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Velázquez, Painter & Curator
This book is the first to address the curatorial career of Diego Velázquez, painter to King Philip IV of Spain and chamberlain of his royal palace. It investigates the role that Velázquez played in overseeing the display of the Habsburg art collection, then the richest in the western world, and the role, in turn, that this practice played in his creative trajectory between his arrival at the Spanish court in 1623 and his death in 1660. This book thus recasts Velázquez’s career as an episode in the history of the curator.
Painting Flanders Abroad
In Painting Flanders Abroad: Flemish Art and Artists in Seventeenth-Century Madrid, Flemish immigrants and imported Flemish paintings cross the paths of Spanish kings, collectors, dealers, and artists in the Spanish court city, transforming the development and nature of seventeenth-century Spanish painting. Examining these Flemish transplants and the traces their interactions left in archival documents, collection inventories, art treatises, and most saliently Spanish “Golden Age” paintings, this book portrays Spanish society grappling with a long tradition of importing its favorite paintings while struggling to reimagine its own visual idiom. In the process, the book historicizes questions of style, quality, immigration, mobility, identity, and cultural exchange to define what the evolving and amorphous visual concept of “Flemishness” meant to Spanish viewers in an era long before the emergence of nationalism.
Painting and Devotion in Golden Age Iberia
It is the first monograph in English on Luis de Morales since the 1960s, which is essential for those who do not read Spanish because most of the literature on Morales is in Spanish It provides an extended consideration of the relationship between Morales’ paintings and the devotional practices of his times, using devotional writing aimed at a lay readership and sermons It highlights the importance of Portuguese cultural influences on his work and notes the significance of his work in Portugal as an influence on Portuguese painters and style.
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The Museum of Babel
The Museum of Babel: Meditations on the Metahistorical Turn in Museography is a thought‐provoking, transatlantic reading of contemporary exhibits of the museum’s own past. Museums everywhere now exhibit ‘evocations’ of their own pasts, often in the form of refashioned, ancestral cabinets of curiosities. Moving beyond discussions of ‘the return to curiosity,’ Thurner calls this retrospective trend the metahistorical turn in museography. Providing engaging and lively meditations on exhibits of the museal past in art, natural history, archaeology, and anthropology museums, including the Prado, the Royal Cabinet of Natural History, the Ashmolean, the British Museum, the Louvre, Coimb...
Portraiture, Gender, and Power in Sixteenth-Century Art
This exciting and wide-ranging volume examines the construction and dissemination of the image of female power during the Renaissance. Chapters examine the creation, promotion, and display of the image of women in power, and how the artistic and cultural patronage they developed helped them craft a self-image that greatly contributed to strengthening their power, consolidating their political legitimacy, and promoting their authority. Contributors cover diverse models of sixteenth-century female power: from ruling queens, regents, and governors, to consorts of sovereigns and noblewomen outside the court. The women selected were key political figures and patrons of art in England, France, Castile, the Low Countries, the Holy Roman Empire, and Italian city states. The volume engages with crucial and controversial debates regarding the nature and use of portraiture as well as the changing patterns of how portraits were displayed, building a picture of the principal iconographic solutions and representational strategies that artists used. The book will be of interest to scholars working in art history, gender studies, women’s studies, and Renaissance studies.
Push Me, Pull You
Late Medieval and Renaissance art was surprisingly pushy; its architecture demanded that people move through it in prescribed patterns, its sculptures played elaborate games alternating between concealment and revelation, while its paintings charged viewers with imaginatively moving through them. Viewers wanted to interact with artwork in emotional and/or performative ways. This inventive and personal interface between viewers and artists sometimes conflicted with the Church’s prescribed devotional models, and in some cases it complemented them. Artists and patrons responded to the desire for both spontaneous and sanctioned interactions by creating original ways to amplify devotional exper...
Sacred Words and Worlds
This book examines the scholarly genre of 'geographia sacra' in early modern Europe, tracing its contours, the outlooks and concerns of its practitioners, as well as the intersections of religion and geography in an age that saw dramatic revolutions in both fields.
Exile, Diplomacy and Texts
Exile, Diplomacy and Texts offers an interdisciplinary narrative of religious, political, and diplomatic exchanges between early modern Iberia and the British Isles during a period uniquely marked by inconstant alliances and corresponding antagonisms. Such conditions notwithstanding, the essays in this volume challenge conventionally monolithic views of confrontation, providing – through fresh examination of exchanges of news, movements and interactions of people, transactions of books and texts – new evidence of trans-national and trans-cultural conversations between British and Irish communities in the Iberian Peninsula, and of Spanish and Portuguese ‘others’ travelling to Britain and Ireland. Contributors: Berta Cano-Echevarría, Rui Carvalho Homem, Mark Hutchings, Thomas O’Connor, Susana Oliveira, Tamara Pérez-Fernández, Glyn Redworth, Marta Revilla-Rivas, and Ana Sáez-Hidalgo.
City Views in the Habsburg and Medici Courts
In City Views in the Habsburg and Medici Courts, Ryan E. Gregg relates how Charles V, Holy Roman Emperor, and Duke Cosimo I of Tuscany employed city view artists such as Anton van den Wyngaerde and Giovanni Stradano to aid in constructing authority. These artists produced a specific style of city view that shared affinity with Renaissance historiographic practice in its use of optical evidence and rhetorical techniques. History has tended to see city views as accurate recordings of built environments. Bringing together ancient and Renaissance texts, archival material, and fieldwork in the depicted locations, Gregg demonstrates that a close-knit school of city view artists instead manipulated settings to help persuade audiences of the truthfulness of their patrons’ official narratives.
