Sculpture Collections in Early Modern Spain by Kelley Helmstutler Di Dio

By Kelley Helmstutler Di Dio

Some time past decade, there was a surge of Anglophone scholarship relating to Spain within the 16th and 17th centuries, which has ended in a reframing of the discourses round Spanish tradition of this era. regardless of this new interest-in which portray, particularly, has been singled out for treatment-a accomplished learn of sculpture collections and the prestige of sculpture in Spain has but to be produced. Sculpture Collections in Early smooth Spain is the 1st ebook to evaluate comprehensively the phenomenon of sculpture accumulating and in doing so, it transforms past notions that Spanish society positioned little worth during this artwork shape. Di Dio and Coppel demonstrate that, as a result of the difficulties and cost in their shipping from Italy, sculptures have been actually prestige symbols within the tradition. hence they have been an incredible part of the collections shaped by means of the royal relatives, cultivated noble creditors, humanists, and artists who had pretensions of excessive status.This e-book is principally worthy to experts for its dialogue of the typologies of collections and gadgets, and of the mechanics of kingdom presents, shipping, and assortment reveal during this interval. An appendix provides broad archival documentation, such a lot of which hasn't ever earlier than been released. The authors have exposed hundreds of thousands of latest records approximately sculpture in Spain; and new documentary proof lets them suggest numerous new identifications and attributions. Firmly grounded in large archival study, Sculpture Collections in Early smooth Spain redefines the socio-political and artwork old significance of sculpture in early glossy Spain. most significantly, it completely transforms our wisdom concerning the presence of sculpture in quite a lot of Spanish collections of the interval, which beforehand has been erroneously characterised as with reference to nonexistent

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True to her style and work ethic, she offered very important suggestions that considerably improved the text and increased the ease of use of the appendices, and she did so with great efficiency, acumen, and dedication. The loss of Rosemarie Mulcahy is a great loss to the field of Spanish art history and to all who knew her. Both authors wish to thank the cohort of scholars that generously encouraged and contributed in many ways to our study. Edward Goldberg, Susanne Kubersky, Salvador Salort Pons, Margarita Estella, Stephan Schröder, María Jesús Herrero, Almudena Pérez de Tudela, Leticia de Frutos, Paz Aguiló, Walter Cupperi, Gloria Mora, José Luis Sancho, Jeremy Warren, Guy Lazure, the staff at the Archivio di Stato, Florence, the Archivio di Stato, Milan, the Archivo Histórico de Protocolos, Madrid, and Isabella Aguirre and the staff at the Archivio General de Simancas.

33 Francisco de los Cobos (discussed in Chapter Four) had two busts of modern figures (Andrea Doria and Charles V) and a bust of Apollo, which, based on the description may have been an antique. The duque de Alcalá’s series of nine marble heads of ancient persons were proudly displayed in his Casa de Pilatos. They were valued as examples of ancient sculptures, as exemplar of uomini (and donne) famosi, and also celebrated the duque de Alcalá’s connections to Pope Pius V, from whom he received them as a gift.

Juan Fernández de Velasco, Condestable de Castilla, Duque de Frías, 1589 14. Rodrigo de Castro Osorio, Cardinal Archbishop of Seville, 1600 15. Juan de Borja y Castro, Conde de Mayalde and 2nd Conde de Ficalho, 1600 16. Francisco Gómez de Sandoval y Rojas, 1st Duque de Lerma, 1605 17. Juan de Zúñiga Avellaneda y Bazán, Duque de Peñaranda de Duero, Conde de Miranda, 1608 18. Juan Fernández de Velasco, X Condestable de Castilla, Tasación, 1608 19. Juan Alfonso Pimentel, Conde-Duque de Benavente, 1611 20.

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