIS OBLIGED AND OBEDIENT SERVANT, MARY PHILADELPHIA MERRIFIELD. 123558 Jl . (^ N T E N T S PAGR. Introduction V Colours used in Fresco Painting xi Red Colours—Amatito. xiii Sinopia . xxix Blue Colours . xxxiv Green Colours . li Black Colours . liii White, Yellow, and Brown Colours . liii Concludins: Remarks . liv THE ART OF FRESCO PAINTING. Of Guevara Directions and Observations of Vitruvius with the commentary of Guevara 2 Directions of the Monk Theophilus 17 Of Leon Batista Alberti . 19 Directions and Observations of Leon Batista Alberti . 19 Directions of Cennino Cennini . 24 Of Vasari 27 Directions and Observations of Vasari . 27 Of Borghini 33 Directions and Observations of Borghini 23 Of Arraenino 35 Directions and Observations of Armenino 33 Of Andrea Pozzo 52 Directions and Observations of Andrea Pozzo . 56 Of Pacheco 61 Directions and Observations of Pacheco 62 Of Palomino 69 Directions and Observations of Palomino 70 Directions of John Martin 87 Practice of the Early Italian School 91 Of the Painting . -
Four Books on Human Proportion’ H Commentary Proportion
J Gallucci’s Commentary on Dürer’s AMES Gallucci’s Renaissance ‘Four Books on Human Proportion’ H Commentary Proportion Renaissance Proportion Theory UTSON on Dürer’s Theory JAMES HUTSON ‘Four Books In 1591, Giovanni Paolo Gallucci published his Della simmetria dei corpi humani, on Human an Italian transla� on of Albrecht Dürer’s Four Books on Human Proport on. While AMES UTSON Dürer’s trea� se had been translated earlier in the sixteenth-century into French G Proportion’ J H and La� n, it was Gallucci’s Italian transla� on that endured in popularity as the most ALLUCCI cited version of the text in later Baroque trea� ses, covering topics that were seen as central to arts educa� on, connoisseurship, patronage, and the wider apprecia� on ’ of the studia humanitat s in general. S C The text centres on the rela� onships between beauty and propor� on, macrocosm OMMENTARY and microcosm: rela� onships that were not only essen� al to the visual arts in the early modern era, but that cut across a range of disciplines – music, physiognomics and humoral readings, astronomy, astrology and cosmology, theology and philosophy, even mnemonics and poetry. In his version of the text, Gallucci expanded the educa� onal poten� al of the trea� se by adding a Preface, a Life ON of Dürer, and a Fi� h Book providing a philosophical framework within which to D interpret Dürer’s previous sec� ons. ÜRER ’ S This transla� on is the fi rst to make these original contribu� ons by Gallucci ‘F accessible to an English-speaking audience. -
Museo Prado Di Madrid Palazzo Reale Di Madrid El Parque Del
Museo Prado di Madrid Il Museo più importante di Madrid Il Prado è uno dei musei più importanti del mondo, e vale la pena dedicare un buon numero di ore per visitarlo. Da Caravaggio a Goya, da Raffaello a Velasquez, il Prado raccoglie la storia dell‟arte europea degli ultimi cinque secoli. Per poterlo visitare con comodo, è meglio andare al Prado nei giorni feriali, troverete meno gente. Se avete con voi molte borse, rischiate di attendere un bel po’ prima di poter entrare: le cassette per il deposito non sono moltissime. Il Prado ha un efficiente ambulatorio nell‟edificio de los Jerónimos: garanzia per chi rischia la “Sindrome di Stendhal”. Quando: mar - dom e festivi ore 9:00 - 20:00. Il 24 e il 31 dicembre, il 6 gennaio ore 9:00 - 14:00. Mai: il lunedì, il 25 dicembre, il 1 gennaio, venerdì santo e il 1 maggio. Quanto: intero 6 €, ridotto 3 €, gratis mar - sab ore 18:00 - 20:00 e ogni domenica ore 17:00 - 20:00. Come: metropolitana linea 2 fermata Banco de Espana o linea 1 fermata Atocha. Bus: 9, 10, 14, 19, 27, 34, 37, 45. Palazzo Reale di Madrid Palazzo Reale Se sperate di vedere i Reali di Spagna dietro le vetrate del Palazzo Reale di Madrid, rimarrete abbastanza delusi, a meno che voi non capitiate da quelle parti in occasione di importanti cerimonie ufficiali. Ma in tal caso, il Palazzo non è aperto alle visite, quindi la delusione sarebbe la stessa. Se è vero, come è vero che i Reali di Spagna sono molto simpatici, va anche detto che non sono sicuramente la principale attrazione del Palazzo Reale di Madrid. -
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A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/92095 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications NATURALISM AND THE PICARESQUE IN JUSEPE DE RIBERA’S WORK Volume One of two volumes (Text) by Carlo Avilio Submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in History of Art at the University of Warwick This thesis may not be photocopied University of Warwick, Department of the History of Art September 2016 CONTENTS ACKNOWLEDGMENTS i DECLARATION iii ABSTRACT iv LIST OF ILLUSTRATIONS v Introduction. Ribera: The ‘Picaresque’ in an age of experimentalism 1 Chapter 1 The Picaresque Rhetoric: Devices and Themes of a New Genre of Comedy 14 1.1 Trajectory of the Picaresque Genre 14 1.2 Heraclitus or Democritus? Themes and Strategies of a Genre 25 1.3 A Neapolitan Picaresque? 40 Chapter 2 Experimentalism and the Senses in Early Seventeenth-Century Rome and Naples 58 2.1 The Alleged Pre-Eminence of Sight in Seventeenth-Century Science 58 2.2 The ‘Collaboration of the Senses’ in the Lyncean’s Treatise ‘Novae Hispaniae Thesaurus’ (1611-1651) 64 Chapter 3 Ribera’s Five Senses: The Paragone -
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.