Painting and Devotion in Golden Age Iberia

Jean Andrews

Description

Luis de Morales, known as El Divino because of his intensely religious subject matter, is the most significant and recognisable Spanish painter of the mid-sixteenth century, the high point of the Spanish and Portuguese counter-reformations. He spent almost his entire working life in the Spanish city of Badajoz, not far from the border with Portugal, and did not travel outside of a small area around that city, straddling the border. The social, political and cultural environment of Badajoz and its environs is crucial for a thorough understanding of Morales’s output, and this book provides context in detail – considering literature and liturgical theatre, the situation of converted Jews and Muslims, the presence of Erasmianism, Lutheranism and Illuminism (Alumbradismo), devotional writing for lay people, and proximity to the Bragança ducal palace in Portugal as a means of explaining this most enigmatic of painters.

Table of Contents
List of Figures
Preface
Chapter I: Badajoz in the 1540s: City of Joy
Chapter II: Badajoz in the 1550s: Iconographical Licence
Chapter III: Badajoz in the 1560s: Meditation on the Life and Death of Christ
Chapter IV: Tridentine Badajoz and its environs: The Model Male Penitent
Chapter V: Both Sides of the Border: The Two Franciscos
Bibliography

Sujets

• Spain
• Art
• Spain (groupe)
• European
• Portugal

Informations

• Publié par: University of Wales Press
• Date de parution: 01 juin 2020
• Nombre de lectures: 0
• EAN13: 9781786836045
• Langue: English
• Poids de l'ouvrage: 6 Mo

Extrait

PAINTING AND DEVOTION IN GOLDEN AGE IBERIA
S TUDIES IN V ISUAL C ULTURE
SERIES EDITORS
Margaret Topping
Queen’s University, Belfast
Rachael Langford
Cardiff University
Giuliana Pieri
Royal Holloway, University of London
EDITORIAL BOARD
Mieke Bal
University of Amsterdam
Paul Cooke
University of Leeds
Anne Freadman
The University of Melbourne
María Pilar Rodríguez
Universidad de Deusto
Eric Thau
University of Hawai’i at Manoa
available 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)
S TUDIES IN V ISUAL C ULTURE
Painting and Devotion in Golden Age Iberia
Luis de Morales
Jean Andrews
© Jean Andrews, 2020
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, University Registry, King Edward VII Avenue, Cardiff CF10 3NS.
www.uwp.co.uk
British Library CIP Data
A catalogue record for this book is available from the British Library
ISBN 978-1-78683-602-1
e-ISBN 978-1-78683-604-5
The right of Jean Andrews to be identified as author of this work has been asserted in accordance with sections 77 and 79 of the Copyright, Designs and Patents Act 1988.
The publisher has no responsibility for the persistence or accuracy of URLs for any external or third-party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.
Cover image: Luis de Morales, St Jerome in the Wilderness (detail), c.1560-70. National Gallery of Ireland, Dublin. By permission.
Cover design: Olwen Fowler
Contents
Series editors’ preface
Acknowledgements
List of figures
Preface
1 Badajoz in the 1540s: City of Joy
2 Badajoz in the 1550s: Iconographical Licence
3 Badajoz in the 1560s: Meditation on the Life and Death of Christ
4 Tridentine Badajoz and its Environs: The Model Male Penitent
5 Both Sides of the Border: The Two Franciscos
Afterword
Notes
Bibliography
Series 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 field. 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 fields 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 offers an exciting new arena for testing and extending disciplinary, theoretical and conceptual boundaries.
Acknowledgements
The list of institutions and individuals I must thank for their assistance and kindness over the course of the preparation of this book is long.
Institutions: the University of Nottingham for research leave and Santander Universities for funding visits to galleries and churches in Spain and Portugal. All those galleries, large and small, and churches who generously gave permission to reproduce images gratis.
Individuals: Leticia Ruiz Gómez for showing me the Prado Morales paintings not on public display; Alexandra Markl at the Drawings and Engravings Collection of the Museu Nacional de Arte Antiga, Lisbon, for letting me look at their Morales (and possible Morales) drawings; Jesús Jiménez González for taking me round the collection at the Museo Catedralico de Badajoz and for sending me away with a pile of useful and hard-to-find books; Verónica Molano Cid and Fr Juan Manuel García Acedo for welcoming me to the parish church of the Assumption in Arroyo de la Luz to see the altarpiece there; Fr José María Muñoz for his kindness regarding the Virgin and Child with the Little Bird in the parish church of St Augustine, Madrid; Mercedes Orantos Sánchez-Rodrigo for allowing me into the church of St Martin, Plasencia to see the altarpiece before it became a visitor site; Daniel Silva for giving me access to the Hispanic Society of America’s Holy Family with the Horoscope of Christ , José Alberto Conderana for context on the Morales Magdalen once kept at the Clerecía building in Salamanca; Teresa Álvarez González for information on the sculptor Pedro de Árbulo; Olivia Fryman for intercession with trustees; Daniel Benito Goerlich for showing me the Morales triptych in the Real Colegio-Seminario de Corpus Christi in Valencia; María Cruz de Carlos Varona for help in sourcing images; and Eddie Langé for instructing me in how Morales worked and Gill Langé for her warm hospitality.
I also acknowledge the encouragement and support of Terry O’Reilly, Anne J. Cruz, Laura R. Bass and Jeremy Roe, as well as the friendship of my colleagues in Spanish, Portuguese and Latin American Studies at the University of Nottingham.
Figures
Figure 1
Luis de Morales, The Virgin and Child with the Little Bird , 1546, oil on panel transferred to canvas, 210 x 158 cms, church of St Augustine, Madrid.
Figure 2
Raffaello Sanzio, The Madonna with the Goldfinch , 1505–6, oil on panel, 107 x 77 cms, Gallerie degli Uffizi, Florence, inv. 1890, 1447.
Figure 3
Juan Correa de Vivar, The Virgin with the Goldfinch , 1548–50, oil on panel, 43 x 36.5 cms, Colegio de Doncellas Nobles, Toledo © Patrimonio Nacional, inv. 00680728.
Figure 4
Luis de Morales, The Virgin and Child with St John , c .1545–55, oil on oak panel, 167 x 122 cms, Salamanca cathedral, Salamanca.
Figure 5
Luis de Morales, Holy Family with the Horoscope of Christ , c .1554–60, oil on walnut panel, 91 x 67 cms, Hispanic Society of America, New York, inv. A78.
Figure 6
Luis de Morales, The Presentation in the Temple , c .1562, oil on oak panel, 146.5 x 116 cms, Prado Museum, Madrid, inv. P943.
Figure 7
Luis de Morales, The Birth of the Virgin , 1562–7, oil on walnut panel, 69.2 x 93.2 cms, Prado Museum, Madrid, P7859.
Figure 8
Luis de Morales, Virgin Dressed as a Gypsy with the Child Jesus , c .1567, oil on panel, 57 x 41 cms, Fondo Cultural Villar Mir, Madrid.
Figure 9
Luis de Morales, Lamentation over the Dead Christ , c .1566, oil on oak panel, 167.5 x 125 cms, Museo de Salamanca, inv. IG 106; photo Manuel Blanco/AMP digital, Archivo Fotográfico, Museo de Salamanca.
Figure 10
Luis de Morales, Juan de Ribera , c .1566, oil on oak panel, 52.3 x 40 cms, Prado Museum, Madrid, inv. P947.
Figure 11
Luis de Morales, Calvary with Donor , c .1565–75, oil on panel, 235.5 x 156.6 cms, Museo de Bellas Artes, Valencia, inv. 445.
Figure 12
Luis de Morales, Virgin and Child , c .1565, oil on chestnut panel, 83.7 x 63.7 cms, Prado Museum, Madrid, inv. 2656.
Figure 13
Luis de Morales, The Virgin and Child with the Distaff , 1566, oil on chestnut panel, 64.5x 45 cms, Prado Museum, Madrid, inv. P7864.
Figure 14
Luis de Morales, Pietà , c .1560, oil on oak panel, 126 x 98 cms, Real Academia de Bellas Artes de San Fernando, Madrid, inv. 612.
Figure 15
Luis de Morales, Pietà , 1553–4, oil on panel, 114.4 x 84.2 cms, Museo Catedralicio, Badajoz.
Figure 16
Anon. Netherlandish, Portable passion polyptich (10 panels), panel no. 10 Pietà (inner central panel), mid-sixteenth century, oil on oak panel, 24.2 x 20.2 cms, Wernher Collection, London, ©The Wernher Foundation Historic England Archive, inv. K011220.
Figure 17
After Leonardo da Vinci, Madonna of the Yarnwinder , c .520–30, oil on panel, 62 x 48.8cms, National Galleries of Scotland, Edinburgh, inv. NG2270.
Figure 18
Luis de Morales, Man of Sorrows , 1566, oil on walnut panel, 60.5 x 44 cms, Prado Museum, Madrid, inv. P007867.
Figure 19
Luis de Morales, The Man of Sorrows , c .1560, oil on panel, 64.45 x 46.36 cms, Minneapolis Institute of Art, Minneapolis, inv. The Ethel Morrison van Derlip Fund, 62.24.
Figure 20
Frei Carlos, Christ, the Good Shepherd , c .1520, oil on panel, 90 x 65 cms, Museu Nacional de Arte Antiga, Lisbon, inv. 1 Pint; photo Luisa Oliveira/José Paulo Ruas ©Direção-Geral do Património Cultural/Arquivo de Documentação Fotográfica.
Figure 21
Nicolás Francés, St Jerome Translating the Gospels , c .1450, tempera on panel, 98 x 59 cms, National Gallery of Ireland, Dublin, inv. 1013.
Figure 22
Leonardo da Vinci, St Jerome , c .1480–2, oil and tempera on walnut panel, 102.8 x 73.5 cms, Vatican Museums, Rome, inv. 40337.
Figure 23
Cosmè Tura, St Jerome , c .1470, oil and tempera on poplar panel, 101 x 57.2 cms, © The National Gallery, London, inv. NG773.
Figure 24
Hieronymus Bosch, St Jerome in Prayer , c .1485, oil on panel, 80.1 x 60.6 cms, Fine Arts Museum, Ghent, inv. 1908-H.
Figure 25
Anon., The Penitent St Jerome , mid-sixteenth century, oil on panel, 49 x 34 cms, Museo de Bellas Artes, Cáceres, inv. CE000665.
Figure 26
Luis de Morales, The Penitent St Jerome , 1560–3, oil on panel, 65 x 80 cms, predella panel on the altarpiece of the church of Our Lady of the Assumption, Arroyo de la Luz, sculptor Alonso Hipólito, Arroyo de la Luz, Cáceres.
Figure 27
Luis de Morales, The Penitent St Jerome , c.1555, oil on panel, 80 x 58 cms, Museo Catedralicio, Bada