On Art and Painting

Jeremy Roe & Oliver Noble Wood, Jean Andrews

Description

This book is a collection of fourteen essays on the Dialogues on Painting, published by the Florentine-born Spanish painter and art theorist Vicente Carducho (1568–1638) in 1633. This was the first treatise in Spanish on the art of painting, written as part of a campaign led by Carducho in collaboration with other prominent painters working in Madrid, to raise the status of the artist from artisan to liberal artist. The treatise provides an overview of the melding of Italian Renaissance art theory and Madrilenian practice in the baroque era. It also offers first-hand insight into collecting in Madrid during this crucial period in the rapid expansion of the capital city. The present collection of essays by art historians and hispanists from the UK, Spain, Germany and the US examines each of the dialogues in detail, furnishing an account of Carducho’s campaign to establish a painting academy and to professionalise the office of the painter; detailing the publication history of the treatise and the interrelationship between painting and poetry; and it cites Carducho’s own painting in relation to the Italian and Spanish traditions within which he operated.

1 Vicente Carducho and the Spanish Literary Baroque
Jeremy Lawrance
2 Observations on the Readership and Circulation of the Diálogos,
Marta Cacho Casal
3 Personal and Professional Relations between the Carducho brothers and Federico Zuccari.
Macarena Moralejo Ortega
4 Italian Training at the Spanish Court: Vicente Carducho’s Artistic Formation
Rebecca J. Long
5 Connoisseurs, Collectors, Patrons, and the Odd Engineer: Vicente Carducho and Art Aficionados at the Madrid Court
José Juan Pérez Preciado
6 Painting and poetry in the Diálogos
Javier Portús
7 Carducho the conceptista
Colin Thompson
8 The Palace Painter and El Predicador de las gentes: Vicente Carducho and the Sacred Oratory of his Time
Juan Luis González García
9 Ideas About Religious Art in the Diálogos.
Marta Bustillo
10 Carducho’s late Holy Families and Decorous Representation
Jean Andrews
11 ‘Throwing New Light on the Portrait’: Vicente Carducho, Lázaro Díaz del Valle, and the Vindication of the Portrait in Golden Age Spain
José María Riello Velasco
12 Disegño to Dibujo: Vicente Carducho and the Eloquence of Drawing
Zahira Véliz
13 The paragone of painting and sculpture in the Diálogos
Karin Hellwig
14 Carducho on the art, science and poetics of the pintura de borrones
Jeremy Roe.

Sujets

• Art
• European

Informations

• Publié par: University of Wales Press
• Date de parution: 15 juillet 2016
• Nombre de lectures: 0
• EAN13: 9781783168606
• Langue: English
• Poids de l'ouvrage: 16 Mo

Extrait

ON ART AND PAINTING
00 Prelims Art_Painting_2016_6_15.indd 1 6/15/2016 4:51:10 PMStudieS in ViSual Culture
Serie S editor S
Margaret t opping
Queen’s University, Belfast
r achael Langford
Cardif University
Giuliana Pieri
Royal Holloway, University of London
editori AL Bo Ard
Mieke Bal
University of Amsterdam
Paul Cooke
University of Leeds
Anne Freadman
The University of Melbourne
Andrea Noble
University of Durham
María Pilar r odríguez
Universidad de Deusto
 eric thau
University of Hawai’i at Manoa
Titles in series
Aimee israel-Pelletier,
Rimbaud’s Impressionist Poetics: Vision and Visuality (2012)
Nathalie Aubert (ed.),
Proust and the Visual (2013)
Susan Harrow (ed.),
The Art of the Text: Visuality in nineteenth- and
twentieth-century literary and other media (2013)
Alicia R. Zuese,
Baroque Spain and the Writing of Visual and Material Culture
00 Prelims Art_Painting_2016_6_15.indd 2 6/15/2016 4:51:10 PMStudieS in ViSual Culture
ON ART AND PAINTING
Vicente Carducho and Baroque Spain
edited by
Jean Andrews, Jeremy Roe and
Oliver Noble Wood
University of Wales Press
2016
00 Prelims Art_Painting_2016_6_15.indd 3 6/15/2016 4:51:13 PM© The Contributors, 2016
All rights reserved. No part of this book may be reproduced in any material
form (including photocopying or storing it in any medium by electronic
means and whether or not transiently or incidentally to some other use of
this publication) without the written permission of the copyright owner.
Applications for the copyright owner’s written permission to reproduce any
part of this publication should be addressed to the University of Wales Press,
10 Columbus Walk, Brigantine Place, Cardif CF10 4UP.
www.uwp.co.uk
British Library CIP Data
A catalogue record for this book is available from the British Library
ISBN 978-1-78316-859-0
e-ISBN 978-1-78316-860-6
The right of the Contributors to be identifed as authors of this work has been
asserted in accordance with sections 77 and 79 of the Copyright, Designs and
Patents Act 1988.
Typeset in Wales by Eira Fenn Gaunt, Cardif
Printed by CPI Antony Rowe, Melksham
00 Prelims Art_Painting_2016_6_15.indd 4 6/15/2016 4:51:13 PMContents
Series editors’ preface vii
Acknowledgements ix
List of fguresxi
Abbreviationsxix
Notes on contributorsxxi
Preface1
1 Carducho and the Spanish Literary Baroque
Jeremy Lawrance 19
2 Painting and Poetry in Diálogos de la Pintura
Javier Portús Pérez 71
3 Carducho the conceptista
Colin Thompson 91
4 Observations on Readership and Circulation
Marta Cacho Casal 105
5 Art Afcionados at Court
José Juan Pérez Preciado 119
6 Carducho and Sacred Oratory
Juan Luis González García 149
7 Carducho and Ideas about Religious Art
Marta Bustillo 163
8 Carducho’s Late Holy Families and Decorum
Jean Andrews 183
9 Zuccari and the Carduchos
Macarena Moralejo Ortega 205
10 Italian Training at the Spanish Court
Rebecca J. Long 223
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11 Carducho and the Eloquence of Drawing
Zahira Véliz 241
12 The Paragone between Painting and Sculpture
Karin Hellwig 271
13 Carducho and pintura de borrones
Jeremy Roe 283
Plates from Diálogos de la Pintura 309
Appendices 319
Bibliography333
Index375
vi
00 Prelims Art_Painting_2016_6_15.indd 6 6/15/2016 4:51:13 PMSeries editors’ preface
Studies in Visual Culture provides a forum for ground-breaking enquiry into
visual-cultural production in its social, historical and cultural contexts. The
series places particular emphasis on the exchanges, transactions and
displacements that link Europe to wider global contexts across the visual-cultural
feld. The series seeks to promote critical engagement with visual media as
ideological and cultural as well as aesthetic constructs, and foregrounds the
relationship of visual cultures to other felds and discourses, including cultural
history, literary production and criticism, philosophy, gender and sexuality
research, journalism and media studies, migration and mobility studies, social
sciences, and politics. The Studies in Visual Culture series thus focuses on
exploring synergies and key debates between disciplines, concepts and
theoretical approaches, and ofers an exciting new arena for testing and
extending disciplinary, theoretical and conceptual boundaries.
00 Prelims Art_Painting_2016_6_15.indd 7 6/15/2016 4:51:13 PMAcknowledgements
This project frst started to take shape at a colloquium on Vicente Carducho
and Diálogos de la Pintura organised by the editors of this volume at
the Taylor Institution Library, Oxford on 1–2 April 2011. The editors would like
to thank those in attendance for their insightful comments and questions,
which helped inform many of the essays that follow. We would also like
to express our gratitude to the reader for University of Wales Press, whose
detailed feedback on our original submission proved invaluable in the prepar -
ation of the fnal manuscript, and to everyone with whom we have worked
at UWP for guidance throughout the process of producing this volume.
Chapters II, V, VI, IX and XII were originally written in Spanish and have been
translated by the editors. We owe thanks to Jeremy Lawrance (especially
in Chapter I) and Rich Rabone for additional translation, and further thanks
to the former for compiling Appendices I, II and III, which complement not
only his own chapter but the volume as a whole. Chapter XI was frst published
under the title ‘Disegno to Dibujo: Vicente Carducho and the Eloquence of
Drawing’ in Master Drawings, 53.3 (2015): 295–312, and the editorial board
are to be thanked for the permission to reproduce it here.F inally, we would
like to acknowledge important fnancial contributions made to both the
aforementioned colloquium and the present volume by the Faculty of Arts
and the School of Cultures, Languages and Area Studies at the University of
Nottingham, the Sub-Faculty of Spanish at the University of Oxford and
Hertford College, Oxford.
We have used the first edition of Diálogos de la Pintura (1633) for
all quotations from Carducho’s treatise, following original spelling and
punctuation for this and other early modern sources throughout.
00 Prelims Art_Painting_2016_6_15.indd 9 6/15/2016 4:51:14 PMFigures
Figure 1
Vicente Carducho, Self-Portrait, c.1633–8. Oil on canvas. 102 x 83 cm. The
Stirling Maxwell Collection, Pollok House, Glasgow, PC.116. © CSG CIC Glasgow
Museums and Libraries Collections.
Figure 2
Frontispiece woodcut from Giorgio Vasari, Le vite de’ piu eccellenti Pittori,
Scultori e Architettori, 3 vols (Florence: Giunti, 1568). Hertford College, Oxford,
sss.06.11/1. © Principal and Fellows of Hertford College, Oxford.
Figure 3
Juan de Valdés Leal, Allegory of Vanity, 1660. Oil on canvas. 130.4 x 99.3 cm.
Wadsworth Atheneum, Hartford, CT, 1939.270. © Allen Phillips/Wadsworth
Atheneum.
Figure 3a
Detail of Figure 3.
Figure 4
Juan Martínez de Gradilla, Philip IV, King of Spain,1666. Oil on canvas. 178.1
x 131.4 cm. The Stirling Maxwell Collection, Pollok House, Glasgow, PC.144.
© CSG CIC Glasgow Museums and Libraries Collections.
Figure 5
Juan Bautista Maíno, Santo Domingo en Soriano, c.1629. Oil on canvas. 228
x 124 cm. Museo de San Telmo, San Sebastián (on deposit from Museo
Nacional del Prado, Madrid, P05773). © Madrid, Museo Nacional del Prado.
00 Prelims Art_Painting_2016_6_15.indd 11 6/15/2016 4:51:14 PMFigures
Figure 6
Pedro de Villafranca y Malagón, frontispiece engraving from Colocacion
de la milagrosa imagen del Glorioso Patriarcha Sto. Domingo del Soriano
(Madrid: Francisco Martinez, 1638). Biblioteca Nacional de España, Madrid,
R.MICRO/5927.
Figure 7
Michel de Coxcie, Genealogía temporal de Cristo, c.1555. Oil on panel. 192 x
139 cm. Museo de Pintura y Arquitectura de El Escorial, 10014585. © Patrimonio
Nacional.
Figure 8
Juan Fernández de Navarrete, ‘El Mudo’, Sagrada Familia, 1575. Oil on canvas.
347 x 213 cm. Museo de Pintura y Arquitectura de El Escorial, 10014603.
© Patrimonio Nacional.
Figure 9
Vicente Carducho, The Holy Kinship, 1630s. Oil on canvas. 165.1 x 144.8 cm.
Private collection. Image courtesy of the Witt Library/Sotheby’s Picture Library.
Figure 10
Vicente Carducho, La Sagrada Familia, 1631. Oil on canvas. 150 x 115 cm. Museo
Nacional del Prado, Madrid, P00643. © Madrid, Museo Nacional del Prado.
Figure 11
Copy of Federico Zuccari and workshop, Porta Virtutis, 1581. Oil on canvas.
159 x 112. Galleria Nazionale delle Marche, Urbino, Inv. D300. Reproduced
by kind permission of the Ministero per i Beni e le Attivita Culturali - Direzione
Regionale per i Beni Culturali e Paesaggistici delle Marche - Soprintendenza
per i Beni Storici Artistici ed Etnoantropologici delle Marche.
Figures 12 and 13
Bartolomé and Vicente Carducho, Retablo relicario con la Anunciación, 1606,
exterior and interior views. Oil on panel. 455 x 216 x 66 cm. Museo Nacional
de Escultura, Valladolid, A72. © Museo Nacional de Escultura, Valladolid.
xii
00 Prelims Art_Painting_2016_6_15.indd 12 6/15/2016 4:51:14 PMFigures
Figure 14
Vicente Carducho, San Diego de Alcalá en gloria, 1611. Oil on canvas. 405 x
228 cm. Museo Nacional de Escultura, Valladolid, CE0888. © Museo Nacional
de Escultura, Valladolid.
Figure 15
Johannes Stradanus, Practice of the Visual Arts, 1573. Pen and brown ink, with
brown wash and opaque white heightening, the contours indented with a
stylus. 43.6 x 29.3 cm. British Museum, London, SL,5214.2. © The Trustees of
the British Museum. All rights reserved.
Figure 16
Vicente Carducho, Penitent St Jerome, c.1606. Pen and brown ink, with brown
wash, and some stains in red chalk. 14.1 x 20.3 cm. The Metropolitan Museum
of Art, New York, 1975.131.207. © The Metropolitan Museum of Art, bequest
of Harry G. Sperling, 1971.
Figure 17
Vicente Carducho, Penitent St Jerome, c.1600–10. Brush and dark brown ink,
with brown wash and opaque white h