Protokolas, Papročiai Ir Ceremonialas Ispanijos
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Cover Page the Handle Holds Various Files of This Leiden University Dissertation. Author: Krahe
Cover Page The handle http://hdl.handle.net/1887/28741 holds various files of this Leiden University dissertation. Author: Krahe, Cinta Title: Chinese porcelain and other orientalia and exotica in Spain during the Habsburg dynasty Issue date: 2014-09-18 Chinese Porcelain and other Orientalia and Exotica in Spain during the Habsburg Dynasty GENEALOGY OF THE SPANISH HABSBURG ROYAL HOUSE ROYAL HABSBURG OF THE SPANISH GENEALOGY 279 Cinta Krahe 280 Chinese Porcelain and other Orientalia and Exotica in Spain during the Habsburg Dynasty BIBLIOGRAPHY Abad Zardoya 2005 Carmen Abad Zardoya, La casa y los objetos. Espacio doméstico y cultura material en la Zaragoza de la primera mitad del Siglo XVIII, Zaragoza, 2005. Abad Zardoya 2009 Carmen Abad Zardoya, ‘ Por el bien y beneficios que de su mano hemos recibido: estudio documental de una donación de bienes muebles hecha por Tomás de Borja a su sobrino el duque de Lerma en 1608’ in Artigrama, no. 24, 2009, pp. 341-71. Addis 1970 John M. Addis, ‘Chinese Porcelain Found in the Philippines’, in Transactions of the Oriental Ceramic Society, vol. 37, 1970, pp. 17–36. Adhyatman and Ridho1984 Sumarah Adhyatman and Abu Ridho, Tempayan Martavans in Indonesia, Jakarta, 1984. (2nd ed.) Adhyatman 1987 Sumarah Adhyatman, Kendi, Jakarta, 1987. Adhyatman 1999 Sumarah Adhyatman, Zhangzhou (Swatow) Ceramics: Sixteenth to Seventeenth Centuries found in Indonesia, Jakarta, 1999. Aguado de los Reyes 1994 Jesús Aguado de los Reyes, Riqueza y Sociedad en la Sevilla del Siglo XVII, Seville, 1994. Aguado de los Reyes 1996 Jesús Aguado de los Reyes, Fortuna y miseria en la Sevilla del siglo XVII, Seville, 1996. -
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. -
El Conde-Duque De Olivares Y El Palacio Del Buen Retiro1
ESTUDIOS Cuadernos de Historia Moderna ISSN: 0214-4018 https://dx.doi.org/10.5209/chmo.72544 El escenario del valido: el conde-duque de Olivares y el Palacio del Buen Retiro1 Mercedes Simal López2 Recibido: 18 de septiembre de 2020 / Aceptado: 4 de noviembre de 2020 Resumen. El palacio del Buen Retiro fue uno de los grandes símbolos del valimiento del conde-duque de Olivares, además de una de las grandes empresas constructivas y decorativas del reinado de Felipe IV. Comenzado a construir de forma discreta a partir de 1629, en este real sitio el valido concentró buena parte de sus energías y de los numerosos recursos que estaban a su alcance con el objetivo de crear un gran escenario en el que la majestad de Felipe el Grande brillara de múltiples maneras. Gracias a nuevo material inédito, profundizaremos sobre cómo don Gaspar de Guzmán utilizó el real sitio que tanto admiró a cortesanos y embajadores de toda Europa para ejercer y afianzar su valimiento exaltando la figura de Felipe IV y la Casa de Austria y vinculando a su fama y poder, su nombre y el de su linaje. Palabras clave: Conde-duque de Olivares; palacio del Buen Retiro; Felipe IV; valimiento; coleccionismo. [en] The scene of the royal favourite: the Count-Duke of Olivares and the Buen Retiro Palace Abstract. The Buen Retiro Palace was one of the great symbols of the “Valimiento” of the Count-Duke of Olivares, as well as one of the great constructions and decorative enterprises of the reign of Philip IV. Begun to build discreetly from 1629, on this royal site the Spanish royal favourite concentrated a good part of his energies and the numerous resources that were within his reach with the aim of creating a great stage in which the majesty of Philip the Great shine in multiple ways. -
The Granada Venegas Family, 1431-1643: Nobility, Renaissance and Morisco Identity
The Granada Venegas Family, 1431-1643: Nobility, Renaissance and Morisco Identity By Elizabeth Ashcroft Terry A dissertation submitted in partial satisfaction Of the requirements for the degree of Doctor of Philosophy in History in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Thomas Dandelet, Chair Professor Jonathan Sheehan Professor Ignacio E. Navarrete Summer 2015 The Granada Venegas Family, 1431-1643: Nobility, Renaissance, and Morisco Identity © 2015 by Elizabeth Ashcroft Terry All Rights Reserved The Granada Venegas Family, 1431-1643: Nobility, Renaissance and Morisco Identity By Elizabeth Ashcroft Terry Doctor of Philosophy in History University of California-Berkeley Thomas Dandelet, Chair Abstract In the Spanish city of Granada, beginning with its conquest by Ferdinand and Isabella in 1492, Christian aesthetics, briefly Gothic, and then classical were imposed on the landscape. There, the revival of classical Roman culture took place against the backdrop of Islamic civilization. The Renaissance was brought to the city by its conquerors along with Christianity and Castilian law. When Granada fell, many Muslim leaders fled to North Africa. Other elite families stayed, collaborated with the new rulers and began to promote this new classical culture. The Granada Venegas were one of the families that stayed, and participated in the Renaissance in Granada by sponsoring a group of writers and poets, and they served the crown in various military capacities. They were royal, having descended from a Sultan who had ruled Granada in 1431. Cidi Yahya Al Nayar, the heir to this family, converted to Christianity prior to the conquest. Thus he was one of the Morisco elites most respected by the conquerors. -
Architectural Temperance: Spain and Rome, 1700-1759
Architectural Temperance Spain and Rome, 1700–1759 Architectural Temperance examines relations between Bourbon Spain and papal Rome (1700–1759) through the lens of cultural politics. With a focus on key Spanish architects sent to study in Rome by the Bourbon Kings, the book also discusses the establishment of a program of architectural educa- tion at the newly-founded Real Academia de Bellas Artes de San Fernando in Madrid. Victor Deupi explores why a powerful nation like Spain would temper its own building traditions with the more cosmopolitan trends associated with Rome; often at the expense of its own national and regional traditions. Through the inclusion of previously unpublished documents and images that shed light on the theoretical debates which shaped eighteenth-century architecture in Rome and Madrid, Architectural Temperance provides an insight into readers with new insights into the cultural history of early modern Spain. Victor Deupi teaches the history of art and architecture at the School of Architecture and Design at the New York Institute of Technology and in the Department of Visual and Performing Arts at Fairfield University. His research focuses on cultural politics in the early modern Ibero-American world. Routledge Research in Architecture The Routledge Research in Architecture series provides the reader with the latest scholarship in the field of architecture. The series publishes research from across the globe and covers areas as diverse as architectural history and theory, technology, digital architecture, structures, materials, details, design, monographs of architects, interior design and much more. By mak- ing these studies available to the worldwide academic community, the series aims to promote quality architectural research. -
Open FINAL THESIS.Pdf
The Pennsylvania State University The Graduate School School of Music THE PHILOSOPHICAL FOUNDATION AND POLITICAL FUNCTION OF SPAIN’S RECITADO IN CELOS AUN DEL AIRE MATAN (1661) A Thesis in Musicology by Stephanie Haddock de Jesús © 2016 Stephanie Haddock de Jesús Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts May 2016 The thesis of Stephanie Haddock de Jesús was reviewed and approved* by the following: Marica S. Tacconi Professor of Musicology Thesis Adviser Mark C. Ferraguto Assistant Professor of Musicology Sue E. Haug Professor of Music Director of the School of Music *Signatures are on file in the Graduate School. ii! ABSTRACT This thesis focuses on the development of opera in one of the world’s largest empires during the sixteenth and seventeenth centuries, Spain. Musicologists such as Louise K. Stein, José María Domínguez, and José Subirá have researched the first evidence of the Italian genre in the Spanish royal court. Two contrasting arguments have resulted from their conclusions. The first argument states that the Spanish opera does not follow the Italian model of the late seventeenth century and therefore does not attest to Italian influence. On the other hand, other musicologists argue that the Spanish genre does reflect the Italianate taste of the Spanish court, but that past research is tainted with nationalism. These seemingly opposing conclusions may be reconciled through an analysis of the political and philosophical context surrounding the evolution of opera in Spain. The first surviving, fully sung Spanish opera, Celos aun del aire matan (1661), composed by Juan Hidalgo (1614-1685) on a libretto by Don Pedro Calderón de la Barca (1600-1681), provides the groundwork for this thesis. -
UN LUGAR EN MADRID PARA EL PALACIO REAL DE FILIPPO JUVARRA María José Muñoz De Pablo
1 / Sobre la construcción del Palacio Real y la transformación de 2 / AGP 6152, 6153, 6154. Están reproducidos en el catálogo de su entorno es de gran interés la rigurosa y apasionante investiga- la exposición celebrada en Madrid del 29 de octubre de 2002 al ción realizada por Ángel MARTÍNEZ DÍAZ, Espacio, tiempo y pro- 26 de enero de 2003: AA VV, El arte en la corte de Felipe V, yecto. El entorno urbano del Palacio Real de Madrid entre 1735 y Fundación Caja Madrid, Patrimonio Nacional y Museo Nacional 1885, Artes Gráficas Palermo, S.L., Ayuntamiento de Madrid, del Prado, 2002, p. 460. Anteriormente habían sido publicados por 2008. El autor también estudia el Alcázar y da cuenta de las algunos de los investigadores interesados en este proyecto de numerosas alternativas al proyecto del Palacio Nuevo realizadas Juvarra. Entre ellos cabe citar a Durán, Iñiguez, Plaza, Gärms, antes y durante la ejecución de las obras. Botineau, Gritella, Delfín Rodríguez, Correa y Esquivias, Sancho y Barbeito; aquí solamente referiremos las reflexiones sobre la ubi- cación del edificio realizadas por dichos autores y en particular las expresadas gráficamente. 148 UN LUGAR EN MADRID PARA EL PALACIO REAL DE FILIPPO JUVARRA María José Muñoz de Pablo Probablemente el Palacio Real di- residencia real. Tras la muerte de Ju- señado por Juvarra es la arquitectu- varra, en enero de 1736, su sucesor y ra más ambiciosa proyectada para discípulo, Sachetti, se hizo cargo de las Madrid a lo largo de su historia. El obras de Palacio. Realizó otras trazas, arquitecto italiano ideó un gran edi- iniciando el largo proceso de su cons- ficio, que con sus plazas y jardines trucción. -
The Plaza Mayor and the Shaping of Baroque Madrid
CB554-FM CB554-Escobar-V1 June 3, 2003 7:36 The Plaza Mayor and the Shaping of Baroque Madrid - JESÚS ESCOBAR Fairfield University iii CB554-FM CB554-Escobar-V1 June 3, 2003 7:36 published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru,UK 40 West 20th Street, New York, ny 10011-4211, USA 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Jesus´ R. Escobar 2003 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2004 Printed in the United Kingdom at the University Press, Cambridge Typeface Janson Text 11/15 pt. and Granjon SC & OSF System LATEX 2ε [tb] A catalogue record for this book is available from the British Library. Library of Congress Cataloging in Publication Data is available. isbn 0 521 81507 x hardback Publishing of this book is made possible, in part, by a grant from the Publications Committee, Department of Art and Archaeology, Princeton University, and the Program for Cultural Cooperation between Spain’s Ministry of Education, Culture, and Sports and United States Universities. iv CB554-FM CB554-Escobar-V1 June 3, 2003 7:36 Contents - List of Illustrations page ix -
Qué Fue Del Salón De Reinos. Medio Siglo De Utopía
LOCVS AMŒNVS 14, 2016 233 - 255 Qué fue del Salón de Reinos. Medio siglo de utopía Patricia García-Montón González Universidad Complutense de Madrid [email protected] Resumen En 1998, coincidiendo con la dirección de Fernando Checa en el Museo del Prado, nombrado con la llegada del Partido Popular al Gobierno, se presentaba el proyecto oficial de reordenación de las colecciones para la parte del que fue el antiguo Salón de Reinos del Palacio del Buen Retiro, entonces Museo del Ejército. Propuesta que ha- bía sido un lugar común de grandes historiadores españoles, desde Elías Tormo, vocal del primer Patronato del Prado, hasta Alfonso E. Pérez Sánchez, director durante el mandato del Partido Socialista Obrero Español, y que suponía una lanza a favor de la recuperación historicista. Pero la dimisión de Checa truncó la continuidad de este proyecto. MReconstruir este espacio urbano tan emblemático, por su vinculación con la historia nacional, sigue siendo una utopía que ha inspirado exposiciones, que ha puesto sobre la mesa los anhelos de renovación en los discursos museográficos durante la actual di- rección de Miguel Zugaza, e incluso que ha llegado hasta plataformas de activismo 2.0 como Change.org, lo que sin duda es una invitación a reflexionar sobre las políticas culturales de las últimas décadas en España. Palabras clave: Salón de Reinos; Palacio del Buen Retiro; Museo del Prado; siglo XX; política cultural; museografía; historiografía; cultura visual Abstract What happened to the Hall of Realms? A half century of utopia In 1998, coinciding with Fernando Checa’s term as director of the Prado Museum— who was appointed upon the Popular Party’s arrival to power—the official project to restore the ancient Hall of Realms of the Buen Retiro Palace, which then housed the Army Museum, was presented. -
The Prado Museum Ages to the Present
1 Guernica. 1936. Pablo Picasso © Sucesión Pablo Picasso. VEGAP, Madrid, 2017 Art in Madrid In addition to being the city where Goya and Velázquez linked to the Spanish Crown which are now managed also several other museums in Madrid which are less – both court painters to the Spanish monarchs – by Patrimonio Nacional, the National Heritage well-known, such as the Cerralbo and Sorolla, and the worked, Madrid also boasts an important cultural Institution. The city of Madrid is home to the royal museums of Romanticism, the Americas, Anthropology heritage encompassing most European styles. This monasteries of Las Descalzas and La Encarnación as and Decorative Arts. To the list we can add the Lázaro guide provides a basic introduction to the city’s main well as El Pardo Palace and the Royal Palace, and the Galdiano Foundation, which inherited its holdings from museums, covering the most frequent thematic greater region of Madrid is home to Aranjuez Palace a private collector who gave the foundation its name. elements of Western art. The high point of this and the Monastery of El Escorial, whose collections For its part, the San Fernando Royal Academy of Fine itinerary is of course the Art Walk (Paseo del Arte), boast particularly fine examples of the sumptuary Arts is a unique institution, which, besides promoting roughly one and a half kilometres of green spaces arts, furniture and painting. Meanwhile, although its the study, dissemination and safeguarding of art, also housing three of the world’s top galleries – the Prado, collections harbour more than just works of art, the boasts one of the most interesting museums you can Thyssen-Bornemisza, and Reina Sofía museums – National Archaeological Museum reveals the various visit in the city. -
Artinmadrid.Pdf
1 Guernica. 1936. Pablo Picasso © Sucesión Pablo Picasso. VEGAP, Madrid, 2017 Art in Madrid In addition to being the city where Goya and Velázquez linked to the Spanish Crown which are now managed also several other museums in Madrid which are less – both court painters to the Spanish monarchs – by Patrimonio Nacional, the National Heritage well-known, such as the Cerralbo and Sorolla, and the worked, Madrid also boasts an important cultural Institution. The city of Madrid is home to the royal museums of Romanticism, the Americas, Anthropology heritage encompassing most European styles. This monasteries of Las Descalzas and La Encarnación as and Decorative Arts. To the list we can add the Lázaro guide provides a basic introduction to the city’s main well as El Pardo Palace and the Royal Palace, and the Galdiano Foundation, which inherited its holdings from museums, covering the most frequent thematic greater region of Madrid is home to Aranjuez Palace a private collector who gave the foundation its name. elements of Western art. The high point of this and the Monastery of El Escorial, whose collections For its part, the San Fernando Royal Academy of Fine itinerary is of course the Art Walk (Paseo del Arte), boast particularly fine examples of the sumptuary Arts is a unique institution, which, besides promoting roughly one and a half kilometres of green spaces arts, furniture and painting. Meanwhile, although its the study, dissemination and safeguarding of art, also housing three of the world’s top galleries – the Prado, collections harbour more than just works of art, the boasts one of the most interesting museums you can Thyssen-Bornemisza, and Reina Sofía museums – National Archaeological Museum reveals the various visit in the city. -
The Granada Venegas Family, 1431-1643: Nobility, Renaissance and Morisco Identity
The Granada Venegas Family, 1431-1643: Nobility, Renaissance and Morisco Identity By Elizabeth Ashcroft Terry A dissertation submitted in partial satisfaction Of the requirements for the degree of Doctor of Philosophy in History in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Thomas Dandelet, Chair Professor Jonathan Sheehan Professor Ignacio E. Navarrete Summer 2015 The Granada Venegas Family, 1431-1643: Nobility, Renaissance, and Morisco Identity © 2015 by Elizabeth Ashcroft Terry All Rights Reserved The Granada Venegas Family, 1431-1643: Nobility, Renaissance and Morisco Identity By Elizabeth Ashcroft Terry Doctor of Philosophy in History University of California-Berkeley Thomas Dandelet, Chair Abstract In the Spanish city of Granada, beginning with its conquest by Ferdinand and Isabella in 1492, Christian aesthetics, briefly Gothic, and then classical were imposed on the landscape. There, the revival of classical Roman culture took place against the backdrop of Islamic civilization. The Renaissance was brought to the city by its conquerors along with Christianity and Castilian law. When Granada fell, many Muslim leaders fled to North Africa. Other elite families stayed, collaborated with the new rulers and began to promote this new classical culture. The Granada Venegas were one of the families that stayed, and participated in the Renaissance in Granada by sponsoring a group of writers and poets, and they served the crown in various military capacities. They were royal, having descended from a Sultan who had ruled Granada in 1431. Cidi Yahya Al Nayar, the heir to this family, converted to Christianity prior to the conquest. Thus he was one of the Morisco elites most respected by the conquerors.