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Alessandro Magnasco and the Painterly Picaresque Charles Preston Mclane

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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Alessandro Magnasco and the Painterly Picaresque Charles Preston McLane Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE AND DANCE ALESSANDRO MAGNASCO AND THE PAINTERLY PICARESQUE By CHARLES PRESTON MCLANE A Dissertation submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2006 The members of the Committee approve the dissertation of Charles Preston McLane, defended on October 18, 2006. ____________________________ Robert Neuman Professor Directing Dissertation ____________________________ David F. Johnson Outside Committee Member ____________________________ Karen A. Bearor Committee Member ____________________________ Jack Freiberg Committee Member Approved: ______________________________________________________________ Richard K. Emmerson, Chair, Department of Art History ______________________________________________________________ Sally E. McRorie, Dean, College of Visual Arts, Theatre and Dance The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I wish to extend my sincerest thanks to all of the faculty and staff of the Department of Art History at Florida State University. The generous welcome I enjoyed upon my arrival has never abated, and I am supremely grateful for the opportunity I have had to study in the company of so many brilliant and talented people. For the crucial financial support that I have received from both the Department and the University, I am deeply grateful. I am especially indebted to Robert Neuman, the chair of my dissertation committee, without whose guidance and support this dissertation would not have been written. Special thanks to Karen Bearor, and Jack Freiberg—each of whose teaching and counsel has shaped my approach to the discipline: during the years of my course work, in research and writing, and through to the completion of this dissertation. The dissertation is readable because of the tireless editing that they each provided. The enormous pleasure I derive from the study and practice of art history is greatly owing to their fine influences. I would have accomplished nothing without the support of my family and friends, and I am happy here to acknowledge the many great sacrifices made by my wife Yelena during this long project. My most heartfelt thanks to her. iii TABLE OF CONTENTS List of Figures ................................................................v Abstract ................................................................... xvi INTRODUCTION.............................................................1 1. THE PICARESQUE IMAGE IN SPAIN AND ITALY . ....... 45 2. PICARESQUE THEMES AND ICONOGRAPHY IN THE WORK OF ALESSANDRO MAGNASCO ............................................95 3. READING MAGNASCO’S PAINTINGS AS FICTION . 176 4. MAGNASCO AND MONASTICISM: PICARESQUE PREMISES OF PIETY . 219 CONCLUSION .............................................................251 FIGURES..................................................................254 BIBLIOGRAPHY ...........................................................385 BIOGRAPHICAL SKETCH...................................................415 iv LIST OF FIGURES Figure 1: Anonymous, La vida de Lazarillo de Tormes y de sus fortunas . ., woodcut (Alcala de Henares: Salzedo Librera, 1554), frontispiece . 254 Figure 2: Anonymous, La vida de Lazarillo de Tormes desus fortunas y adeur sidades, woodcut (Burgos, 1554), frontispiece....................................................255 Figure 3: Anonymous,Mateo Alemán, Guzmán de Alfarache, engraving (Madrid, 1599), frontispiece.................................................................256 Figure 4: Jean Baptista Morales (Fecit), Lopez de Úbeda, La pícara Justina, engraving (Madrid, 1605) frontispiece ...........................................................257 Figure 5: Anonymous, Hans Jakob Christoffel von Grimmelshausen, Der Abenteuerliche Simplicissimus Teutsch, engraving, (Renchen, 1668) frontispiece . 258 Figure 6: Leonard Bramer, Illustration from Lazarillo de Tormes, ink and wash on paper, after 1635. Graphische Sammlung, Vienna. [Lazarillo, Robert S. Rudder trans., p. 9.] . 259 Figure 7: Leonard Bramer, Illustration from Lazarillo de Tormes, ink and wash on paper, after 1635. Graphische Sammlung, Vienna. [Lazarillo, Robert S. Rudder trans., p. 65.] . 260 Figure 8: Leonard Bramer, Illustration from Lazarillo de Tormes, ink and wash on paper, after 1635. Graphische Sammlung, Vienna. [Lazarillo, Robert S. Rudder trans., p. 91.] . 261 Figure 9: Caravaggio, St. Francis in Ecstasy, oil on canvas, 92.5 x 128. 4 cm, c. 1595. Wadsworth Atheneum, Hartford. [Web Gallery of Art, http://www.wga.hu.] . 262 Figure 10: Caravaggio, Entombment of Christ, oil on canvas, 300 x 203 cm, c. 1602-03. Pinacoteca, Vatican. [Web Gallery of Art, http://www.wga.hu.] . 263 Figure 11: Adam Elsheimer, Il Contento, oil on copper, 30.1 x 42 cm, c. 1607. National Gallery of Scotland, Edinburgh. [Keith Andrews, Adam Elsheimer, Il Contento. (Edinburgh: The National Gallery of Scotland, 1971), cover illustration.] . 264 Figure 12: Diego Velázquez, Old Woman Frying Eggs, oil on canvas, 101 x 120 cm, 1618. National Gallery of Scotland, Edinburgh. [Web Gallery of Art, http://www.wga.hu.] . 265 v Figure 13: Diego Velázquez, Peasants at the Table (El Almuerzo), oil on canvas, 96 x 112 cm, c. 1620. Museum of Fine Arts, Budapest. [Web Gallery of Art, http://www.wga.hu.] .........................................................266 Figure 14: Diego Velázquez, Musical Trio (Los músicos), oil on canvas, 87 x 110 cm, c. 1617-18. Staatliche Museen zu Berlin, Berlin. [Web Gallery of Art, http://www.wga.hu.] . 267 Figure 15: Diego Velázquez, The Servant (La mulata), oil on canvas, 55 x 104 cm, c. 1618-19. The Art Institute of Chicago. [Web Gallery of Art, http://www.wga.hu.] . 268 Figure 16: Diego Velázquez, The Waterseller of Seville, oil on canvas, 106.7 x 81 cm, 1623. Wellington Museum, Apsley House, London. [Web Gallery of Art, http://www.wga.hu.] ........................................269 Figure 17: Attributed to Diego Velázquez, Portrait of Francisco de Quevedo (detail), oil on canvas, c. 1630. Wellington Museum, Apsley House, London. [http://jaserrano.com/unamuno/poes_archivos/image007.jpg] . .................... 270 Figure 18: Bartolomé Esteban Murillo, The Young Beggar, oil on canvas, 137 x 115 cm, c. 1649. Paris: The Louvre, Paris. [Web Gallery of Art, http://www.wga.hu.] . 271 Figure 19: Bartolomé Esteban Murillo, Boys Eating Fruit (Grape and Melon Eaters), oil on canvas, 146 x 104 cm, c. 1650. Alte Pinakothek, Munich. [Web Gallery of Art, http://www.wga.hu.] .........................................................272 Figure 20: Bartolomé Esteban Murillo, Four Figures on a Step, oil on canvas, 107 x 142.5 cm, c. 1655-60. Kimbell Art Museum, Fort Worth. [Web Gallery of Art, http://www.wga.hu.] .........................................................273 Figure 21: Jusepe de Ribera, Blind Old Beggar, oil on canvas, 124.5 x 101.7 cm, c. 1632. Allen Memorial Art Museum, Oberlin College, Oberlin. [Allen Memorial Art Museum, http://www.oberlin.edu/allenart/collection/ribera.html] . .... 274 Figure 22: Jusepe de Ribera, The Sense of Touch (Il ceico di Gambassi), oil on canvas, 125 x 98 cm, c. 1632. Museo del Prado, Madrid. [Alfonso E. Pérez Sanchez and Nicola Spinosa, Jusepe de Ribera, 1591-1652 (New York: The Metropolitan Museum of Art, 1992), cat. 27, p. 99.]..............................................................275 Figure 23: Jusepe de Ribera, The Club-Footed Boy, oil on canvas, 164 x 92 cm, c. 1642. Louvre, Paris. [Web Gallery of Art, http://www.wga.hu.] . 276 Figure 24: Caravaggio, The Cardsharps, oil on canvas, 90 x 112 cm, c. 1596. Kimbell Art Museum, Forth Worth. [Web Gallery of Art, http://www.wga.hu.] . 277 vi Figure 25: Caravaggio, The Fortune Teller, oil on canvas, 115 x 150 cm, c. 1596. Musei Capitolini, Rome. [Web Gallery of Art, http://www.wga.hu.] . 278 Figure 26: Pieter Van Laer (Bamboccio), Landscape with Morra Players, oil on canvas, 33.5 x 47 cm, c. 1630. Museum of Fine Arts, Budapest. [Web Gallery of Art, http://www.wga.hu.] .........................................................279 Figure 27: Salvator Rosa, Cardplayers, oil on canvas, c. 1635. Galleria Nazionale d’Arte Antica, Rome. [Jonathan Scott, Salvator Rosa: His Life and Times (New Haven: Yale University Press, 1995), p. 8.]...........................................................280 Figure 28: Salvator Rosa, Beggars’ Encampment, oil on canvas, c. 1640. Matthieson Gallery, London. [Scott, p. 45.] .......................................281 Figure 29: Jacques Callot, Le Mendiant au rosaire, from Les Gueux, etching, 13.8 x 8.2 cm, c. 1622-23. [Chone, Paulette ed. Jacques Callot, 1592-1635 (Paris: Editions de la Réunion des musées nationaux, 1992), cat. 328, p. 279.]........................................282 Figure 30: Jacques Callot, Capitano de Baroni, from Les Gueux, etching, 14.4 x 9.3 cm, c. 1622-23. [Chone, cat. 317, p. 276.]............................................283 Figure 31: Jacques Callot, La Caverne des brigands, from Les Caprices, etching, 5.6 x 8 cm, c. 1616. [Chone, cat. 200, p. 235.] . 284 Figure 32: Jacques Callot, Le Gentilhomme
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