Velazquez

Öz Bu araştırmada, değişen toplumsal sistem ve teknolojik gelişmeler etkisinde sanat eserlerinin çağlar boyunca geçirdiği felsefi söylem dili (biçimsel dil ve estetik söy-lem) analiz edilmektedir. Velazquez'in Nedimeler tablosunun bu birbirine paralel dönemler ve toplumsal sistemler dahilinde geçirdiği başkalaşım, temelde dönemin sanat anlayışını ortaya koymasının yanında sosyolojik açıdan incelendiğinde 20. yüzyıl ve sonrasında toplumsal beğeni ve estetik yargıların değişimini de ortaya çı-karmaktadır. Sanatta postmodern dönemde ortaya konulan Nedimeler tabloları, Ve-lazquez'in tablosunu postmodern yöntemlerle yeniden yorumlamıştır. 1990 sonrası yeni bir vizyona sahip olan fotoğraf postmodernizmin montaj tekniği ile geçmişin görüntüsel özelliklerini tek bir çerçeveye yerleştirmiştir. Bunun yanında kurgu ve yerleştirmeler yapılmış, popüler kültür kapsamında ortaya çıkan yeni estetik reklam alanında da yeni bir değişimi beraberinde getirmiştir. Alışveriş reklam afişlerinden coca cola reklamlarına kadar Velazquez'in Nedimeler tablosunun farklı görüntüsel göstergeleri popüler kültür ve postmodern estetik kapsamında yeniden yorumlan-mıştır. Sinema alanında da tablonun görüntüsel özelliklerinin yeniden ele alındığı görülmektedir. Bunun yanında edebiyat alanında da Nedimeler tablosu kimi ro-manlara konu oldu ve hakkında farklı hikayeler yazıldı. Bu değişim Velazquez'in tablosunun popüler kültür alanına taşınması, değişen dünyanın değişen diline yeni-den uydurulmasıdır. Çağlar ve değişen toplumsal sistemler boyunca her dönem sa-nat alanında kendi talebini dile getirmiş, ortaya konulan sanat eserleri bu değişimin göstergeleri ve estetik yansımaları olmuştur. Her yeni paradigma yeni bir değişimin göstergesidir, bu dönüşüm, toplumun psikolojik ve sosyolojik yapısı doğrultusunda gelişmiştir. Tüm bu incelemeler sonucunda örnekleme alınan tek bir resim üzerin

La Inmaculada Concepción de Vel􌍝azquez se ha investigado en comparación con la
referencia iconográfica que Pacheco estableció en su tratado artístico “Arte de la
Pintura”,aunque apenas se ha tratado la diferencia pictórica entre la Inmaculada del
discípulo y de su maestro. En este artículo se presenta la técnica utilizada por Pacheco
de representar a la Virgen de la Inmaculada como si apareciera encima de la ciudad de
Sevilla para lograr que sus pinturas parecieran “vivas”y, de esta manera poder cumplir
con sus propios preceptos iconogr􌍝aficos acerca de las pinturas religiosas,reflejados en el
libro anteriormente citado;sin embargo,su discípulo Velázquez no sólo no utilizó este
estilo de retratar a la Virgen, sino que aspiró a representarla de una manera admirablemente
realista a través de un modo caracterizado“por tener siempre delante el natural”.

RESUMEN: En octubre de 1636 el pintor Domingo de Carrión declaraba que Diego Velázquez le debía dinero en relación a ciertas pinturas. Este artículo propone identificar la mano de Carrión en las figuras y vestidos de Felipe III, Margarita de Austria e Isabel de Borbón de los retratos ecuestres del Prado que proceden del Salón de Reinos del Palacio del Buen Retiro de Madrid. El estilo de Carrión se presenta en varios retratos realizados para Pedro de Velasco, ayo de don Juan José de Austria.
PALABRAS CLAVE: Velázquez; Domingo de Carrión; pintura madrileña; Barroco; retratos ecuestres; Pedro de Velasco
SUMMARY: In October 1636 Domingo de Carrión declared that Diego Velázquez owed him money in relation to certain paintings. This article proposes to identify Carrion’s hand in the figures and costumes of Philip III, Margaret of Austria and Isabella of Bourbon in the equestrian portraits made for the Hall of Realms of The Buen Retiro Palace (today in the Prado). Carrión’s style is examined in several portraits made for Pedro de Velasco, preceptor of don Juan José de Austria.
KEYWORDS: Velázquez; Domingo de Carrión; Madrid painting; Baroque; equestrian portraits; Pedro de Velasco

The exchange of portraits between the two branches of the House of Austria provides invaluable information about the royal family, the role played by women as agents of cultural exchange, and the similarities between the two courts in their modes of representation. By shedding equal light on portraits produced in Vienna and Madrid, I hope to clarify the formulas used by the painters as well as the emotive, political and cultural practices that shaped the daily lives of the paintings' sitters, patrons and recipients.


Los intercambios de retratos entre las dos ramas de la Casa de Austria proporcionan una valiosa información sobre la familia real, el papel que ejercían las mujeres como emba-jadoras y agentes de intercambio cultural, y las similitudes entre ambas cortes en cuanto a sus modos de representación. De este modo, prestando la misma atención a los retratos producidos en Viena que a los de Madrid, se pueden comprender mejor las fórmulas que utilizaban los pintores y los usos afectivos, políticos y culturales que tenían en la vida cotidiana de sus comitentes y destinatarios.

Study on the civic iconography of the seggi (sedili, piazze) of early modern Naples; on the iconography of the horse in emblematic and political literature, within a social analysis of the Neapoltian ancient of horse-riding (rare books, etc.) and the social life of the Spanish and Neapolitan nobility.

Los estudios realizados sobre la historia del Museo del Prado tradicionalmente se han centrado en los aspectos museográficos y pedagógicos de la institución pero apenas se han interesado por el enmarcado de sus pinturas. El presente artículo analiza la intervención realizada en 1899 por la casa de enmarcado Marquina en la Sala de la Reina, transformada entonces en una sala monográfica del pintor Velázquez. Nuevos documentos permiten esclarecer las razones de la escasa relevancia que sobre los marcos tuvo esta actuación. Se analizan los cambios sufridos en el enmarcado de gran parte de la colección de pinturas de Velázquez y en especial la fortuna del enmarcado de Las meninas. Además se identifica la instalación de un taller de enmarcación y dorado, documentando las necesidades que lo originaron junto con la figura de Federico Amutio y Amil, personaje clave en la historia de la restauración y la museografía del Museo del Prado.
Un artículo de Tomás Ladrero Caballero (Fundación Amigos del Museo del Prado)

A recent exhibition at the Louvre museum insisted unilaterally on Poussin's apparently deep Christian faith. But is it so simple? The Christian readings of Poussin's paintings often forget the complex network of interpretations those works manage to hold. Alone among his French contemporaries (Stella, Vouet, Champaigne, to name but a few), Poussin is a fundamentally ambiguous painter, and those interpretative ambiguities, which are part of his aesthetic and ideological programme, must be taken into account if we want to get a true idea of the meaning of his works. Leo Strauss' famous lesson on “Persecution and the Art of Writing” must be in this case adapted to the art of painting.

"As such, I want to tackle three topics: 1) how excess has traditionally been the exclusive monopoly of history painting within the visual arts; 2) how history painting lost its artistic preeminence but its function was taken up by other media like photography, film, video, installation and even television, among others; 3) how the artistic configured the political through its experimental and educational function." [...]

"What is commonly accepted is that politics influences art, but the way from art to politics is poorly acknowledged. Both politicians and audiences receive images that stem from painting, films, theater, novels, and so on. Seeing, as Murray Edelman argues, is a constructed process and although some people may not experience these works of art directly, they do indirectly via television, Internet, and social media. Many of the virtues and vices displayed in the political arena like ambition, power, generosity, authority, philanthropy, and leadership derive directly and indirectly from art. They are based on social, political, and psychological myths and values from the artistic field (Edelman, 1995, pp. 1-5). In other words: art manufactures the images that define our world. As a catalyst, it provides images and creates situations that are strange, provocative, utopian, engaging or radical and by doing so it ends up configuring the political regime." [...]

--> Essay "Painting History, Manufacturing Excess: How the Artistic Configures the Political" in "Art, Excess, and Education: Historical and Discursive Contents", edited by Kevin Tavin, Mira Kallio-Tavin and Max Ryynänen (Palgrave Macmillan, 2019), 39-51

ÖZET Bu araştırmada, sanatı sosyolojik bakımdan inceleyen Schiller ve Guyea'nun sanat üzerine söylemlerinden yola çıkılarak, Velazquez'in Nedimeler tablosunun birbirinin devamı sanatsal eğilimler ve dönemler boyunca geçirdiği biçimsel dil ve estetik söylem incelenmektedir. Bu doğrultuda araştırmanın amaçlı örneklemini Picasso ve Salvador Dali'nin Velazquez'den etkilenerek ortaya koydukları aynı isimli çalışmalar oluşturmaktadır. Gerçekleştirilen sosyolojik inceleme dönemin sosyal yapısı ve sanatsal dili ile sınırlandırılmış, örnekleme alınan çalışmalar birbirinin devamı tarihsel dönemler içerisinde sanatsal söylem dahilinde incelenmiştir. Bu inceleme ile tek bir resim üzerinden değişen toplumsal yapılar ve tarihsel süreç boyunca estetik beğeni yargılarının değişimi ve gerçekliğe yaklaşımın farklı algı boyutları, soyutlama basamakları ortaya çıkmaktadır. ABSTRACT In this research, Schiller and Guyea, who have studied art in sociological terms, have studied the artistic tendencies and the formal language and aesthetic rhetoric of the rhythm paintings of Velazquez. In this direction, the sample for the purpose of the research is based on the works of Picasso and Salvador Dali influenced by Velazquez. The social structure of the sociological survey period and the sampled studies limited by the artistic language have been investigated in the historical periods within the context of artistic discourse. Through this examination, the different stages of abstraction and the different perception dimensions of the changes in the aesthetic appreciation judgments and approach to reality are emerging through the changing social structures and the historical process through a single painting.

Base de datos que recoge la transcripción de todo el corpus documental referente a la vida y la obra de Velázquez hasta su fallecimiento en 1660, completando y corrigiendo las recopilaciones publicadas por el Ministerio de Cultura en 1960 y 2000, respecto a las que permite una constante actualización a medida que se produzcan nuevos hallazgos documentales sobre el pintor.

El Centro de Estudios Europa Hispánica complementa así los volúmenes de su serie Velazqueña y ofrece una innovadora herramienta digital en libre acceso a todos los interesados en el arte español del Siglo de Oro. Este proyecto ha sido realizado bajo la dirección científica de Ángel Aterido y en el marco de un convenio con la Dirección General de Bellas Artes para la promoción de los estudios velazqueños.

This database contains a transcription of the entire corpus of documents referring to the life and oeuvre of Velázquez until his death in 1660. It completes and corrects the compilations published by the Ministry of Culture in 1960 and 2000, which it constantly updates as new documentary findings on the painter are made.

The Centro de Estudios Europa Hispánica thus complements the volumes in its Velazqueña series and provides an innovative digital tool that can be freely accessed by anyone interested in Spanish Golden Age art. This project has been conducted under the scientific direction of Ángel Aterido as part of an agreement with the Directorate General for Fine Arts to promote studies on Velázquez.

A. S. Byatt’s short story “Christ in the House of Martha and Mary,” based on Diego Velàzquez’s painting Kitchen Scene with Christ in the House of Martha and Mary, revolves around the relation of a young painter and a young cook. Food is thus associated with art, and, the subject matter of the artist being of a religious nature, with religion. The young painter discerns a fellow artist in the young cook, Dolores, who is not happy with the reception and appreciation of the food she cooks. The meal at the end of the story, which is reminiscent of the Eucharist, depicts food as knowledge. The initiation of the young cook, as an artist, is at last complete. That the enlightenment has been mutual and that Dolores has also contributed to the art of the painter, especially with her observation and command of her senses while cooking, can be noticed for it is not only the painter who provides for the meal. While the painter provides wine, Dolores provides a spicy tortilla, replacing the wafer in the Eucharist.

Transdisziplinäres Symposium veranstaltet vom Institut für Kunstgeschichte und Institut für Romanistik der Universität Wien in Kooperation mit dem Kunsthistorischen Museum Wien anlässlich der Ausstellung "Velázquez" (28.10.2014 bis 15.2.2015)

El Museo Nacional del Prado abordó en el año 2004 el proyecto de restauración de los leones que soportan dos tableros de piedras duras, el Tablero de mesa de Felipe II y la Mesa de don Rodrigo Calderón. Se trata de siete leones de tamaño natural realizados en bronce dorado a fuego, hechos en 1651 por Mateo Bonarelli, y un león realizado posteriormente en 1837 en plomo dorado a la sisa.

Estos leones pertenecen al conjunto de doce leones que compró Velázquez en Italia, por encargo de Felipe IV, para decorar el salón de los espejos del Alcázar de Madrid, donde permanecieron hasta el incendio del Alcázar el 24 de diciembre de 1734.

En la actualidad, de los doce leones originales siete pertenecen a la colección del Museo del Prado como soportes de mesa, cuatro se encuentran colocados como esculturas exentas en el Salón del Trono del Palacio Real de Madrid, y por último un león perdido sustituido por la copia en plomo.

La restauración ha planteado un importante reto al tratarse de piezas pertenecientes a un mismo conjunto original con una historia distinta que ha originado diferencias tanto funcionales, como estructurales, y de estado de conservación.

Durante su intervención las mismas piezas han dado respuesta a numerosos interrogantes históricos, así como información sobre los métodos originales de ejecución. Estos descubrimientos han ampliado el conocimiento de las piezas, además de mostrar una intervención realizada en época de Carlos III, cuando cuatro de los leones se transforman en esculturas exentas, y también  cuando en 1837 se trasladaron siete leones al Museo Nacional de Pintura y se realizó una copia en plomo para sustituir un león desaparecido.

Libros y conferencias aparte, la crítica de arte de Moreno Villa comprende más de cuatrocientos artículos dispersos en decenas de periódicos y revistas de origen español y mexicano, publicados entre los años 1916 y 1955.  La inmensa mayoría de ellos son desconocidos para el lector de nuestros días.  Entre los autores y temas abordados con impagable fineza e independencia de criterio figuran: Dalí, García Lorca, Buñuel, Le Corbusier, Frida Kahlo, los Ballet Russes, un retrato de Velázquez de Juan Ruiz de Alarcón, Giorgio de Chirico, el racionalismo madrileño, la reforma de Gran Vía, Alonso Berruguete, Juan Soriano, los pintores de la Guerra Civil, Gutiérrez Solana y muchos otros.

"The practice of collecting Italian drawings in Spain is an important but still unexplored phenomenon. Its origin can be traced to the seventeenth century, when the first large collection of drawings ever gathered in Spain was formed by Don Gaspar de
Haro y Guzmán (1629–1687), 7th Marqués del Carpio.

My thesis considers Carpio’s drawings collection in its social, artistic, national, and international context. It establishes how the Marqués began his collection in Spain and demonstrates the growing interest in drawing theory and collecting that was
established there in the seventeenth century. It discusses Carpio’s motivations for collecting drawings and explores the influence that the Roman cultural elite and the city’s drawings market had on the formation of Carpio’s collection. This is the first time his collection has been examined as a whole, with a focus on its relation to Carpio’s life, his other art collections, and its pivotal role in the development of the Marqués’ public
image.

In addition, this study represents the first catalogue of the framed drawings hanging in the Marques’ palaces. These openly displayed drawings reveal the evolution of Carpio’s taste in relation to his developing social and political concerns as he moved from Madrid to Naples. The powerful influence of Padre Sebastiano Resta and Giovan Pietro Bellori on the creation of the collection is also explored here. Carpio’s albums of drawings become fundamental resources for the study of the collection through an analysis of their similarities, a discussion of their frontispieces, and the methods of their acquisition. Three case studies focus on the place of drawings in Carpio’s search for
fame, his role as a politician, and his other collecting activities, particularly the amassing of his library. Taken together, these examples illustrate Carpio’s complex use of drawings for cultural, political, and social ends."