7.Portrait and Allegory
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The Story of the Nation's
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Matrimony and Monarchy: the Failure of Bourbon-Habsburg Matrimonial Alliance
Matrimony and Monarchy: The Failure of Bourbon-Habsburg Matrimonial Alliance Dr Samra Sarfraz Khan* Irum Iqbal Hussain** Abstract The research paper titled “Matrimony and Monarchy: The Failure of Bourbon-Habsburg Matrimonial Alliance,” is an in depth study of the matrimonial alliance between the Bourbon and Habsburg dynasties through the marriage of Louis XIV; the King of France, with the Spanish hieress Maria Theresa. This matrimonial alliance, which was arranged to start a new era of Franco-Spanish relations in the seventeenth century, was one of the many similar examples that had been followed in state craft from the earliest times. The paper serves a two-fold purpose: to bring to light the unsuccessful nature of this marriage, and to probe the various reasons for which the alliance was a failure in the very quintessence of a marriage. The paper highlights the factors that contributed in not only keeping the matrimonial alliance into a contentious relationship between Maria Theresa and Louis XIV but also in causing a decline in the political ties between the French and Spanish kingdoms. The research paper, thus, caters to an aspect in the study of matrimonial alliances that remains largely unexplored. Keywords: Matrimonial alliance, Bourbon, Hapsburg, monarch, expansion. * Samra Sarfraz Khan, Ph.D. Assistant Professor, Department of History, University of Karachi ** Irum Iqbal Hussain, Graduate Student, Institute of Ismaili Studies (IIS), UK 15 Jhss, Vol. 10, No. 2, July to December, 2019 Introduction The matrimonial alliance of Louis XIV and Maria Theresa was one in a series of similar state alliances that took place between the Bourbon and Habsburg royal families in their days of glory days. -
Isabel Clara Eugenia and Peter Paul Rubens’S the Triumph of the Eucharist Tapestry Series
ABSTRACT Title of Document: PIETY, POLITICS, AND PATRONAGE: ISABEL CLARA EUGENIA AND PETER PAUL RUBENS’S THE TRIUMPH OF THE EUCHARIST TAPESTRY SERIES Alexandra Billington Libby, Doctor of Philosophy, 2013 Directed By: Professor Arthur K. Wheelock, Jr., Department of Art History and Archeology This dissertation explores the circumstances that inspired the Infanta Isabel Clara Eugenia, Princess of Spain, Archduchess of Austria, and Governess General of the Southern Netherlands to commission Peter Paul Rubens’s The Triumph of the Eucharist tapestry series for the Madrid convent of the Descalzas Reales. It traces the commission of the twenty large-scale tapestries that comprise the series to the aftermath of an important victory of the Infanta’s army over the Dutch in the town of Breda. Relying on contemporary literature, studies of the Infanta’s upbringing, and the tapestries themselves, it argues that the cycle was likely conceived as an ex-voto, or gift of thanks to God for the military triumph. In my discussion, I highlight previously unrecognized temporal and thematic connections between Isabel’s many other gestures of thanks in the wake of the victory and The Triumph of the Eucharist series. I further show how Rubens invested the tapestries with imagery and a conceptual conceit that celebrated the Eucharist in ways that symbolically evoked the triumph at Breda. My study also explores the motivations behind Isabel’s decision to give the series to the Descalzas Reales. It discusses how as an ex-voto, the tapestries implicitly credited her for the triumph and, thereby, affirmed her terrestrial authority. Drawing on the history of the convent and its use by the king of Spain as both a religious and political dynastic center, it shows that the series was not only a gift to the convent, but also a gift to the king, a man with whom the Infanta had developed a tense relationship over the question of her political autonomy. -
A Constellation of Courts the Courts and Households of Habsburg Europe, 1555-1665
A Constellation of Courts The Courts and Households of Habsburg Europe, 1555-1665 A Constellation of Courts The Courts and Households of Habsburg Europe, 1555-1665 Edited by René Vermeir, Dries Raeymaekers, and José Eloy Hortal Muñoz © 2014 by Leuven University Press / Presses Universitaires de Louvain / Universitaire Pers Leuven. Minderbroedersstraat 4, B-3000 Leuven (Belgium) All rights reserved. Except in those cases expressly determined by law, no part of this publication may be multiplied, saved in an automated datafile or made public in any way whatsoever without the express prior written consent of the publishers. ISBN 978 90 5867 990 1 e-ISBN 978 94 6166 132 6 D / 2014 / 1869 / 47 NUR: 685, 697 Cover illustration: Lucas I van Valckenborgh, “Frühlingslandschaft (Mai)”, (inv. Nr. GG 1065), Kunsthistorisches Museum Vienna Contents Courts and households of the Habsburg dynasty: history and historiography José Eloy Hortal Muñoz, Dries Raeymaekers and René Vermeir 7 The political configuration of the Spanish Monarchy: the court and royal households José Martínez Millán 21 The court of Madrid and the courts of the viceroys Manuel Rivero 59 The economic foundations of the royal household of the Spanish Habsburgs, 1556–1621 Carlos Javier de Carlos Morales 77 The household of archduke Albert of Austria from his arrival in Madrid until his election as governor of the Low Countries: 1570–1595 José Eloy Hortal Muñoz 101 Flemish elites under Philip III’s patronage (1598-1621): household, court and territory in the Spanish Habsburg Monarchy* -
Introduction
Introduction Sarah Joan Moran and Amanda Pipkin The Low Countries, a region comprising modern-day Belgium, the Netherlands, Luxembourg, and parts of eastern Germany and northern France, offers a re- markable laboratory for the study of early modern religion, politics, and cul- ture. Under the domain of the Hapsburg empire from 1482 and allocated to the Spanish crown when Holy Roman Emperor Charles V abdicated in 1555, the Low Countries were highly urbanized, literate, and cosmopolitan, and their cities were among the most important trade centers in Northern Europe. Following the publication of Luther’s 98 theses in 1517 the region also proved fertile ground for the spread of Protestant ideas, which combined with local resentment of foreign rule culminated in rebellion against Spain in 1568. This marked the start of the Eighty Years War.1 Philip II reestablished control over most of the Southern provinces around 1585 but neither he nor his successors were able to re-take the North. As war waged on for another six decades the South saw a wave of Catholic revival while Reformed evangelism flourished in the new Dutch Republic, entrenching a religious and political divide that slowly crushed the dreams of those hoping to reunite the Low Countries.2 Following the War of the Spanish Succession, under the Treaty of Rastatt in 1714 the Southern provinces were transferred back to the Austrian Habsburg emperors, and both North and South underwent economic declines as they 1 See Jonathan Irvine Israel, The Dutch Republic: Its Rise, Greatness, and Fall, 1477–1806 (Oxford and New York: Oxford University Press, 1995); Arie-Jan Gelderblom, Jan L. -
The Portrait of Juana of Austria in the Bilbao Fine Arts Museum
IN THE KING’S NAME The Portrait of Juana of Austria in the Bilbao Fine Arts Museum Leticia Ruiz Gómez 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 © Kunsthistorisches Museum, Wien: fig. 7 © Musées Royaux des Beaux Arts de Belgique, Bruxelles: fig. 4 © Museo Nacional del Prado, Madrid: figs. 2, 3, 5, 9 and 10 © Patrimonio Nacional, Madrid: figs. 6 and 8 Text published in: B’06 : Buletina = Boletín = Bulletin. Bilbao : Bilboko Arte Eder Museoa = Museo de Bellas Artes de Bilbao = Bilbao Fine Arts Museum, no. 2, 2007, pp. 85-123. Sponsored by: 2 n the 1550s Princess Juana of Portugal was a regular subject for portrait artists, being one of the leading women in the House of Austria, the dynasty that dominated the political scene in Europe throughout the I16th century. The youngest daughter of Charles V and Isabella of Portugal, she had a special role to play in her father’s geopolitical strategies, first as the wife of the heir to the Portuguese throne, to whom she bore a posthumous son who would eventually come to the throne of Spain’s neighbour, and subsequently as regent of the Emperor’s peninsular territories. -
I GLADLY STRAINED MY EYES to FOLLOW YOU — Entrance Hall — the Landing
a guided tour of Pollock House by Shauna McMullan I GLADLY STRAINED MY EYES TO FOLLOW YOU — Entrance Hall — The Landing UNKNOWN LADY UNKNOWN dates unknown dates unknown Karen Cornfield, House Manager, Pollok House Kate Davis, artist Is that a fly on her nose? Untitled It’s not meant to be there. Unasked There’s meant to be a story, Unspoken The person behind the face. Unkempt Unaccustomed This portrait of a woman was painted by a man. Unseen We know about him, not about her. Unsteady Unnecessary “He had a name and was born on a date. He came from a Unwilling country and was born in a place. He painted things that were Unemployed typical of the time. He went to a city and another country. His Unwise work is exhibited among the work of other men. His most Undressed famous work is a painting.” Ungovernable Unsound (But, not this one.) Unhealthy Unflappable When was she born and where did she live? Unlucky Where did she travel and what did she see? Unmarked Where can we see her life’s work? Unpretentious What was her passion? Unsightly What did she love? Unprincipled Unable Separated from her story, Unnatural Captured in a frame, Unwritten Hung upon a wall, Unbending To be remembered without a name. Unreasonable Unsettled Unstable — Silver Corridor Unaware Uncommunicative ANNE MARIE CHARLOTTE CORDAY Unwholesome Unsaid 1768 – 1793 Untapped Dr. Sarah Tripp, artist Unbecoming Unarmed Moods did not settle upon her face. When I arrived Untold (when I first saw her) this was the case – no mood. -
Rare Masterwork by Spanish Court Painter Vicente López Acquired by Meadows Museum
RARE MASTERWORK BY SPANISH COURT PAINTER VICENTE LÓPEZ ACQUIRED BY MEADOWS MUSEUM Portrait of Influential American Merchant Richard Worsam Meade, First Major Collector of Spanish Art in U.S. Painting To be Unveiled May 10, and Featured in Exhibition of Top Acquisitions In Fall 2011 Dallas, TX, May 9, 2011 – A rare portrait of influential American merchant and naval agent Richard Worsam Meade—the first major collector of Spanish art in the U.S.—will be made accessible to the public in its new home at the Meadows Museum at Southern Methodist University. On May 10, the museum will unveil the masterwork by Vicente López, one of the most significant painters of the Spanish Enlightenment. Acquired with the generous support of six donors from the Dallas community, the unpublished painting will add depth to the museum’s holdings of work by this celebrated court painter and will provide insight into a legendary American family. Meade was the son of the Philadelphia Revolutionary George Meade, and his son, George Gordon Meade – better known as General Meade – went on to defeat Robert E. Lee at the Battle of Gettysburg. Around 1800, Richard Worsam Meade moved his export business to the port city of Cádiz, Spain where he began to collect paintings as currency for debts. It was there that Meade developed one of the most outstanding private collections of Spanish art, including paintings by Titian, Correggio, Veronese, Rubens, Van Dyck, Velázquez, and Murillo, and ultimately became the first American collector known to have owned a painting by Murillo. “Meade could in many ways be considered the earliest predecessor of our museum’s founder, Algur H. -
Royal Tapestry Exhibition Travels to U.S. for the First Time
Royal Tapestry Exhibition Travels to U.S. for the First Time "The Twins Share Out Loot". COLUMBIA, SC.- Royal Renaissance tapestries from one of the premier museums of fine and decorative arts in the world, the Kunsthistorisches Museum of Vienna, will be on view in South Carolina’s capital city. Imperial Splendor: Renaissance Tapestries from Vienna opens at the Columbia Museum of Art on Friday, May 21, a free admission day, and runs through September 19, 2010. The exhibition marks the first time these centuries-old tapestries have travelled to the United States. Each of these eight exquisite tapestries, intricately crafted, measures from 11- to 12-feet high and from 12- to 18-feet long. The tapestries came to the Kunsthistorisches Museum from the collections of King Matthias (Holy Roman Emperor 1612-1619) and King Francis I (1708-1765). The 16th-century Flemish tapestry collection of the Kunsthistorisches Museum is widely known as one of the greatest in existence. Richly woven with silk, wool, and gold and silver thread, these eight newly restored wall hangings were made for the Hapsburg emperors at the famous Brussels atelier of Frans Geubels. They depict one of the most beloved secular themes in the 16th-century repertoire of Flemish tapestry making: the legendary founding of ancient Rome by Romulus and Remus. The series begins with the birth of the two brothers, when they were placed in a basket and set afloat on the Tiber River, and ends with the legendary rape of the Sabine women. For King Matthias and subsequent Habsburg emperors, the tapestries, displayed prominently, also served as an important venue for relating powerful messages about the ancestral roots of the Holy Roman Empire and the Habsburg family. -
(Heaven) and Gaia (Earth), Was the Powerful Goddes
Water n Greek mythology MNEMOSYNE, daughter of the primordial Titan deities Uranus (Heaven) and Gaia (Earth), I was the powerful goddess of memory, the inventor of language and mother of the nine muses. Mnemosyne presided over the spring of memory in the underworld where souls had the choice to drink either from the River Lethe, forget their past life and be re-incarnated, or to drink from her own spring and spend eternity in the peace of the Elysian Fields. The words amnesia, amnesty, mnemonic, monument derive from her name. Jupiter, in the guise of a shepherd, approaches Mnemosyne, seated on the left at the edge of a wood by her spring. Illustration by LeClerc to Isaac de Benserade’s adaptation of Ovid’s Metamorphoses Paris, 1676. ©Trustees of the British Museum. Since ancient times water has been closely linked with memory. Many people believe that the memory of a blessing can be retained in water from holy shrines and can bring healing. In the Middle Ages the power of holy water was considered so great that pilgrims bought small flasks of it hoping that its blessing would accompany them as their journey continued. Some churches locked their fonts to prevent its theft. Homeopathic remedies defy conventional scientific Medieval pilgrim’s understanding by suggesting that water has the ability to lead alloy retain an electromagnetic memory of substances previously ampulla for carrying dissolved in it to the point that no single molecule of the holy water. original substance remains. The River Ise rises in the field at Naseby where the memory of the Civil War battle of 1645 is embedded in the Northamptonshire landscape. -
Louis XIV (1624–1715)
Louis XIV (1624–1715) As ruler of France for 72 years, Louis XIV had a tremendous impact on his nation’s domestic institutions. Remembered for his probably apocryphal assertion, “I am the state,” Louis oversaw an absolutist regime that was the envy of monarchs across the continent, many of whom sought to emulate the French king. His ambitions also sparked an almost continual series of wars beginning in the 1660s and lasting almost to his death in 1715. What policies did Louis XIV implement in order to strengthen the absolutist state? What were his major foreign policy goals? * * * * * The child destined to raise French absolutism to its pinnacle was born in 1638 to parents who cared little for one another. Louis XIII and Anne of Austria had been wed largely out of diplomatic considerations and nurtured a mutual detestation for each other in the twenty-three years of marriage that preceded the birth of their son Louis. Since the mid-1620s, Louis XIII and his powerful chief minister Cardinal Richelieu had striven to lay the foundations for an absolutist Bourbon monarchy. The Cardinal’s death in 1642 presaged the death of the king by only a year, and as Louis was only five years old, Anne ruled as regent with the assistance of yet another powerful cleric, Cardinal Mazarin. Though Mazarin assumed responsibility for the education of the future king, Louis was ill served by his tutors and matured with only a marginal familiarity with most subjects. Both contemporary and modern commentators have noted that the one area the otherwise lackadaisical Louis excelled in as a pupil was in his understanding of political power and how it was effectively exercised. -
Toward a New Portrait of Madame Élisabeth De France Maria Spencer Wendeln Wayne State University
Wayne State University Wayne State University Dissertations 1-1-2015 Princess On The aM rgins: Toward A New Portrait Of Madame Élisabeth De France Maria Spencer Wendeln Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Part of the Feminist, Gender, and Sexuality Studies Commons, and the History Commons Recommended Citation Wendeln, Maria Spencer, "Princess On The aM rgins: Toward A New Portrait Of Madame Élisabeth De France" (2015). Wayne State University Dissertations. Paper 1322. This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. PRINCESS ON THE MARIGNS: TOWARD A NEW PORTRAIT OF MADAME ÉLISABETH DE FRANCE by MARIA SPENCER WENDELN DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan, in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2015 MAJOR: HISTORY Approved by: ____________________________________ Advisor Date ____________________________________ ____________________________________ ____________________________________ ____________________________________ © COPYRIGHT BY MARIA SPENCER WENDELN 2015 All Rights Reserved DEDICATION For my sisters in French heritage and history: Alice du Puy Spencer, my grandmother; Josephine du Puy, her sister and my godmother; Mary Paulette Van Vactor Heil, my beloved friend; and Mary Joan Gills Spencer, my mother and fellow researcher. ii ACKNOWLEDGEMENTS My acknowledgements begin with a special note of gratitude to Dr. Christopher Johnson. I could have not had a better adviser for my master’s thesis and this work in part derives from his guidance on my analysis of Madame Élisabeth’s 1787 portrait by Labille-Guiard.