Collections Of Painting In Madrid 1601 1755 Parts 1 And 2

This two-part book on collections of paintings in Madrid is part of the series Documents for the History of Collecting, Spanish Inventories 1, which presents volumes of art historical information based on archival records. One hundred forty inventories of noble and middle-class collections of art in Madrid are accompanied by two essays describing the taste and cultural atmosphere of Madrid in the seventeenth and eighteenth centuries.

In the first book of its kind, art information expert Lois Swan Jones discusses how to locate visual and textual information on the Internet and how to evaluate and supplement that information with material from other formats--print sources, CD-ROMS, documentary videos, and microfiche sets--to produce excellent research results. The book is divided into three sections: Basic Information Formats; Types of Websites and How to Find Them; and How to Use Web Information. Jones discusses the strengths and limitations of Websites; scholarly and basic information resources are noted; and search strategies for finding pertinent Websites are included. Art Information and the Internet also discusses research methodology for studying art-historical styles, artists working in various media, individual works of art, and non-Western cultures--as well as art education, writing about art, problems of copyright, and issues concerning the buying and selling of art. This title will be periodically updated.

An absorbing account of the conspiracy to kill King James I by his handsome lover, the Duke of Buckingham, an historical crime that has remained hidden for 400 years. The rise of George Villiers from minor gentry to royal power seemed to defy gravity. Becoming gentleman of the royal bedchamber in 1615, the young gallant enraptured James, Britain’s first Stuart king, royal adoration reaching such an intensity that the king declared he wanted the courtier to become his ‘wife’. For a decade, Villiers was at the king’s side – at court, on state occasions, and in bed, right up to James’s death in March 1625. Almost immediately, Villiers’ many enemies accused him of poisoning the king. A parliamentary investigation was launched, and scurrilous pamphlets and ballads circulated London’s streets. But the charges came to nothing, and were relegated to a historical footnote. Now, new research suggests that a deadly combination of hubris and vulnerability did indeed drive Villiers to kill the man who made him. It may have been by accident – the application of a quack remedy while the king was weakened by a malarial attack. But there is compelling evidence that Villiers, overcome by ambition and frustrated by James’s passive approach to government, poisoned him. In The King’s Assassin, acclaimed author Benjamin Woolley examines this remarkable, even tragic story. Combining vivid characterization and a strong narrative with historical scholarship and forensic investigation, Woolley tells the story of King James’s death, and of the captivating figure at its center.

This volume documents recent efforts to track the transformation and trajectory of silver during the early modern period, from its origins in ores located on either side of the Atlantic to its use as currency in the financial centres of continental Europe. As a point of comparison, copper mining and its monetary use in the early modern Atlantic World will also be considered. Contributors rely mainly on economic and economic history methodologies, complemented by geographical and cultural history approaches. The use of novel software applications as tools to explain economic-historical episodes is also detailed.

This beautiful book presents the work of these two painters, exploring the artistic development of each, comparing their achievements and showing how both were influenced by their times and the milieus in which they worked.

In the past decade, there has been a surge of Anglophone scholarship regarding Spain in the sixteenth and seventeenth centuries, which has led to a reframing of the discourses around Spanish culture of this period. Despite this new interest-in which painting, in particular, has been singled out for treatment-a comprehensive study of sculpture collections and the status of sculpture in Spain has yet to be produced. Sculpture Collections in Early Modern Spain is the first book to assess the phenomenon of sculpture collecting and in doing so, it alters the previously held notion that Spanish society placed little value in this art form. Di Dio and Coppel reveal that, due to the problems and expense of their transport from Italy, sculptures were in fact status symbols in the culture. Thus they were an important component of the collections formed by the royal family, cultivated noble collectors, humanists, and artists who had pretensions of high status. This book is especially useful to specialists for its discussion of the typologies of collections and objects, and of the mechanics of state gifts, transport, and collection display in this period. An appendix presents extensive archival documentation, most of which has never before been published. The authors have uncovered hundreds of new documents about sculpture in Spain; and new documentary evidence allows them to propose several new identifications and attributions. Firmly grounded in extensive archival research, Sculpture Collections in Early Modern Spain redefines the socio-political and art historical importance of sculpture in early modern Spain. Most importantly, it entirely transforms our knowledge regarding the presence of sculpture in a wide range of Spanish collections of the period, which until now has been erroneously characterized as close to non-existent.

The Buen Retiro, a royal retreat and pleasure palace, was built for Philip IV on the outskirts of Madrid in the 1630s. With its superb display of paintings by Vel zquez and other contemporary artists, the palace became a showcase for the art and culture of Spain's Golden Age. A Palace for a King, first published in 1980, provides a pioneering total history of the construction, decoration, and uses of a major royal palace, emphasising the relationship of art and politics at a critical moment in European history. produced on different aspects of the history of the palace and its decoration since the 1970s. A number of new, unpublished illustrations have been added, and many of the plates are now reproduced in colour. The publication of this edition gains added importance from the fact that plans for the expansion of the Prado Museum include the restoration of the Hall of Realms to approximate its original appearance, as reconstructed in this volume.

This book explores the cultural exchange between Italy and Spain in the seventeenth century, examining Spanish collectors’ predilection for Italian painting and its influence on Spanish painters. Focused on collecting and using a novel methodology, this volume studies how the painters of the Sevillian school, including Francisco Pacheco, Diego Velázquez, Alonso Cano and Bartolomé Esteban Murillo, perceived and were influenced by Italian painting. Through many examples, it is shown how the presence in Andalusia of various works and copies of works by artists such as Michelangelo, Caravaggio and Guido Reni inspired famous compositions by these Spanish artists. In addition, the book delves into the historical, political and social context of this period. The book will be of interest to scholars working in art history, Renaissance studies, and Italian and Spanish history.