Tag Archives: Madrid

Research Seminar: Aparencia y razón en el reinado de Felipe III. Las artes y la arquitectura al servicio de un nuevo gusto, 29 November-1 December 2017, Madrid

vista20jardines20casa20de20campo20con20la20estatua20de20felipe20iii201Los últimos veinticinco años han conocido una notable renovación y ampliación de las investigaciones centradas en aspectos diversos del reinado de Felipe III (1598-1621), especialmente, en lo que respecta al estudio del valimiento de Lerma y su influencia cortesana, política y cultural. Se han revisado, además, múltiples cuestiones de la política exterior de la Monarquía en este periodo conocido como la Pax Hispanica. Ahora, en 2017, nos hallamos en Madrid inmersos en la celebración de la construcción de uno de los espacios más emblemáticos de la capital: su Plaza Mayor. Parece este un momento excelente para reflexionar sobre cuáles son los rasgos propios de este periodo, que tantas veces queda ensombrecido por la proyección desmesurada de los longevos reinados que le preceden y que le suceden.

Este seminario nace con el objetivo de debatir en torno a los rasgos específicos y los procesos que definen el nuevo gusto que se aprecia en el reinado de Felipe III, prestando particular atención a los cambios que experimentan las artes y la arquitectura en la corte y en otros espacios cortesanos de su monarquía. Uno de los ejes vertebradores lo constituye el análisis del gusto por la apariencia, tanto en la configuración de los espacios como en las formas de auto-representación a través de ceremonias, usos y fiestas. La grandeza de la monarquía y del poder se refleja de manera mesurada y armónica a través de su arquitectura. El deleite de los sentidos y del ingenio se pone de manifiesto en el diseño funcional de palacios de recreo con galerías, huertas, jardines, parques y bosques. La materialidad terrenal basada en un lujo suntuario se combina con el retiro de la clausura y el rigor de las prácticas devocionales en la concepción misma de los conjuntos palaciegos. Se verifica, además, una verdadera proliferación de fundaciones religiosas y benéficas que transforman el tejido urbano.

Miércoles 29 de noviembre de 2017

Inauguración – Presentación institucional a las 16.00 horas.
Introducción al seminario (Alfonso Rodríguez G. de Ceballos y Bernardo García García)
I. Idea y configuración de la corte
16.00-20.00 / Salón de Actos – Fundación Universitaria Española (calle Alcalá 93)
Arquitectura e imagen en la corte de Valladolid
Jesús Urrea Fernández (Universidad de Valladolid)
El valido-arquitecto. La construcción de la grandeza de los Sandovales
Bernardo J. García García (Universidad Complutense de Madrid y Fundación Carlos de Amberes)
Discusión
Pausa
Tras la estela de Antonio Moro. La construcción de la imagen regia durante el reinado de Felipe III
Álvaro Pascual Chenel (Universidad de Valladolid)
«No había Pintor eminente en España, de quien haya tantas Pinturas en público, como de Vicencio Carducho». La decoración de los espacios de la corte.
Ángel Rodríguez Rebollo (Fundación Universitaria Española)
Discusión
Jueves 30 de noviembre de 2017
II. El arte de representar. Imagen, fiesta y Ritual
9.30-13.30 / Salón de Actos – Fundación Universitaria Española (calle Alcalá 93)
La correspondencia de Annibale Iberti: sobre viajes, pinturas, fiestas y un carrozzino en los espacios cortesanos de Valladolid
Alicia Cámara Muñoz (Universidad Nacional de Educación a Distancia)
Francisco de Mora, arquitecto de la Corte y la Villa de Madrid
Beatriz Blasco Esquivias (Universidad Complutense de Madrid)
Discusión
Pausa
«Por escalones de vidrio… subido a la alta esfera». El mecenazgo del primer marqués de Siete Iglesias: un modelo efímero de construcción de la identidad nobiliaria (1599-1621)
Santiago Martínez Hernández (Universidad Complutense de Madrid)
La carrera de un dramaturgo cortesano durante el reinado de Felipe III: el caso de Luis Vélez de Guevara
George Peale (California State University, Fullerton)
Discusión
Jueves 30 de noviembre de 2017
III. Mujeres y redes de familia
16.00-20.00 / Salón de Actos – Fundación Universitaria Española (calle Alcalá 93)
Fundaciones religiosas en la corte. La familia de Lerma y Margarita de Austria según confesores y predicadores
Alfonso Rodríguez G. de Ceballos (Fundación Universitaria Española)
La emperatriz María en el cuarto real de las Descalzas y el duque de Lerma
María Ángeles Toajas (Universidad Complutense de Madrid)
Discusión
Pausa
El Monasterio de la Encarnación de Madrid: red de mujeres, y mujeres en red
Leticia Sánchez Hernández (Patrimonio Nacional)
«En tierra ajena, lexos de mi Rey». Giovanna d’Austria, entre la corte de Felipe III y la de los virreyes de Nápoles y Sicilia
Ida Mauro (Universitat de Barcelona)
Discusión
Viernes 1 de diciembrede 2017
10.30-13.30 – Visita de estudio
[Reservada a organizadores y ponentes hasta 25 personas]
IV. La Monarquía Hispánica y la proyección del poder real
16.00-20.00 / Auditorio de la Fundación Carlos de Amberes (calle Claudio Coello, 99)
Mecenazgo y coleccionismo en tiempos de guerra: los marqueses de la Hinojosa y Villafranca en el gobierno de Milán (1612-1618)
Francisco Javier Álvarez García (Universidad Complutense de Madrid) y Odette D’Albo (Università Cattolica del Sacro Cuore y CREDEM)
Nápoles y Sicilia. La iniciativa cultural de los virreyes en el tránsito de Felipe II a Felipe III. Una perspectiva comparada
Joan Lluís Palos (Universitat de Barcelona)
Discusión
Pausa
Architectural exchanges between the Low Countries and Spain during the reign of the Archdukes: the impact of the high nobility
Sanne Maekelberg (KU Leuven)
Las exequias reales, la proyección del poder real, y la creación de un tiempo imperial en la Monarquía Hispánica de Felipe III
Alejandra B. Osorio (Wellesley College)
Discusión final
Clausura
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ARTES Coll&Cortes travel scholarship report: Ana Dias, PhD Candidate at Durham University

Fig 1 Biblioteca Nacional de EspañaThe ARTES Coll&Cortes travel scholarship granted me the opportunity to travel to Spain to examine three illustrated copies of Beatus of Liébana’s Commentarium in Apocalypsin (generally known as Beatus) on which my doctoral thesis is grounded.

My research concerns the production, illumination and impact of the Beatus manuscripts, with particular focus on the analysis of the text and image relationship. In this investigation I consider five specimens – the Beatus of Morgan, Valcavado, Urgell, Facundus and Silos – that form a particular group known as ‘family IIa’, which present remarkable textual and iconographic affinities. Moreover, these specimens also stand amongst the most lavishly illuminated copies within this tradition, thereby offering us rich material for an enquiry into questions of artistic production.

The careful and objective analysis of their differences and similarities, set against the general panorama of illustrated Apocalypses in the early medieval west, will therefore provide new evidence not only about the conceptualisation of their imagery but also concerning scribal and artistic practices in medieval Iberia.

One of the main subjects under investigation is the use of colour in the Beatus IIa miniatures. Through this analysis I aim to shed new light on how illuminators responded to the literary sources they were illustrating – Revelation and, to a more limited extent, Beatus of Liébana’s own commentary – themselves rich in colour references. Given that most of my prior research had been conducted through the observation of facsimile editions and other surrogates, it was crucial to examine the manuscripts at first hand, as even the best editions do not reproduce the material and chromatic qualities of the original works accurately enough for a study of this nature. For this reason, and having already examined the Morgan and the Silos Beatus (New York, Pierpont Morgan Library, MS M.644; London, British Library, Add MS 11695, respectively), travelling to Spain to consult in situ the Beatus of Facundus (Madrid, Biblioteca Nacional, MS Vitrina 14-2), Valcavado (Valladolid, Biblioteca de la Universidad, MS 433) and Urgell (Museu Diocesá de La Seu d’Urgell, Num. Inv. 501) was essential.

I began my research trip at the Biblioteca Nacional de España, in Madrid, where I examined the Facundus copy: an exquisite specimen commissioned by Fernando I and his wife Sancha in 1047.My main aim was to check the exact nature of its palette and pigment application, the employment of metallic inks and other general aspects of production and use, such as make up, collation and marginalia. Following my examination of this manuscript, I dedicated some days to a further exploration of the bibliographical resources of the BNE, focusing on secondary material that cannot be found in libraries in the United Kingdom.

Fig 3 Biblioteca Histórica de Santa Cruz Valladolid

My next destination was the university city of Valladolid, where the Beatus of Valcavado is held at the Biblioteca Histórica de Santa Cruz, as part of the university’s collection of historic manuscripts. As stated in its colophon, this manuscript was produced by the scribe Obeco in 970; however, no information concerning its centre of production or the nature of its commission is offered. With the diligent assistance of the library staff, I conducted a similar examination of this manuscript. I was particularly struck by the differences in its colour scheme in relation to its counterparts as well as by some particular choices of pigments in relation to the iconography.

Fig2 Biblioteca Histórica de Santa Cruz Valladolid

Fig 5 View from the Archivo Diocesano de Urgell to the natural parc del CadíIn order to examine the last manuscript in this group I had to travel to the Catalonian town of La Seu d’Urgell, located in the foothills of the Pyrenees. En route, I had the opportunity to visit the Cathedral treasury Museum of Girona where another Beatus copy is kept. While not being one of my primary sources (as it is part of another family within the tradition), seeing the Girona Beatus in exhibition was nevertheless very instructive as it enabled me to think more critically about colour use in early Iberian illumination more broadly.

Subsequently, I concluded my research trip in the Archivo Diocesano de Urgell where I inspected the Urgell Beatus: a copy of uncertain origin but which has been dated to the end of the tenth century on palaeographical and artistic grounds. The examination of this manuscript was surprising: despite being generally considered as a more humble specimen, its palette is composed of rich and vibrant bright colours. As in the case of Valcavado, this manuscript too shows some telling individual responses to the use of colour in relation to the iconography.Fig4 Archivo Diocesano de La Seu d'Urgell

Thus, the first-hand examination of these three Beatus was essential in order to confirm and refine the research conducted to date, and it has given me a greater insight into the material and chromatic properties of these specimens. It has also enabled me to conclude that, despite their relatively distinctive colour schemes, they also share evident patterns of colour use – an aspect which raises more questions concerning not only the artistic tradition but also about the nature of these images.

From a more technical perspective, this research trip has also allowed me to learn about the conservation policies of different libraries and archives, which is invaluable knowledge for someone working in the field of manuscript studies.

I am most grateful to ARTES and Coll&Cortes for their continuing support to my research and for giving me the opportunity and the privilege to conduct this investigation.

 

 

 

 

 

ARTES Travel Scholarship Report: Maria Teresa Chicote Pompanin

artesThanks to the generosity of ARTES and Coll y Cortés, I was awarded a Travel Scholarships which gave me the opportunity to carry out field research in Spain during the Spring and Summer Terms of the academic year 2016-2017. Even if I was based in Madrid, my research was often conducted outside the capital and I had the chance to visit several medieval monuments linked to the PhD thesis I am writing at the Warburg Institute (London).

The goal of my PhD research is to demonstrate that the first two Marquises of Villena, Juan Pacheco (1419-1474) and Diego López Pacheco (c.1445-1529), dedicated enormous efforts and energies in organising a complex cultural programme aimed at counteracting the negative image of their family that the Catholic Monarchs had created through a powerful political propaganda. My research includes the analysis of material and written sources, as their combined reading in historical terms is one of the best tools to understand how historical memory could be manipulated through acts of patronage at the dawn of the Early Modern Period.

During my stay in Spain, I visited many cities and villages that belonged to the Marquises of Villena during the fifteenth and early sixteenth centuries. Some of the most impressive castles I visited were those of Villena, Almansa, Escalona, Garcimuñoz, Chinchilla and Belmonte. Among the religious buildings, the most relevant for my research were the monasteries of Santa María del Parral, Saint Cataline of Siena and St Francis in Belmonte. These trips helped me to answer three fundamental questions of my PhD research: How did the Pachecos insert these buildings in the pre-existent urban landscape? In which way were they used by the Pachecos? And finally, what was their meaning and how were they perceived according to the standards of the visual culture of their time?

Being in Spain not only allowed me to visit and study in situ many buildings and artworks promoted by the Marquises of Villena, it also gave me the opportunity to carry out documentary research in various archives. The majority of the documents linked to the Pacheco family are preserved in the Archive of the Nobility, today in the Tavera’s Hospital in Toledo, a perfect place for all those who are interested in studying the great noble families of the medieval and early modern periods. Nonetheless, I also found interesting documents in the National Archive, the National Library, the Biblioteca Francisco de Zabálburu and the Biblioteca of the Museo Lázaro Galdiano.

While I was in Spain, I also dedicated part of my time in Spain to the drafting of a paper I presented at the Kings and Queens Conference: In the Shadow of the Throne, organised by the Royal Studies Network, which analysed the links between Diego López Pacheco and the inheritors to the Crowns of the Iberian Kingdoms. At the same time, I also had the chance to assist to several lectures and seminars, activities that were a useful platform to interact with scholars who are developing their research in Spanish institutions such as the CSIC, the Universidad Complutense de Madrid, the Universidad Autónoma de Madrid, the Museo del Prado, etc.

Closing Soon: The challenge of white. Goya and Esteve, portraitists to the House of Osuna

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Francisco de Goya, The Duke and Duchess of Osuna and their Children, 1787 – 1788. Oil on unlined canvas, 225 x 174 cm.

El desafío del blanco. Goya and Esteve, retratistas de la Casa de Osuna/portraitists to the House of Osuna, Museo Nacional del Prado, Madrid. Closes 1 October 2017

This displays presents for the first time in the Prado the portrait of Manuela Isidra Téllez-Girón, the future Duchess of Abrantes, which was painted in 1797 by Agustín Esteve y Marqués, and which was recently acquired with the help of funds from the donation by Óscar Alzaga Villaamil. The child’s portrait is considered one of the finest works by the Valencian-born Esteve, the most important court portraitist after Goya. The exhibition brings together for the first time all the portraits painted by Agustín Esteve of the children of the Duke and Duchess of Osuna, on loan from private collections such as the Fundación Casa Ducal de Medinaceli, the Colección Duque del Infantado, Colección Masaveu and Colección Martínez Lanzas-de las Heras. In addition the display is accompanied by portraits of the 9th Duke Osuna, Pedro de Alcántara Téllez-Girón (1755-1807) and his wife and cousin, María Josefa de la Soledad Alonso-Pimentel (1752-1834), and their five children by other court artists including Goya’s family portrait of 1787-88 and a miniature by Guillermo Ducker (fl. 1795-1830) of Joaquina Téllez-Girón, Marchioness of Santa Cruz. The exhibition’s title refers to Esteve’s and Goya’s ability to meet the challenge of representing the transparent and pristine white materials worn by their sitters.

This is the final purchase with the Alzaga funds and in October 2017 the Prado will display the other six paintings in the Alzaga donation, which range from the sixteenth-century to the middle of the nineteenth-century and include works by Sánchez Cotán, Herrera “el Viejo,” Antonio del Castillo, and Eugenio Lucas Velázquez. The display will be accompanied by a catalogue of the donation.

Closing Soon: Lightness and Boldness. Goya’s Drawings

 

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Francisco de Goya, I am still learning. Album G, 54
Ca. 1826. Black chalk, Lithographic crayon on grey laid paper, 192 x 145 mm.

Ligereza y atrevimiento. Dibujos de Goya, Centro Botín, Santander. Closes 24 September 2017.
One of the first exhibition’s in the  recently opened Renzo Piano designed Centro Botín, this show is curated by the Prado’s Head of Drawings and Prints, José Manuel Matilla, and the Chief Curator of the Goya and 18th-century Art Department, Manuela Mena. The exhibition includes 80 drawings, from the Prado’s holdings of some 520, selected as representative of the different periods of Goya’s artistic activity from 1796 to his death in 1828. Also shown are preparatory drawings for a selection of prints from his series, Sueños, Caprichos, Desastres de la guerra, Tauromaquia and Disparates. This exhibition is the result of an ambitious research and cataloguing project based on the drawings of Francisco de Goya, thanks to the collaboration agreement entered into by the Fundación Botín and  Prado Museum in 2014. The first volume of the catalogue raisonné is due to appear later in 2017 and a larger exhibition is provisionally scheduled at the Prado in 2019.

 

Featured Exhibition: Portraits

retratosRetratos. Colecciones Fundación MAPFRE de fotografía, Sala Fundación MAPFRE Recoletos (Paseo de Recoletos 23, 28004 Madrid)

The exhibition ‘Retratos’ is on at the MAPFRE Foundation until 3 September 2017. Focusing on portraits in the twentieth century, the exhibition features photographs by Spanish and Latin American photographers such as Alberto García-Alix, Cristina García Rodero, Graciela Iturbide, Anna Malagrida, Fernando Maquieira. It is divided in four themes, ‘Cities,’ ‘Communities’ and ‘Artists and Models’ which attempt to embrace and reveal the complexity of contemporary portraiture.

Featured Exhibition: Lightness and Boldness. Goya’s Drawings

 

962b4ed1-3c56-4f33-b464-8072e75a2d5f

Francisco de Goya, I am still learning. Album G, 54
Ca. 1826. Black chalk, Lithographic crayon on grey laid paper, 192 x 145 mm.

Ligereza y atrevimiento. Dibujos de Goya, Centro Botín, Santander. Closes 24 September 2017.
One of the first exhibitions in the  recently opened Renzo Piano designed Centro Botín, this show is curated by the Prado’s Head of Drawings and Prints, José Manuel Matilla, and the Chief Curator of the Goya and 18th-century Art Department, Manuela Mena. The exhibition includes 80 drawings, from the Prado’s holdings of some 520, selected as representative of the different periods of Goya’s artistic activity from 1796 to his death in 1828. Also shown are preparatory drawings for a selection of prints from his series, Sueños, Caprichos, Desastres de la guerra, Tauromaquia and Disparates. This exhibition is the result of an ambitious research and cataloguing project based on the drawings of Francisco de Goya, thanks to the collaboration agreement entered into by the Fundación Botín and  Prado Museum in 2014. The first volume of the catalogue raisonné is due to appear later in 2017 and a larger exhibition is provisionally scheduled at the Prado in 2019.