Paintings For The Planet King

Philip IV of Spain (ruled 1621-1665), known as the 'Planet King', shone more brightly in the sphere of the arts than would Louis XIV the Sun King after him. The focus of much of his patronage was the Buen Retiro Palace in Madrid, which was once hung with some eight hundred paintings, specially gathered during the 1630s in order to decorate it. They included work commissioned from the finest masters available in all Europe, including the court painters Velázquez, Zurbarán and Ribera (Spanish), the honorary court painter Rubens (Flemish), Claude Poussin (French), Jan Both and Herman van Swanevelt (Dutch), and Domenichino and Lanfranco (Italian). Much about the Buen Retiro Palace and its decoration has remained mysterious, as in the the course of time the palace itself lost its identity and its paintings were dispersed throughout the realm or were lost or stolen. But in 2005 the Museo del Prado has mounted a major exhibition reconstituting the essence of the Buen Retiro and displaying its finest paintings, many of them of great size and magnificence, as a group. This catalogue provides a comprehensive guide and display of the paintings that were once brought together for the Buen Retiro Palace.--Book jacket.

This study provides a new analysis of the pictorial ensemble of the Torre de la Parada, the hunting lodge of King Philip IV of Spain. Created in the late 1630s by a group of artists led by Peter Paul Rubens, this cycle of mythological imagery and hunting scenes was completed by Diego Vel?uez. Despite the lack of a written program, surviving works provide eloquent testimony of several basic themes that embody Neostoic ideals of self-restraint and prudent governance. While Rubens set the moral tone through his serio-comic Ovidian narratives, Vel?uez added an important grace note with his portraits of ancient philosophers, and royals and fools of the court. This study is the first to consider in depth their joint artistic contributions and shared ambition. Through analysis of individual works, the authors situate these pictorial inventions within broader intellectual currents in both Spanish Flanders and Spain, especially in the advice literature and drama presented to the Spanish king. Moreover, they point to the lasting resonance of Torre de la Parada for Vel?uez, especially within his late masterworks, Las Meninas and Las Hilanderas. Ultimately, this study illuminates the dialogical nature of this ensemble in which Rubens and Vel?uez offer a set of complementary views on subjects ranging from the nature of classical gods to the role of art as a mirror of the prince.

The startling conclusion of The Late Paintings of Vel?uez is that Diego Vel?uez painted two of his most famous works, The Spinners and Las Meninas, as theoretically informed manifestos of painterly brushwork. As a pair, Giles Knox argues, the two paintings form a learned retort to the prevailing critical disdain for the painterly. Knox presents a Vel?uez who was much more aware of the art theory of his era than previously acknowledged, leading him to reinterpret Las Meninas and The Spinners as representing together a polemically charged celebration of the "handedness" of painting. Knox removes Vel?uez from his Iberian isolation and seeks to recover his highly self-conscious attempt to carve out a place for himself within the history of European painting as a whole. The Late Paintings of Vel?uez presents an artist who, like Annibale Carracci, Poussin, Rembrandt, and Vermeer was not only aware of contemporary theoretical writings on art, but also able to translate that knowledge and understanding into a distinctive and personal theory of painting. In Las Meninas and The Spinners, Vel?uez propounded this theory with paint, not words. Knox's rethinking of the dynamic relationship between text and image presents a case, not of writing influencing painting, or vice versa, but of the two realms being inextricably bound together. Painterly brushwork presented a challenge to writers on art not just because it was connected too intimately with the base actions of the hand; it was also devilishly hard to describe. By reading Vel?uez's painterly performance as text, Knox deciphers how Vel?uez was able to craft theoretical arguments more compelling and more vivid than any written counterparts.

When J. H. Elliott published Spain and Its World, 1500?1700 some twenty years ago, one of many enthusiasts declared, ?For anyone interested in the history of empire, of Europe and of Spain, here is a book to keep within reach, to read, to study and to enjoy" (Times Literary Supplement). Since then Elliott has continued to explore the history of Spain and the Hispanic world with originality and insight, producing some of the most influential work in the field. In this new volume he gathers writings that reflect his recent research and thinking on politics, art, culture, and ideas in Europe and the colonial worlds between 1500 and 1800.The volume includes fourteen essays, lectures, and articles of remarkable breadth and freshness, written with Elliott's characteristic brio. It includes an unpublished lecture in honor of the late Hugh Trevor-Roper. Organized around three themes?early modern Europe, European overseas expansion, and the works and historical context of El Greco, Velzquez, Rubens, and Van Dyck?the book offers a rich survey of the themes at the heart of Elliott's interests throughout a career distinguished by excellence and innovation.

This is a portrait of Diego Velázquez, from his arrival at the court of King Philip IV of Spain in May 1622, to his death 38 years and several hundred paintings later. It is a portrait of a relationship that is not quite a friendship, between a king and his subject and between an artist and his subject. It is a portrait of a ruler, always on duty, and increasingly burdened by a life of public expectation and repeated private grief. And it is a portrait of a court collapsing under the weight of its own excess.

In 1568, the Seventeen Provinces in the Netherlands rebelled against the absolutist rule of the king of Spain. A confederation of duchies, counties, and lordships, the Provinces demanded the right of self-determination, the freedom of conscience and religion, and the right to be represented in government. Their long struggle for liberty and the subsequent rise of the Dutch Republic was a decisive episode in world history and an important step on the path to the Universal Declaration of Human Rights. And yet, it is a period in history we rarely discuss. In his compelling retelling of the conflict, Anton van der Lem explores the main issues at stake on both sides of the struggle and why it took eighty years to achieve peace. He recounts in vivid detail the roles of the key protagonists, the decisive battles, and the war’s major turning points, from the Spanish governor’s Council of Blood to the Twelve Years Truce, while all the time unraveling the shifting political, religious, and military alliances that would entangle the foreign powers of France, Italy, and England. Featuring striking, rarely seen illustrations, this is a timely and balanced account of one of the most historically important conflicts of the early modern period.

Did Spain fall into decline or flourish in the seventeenth century? This edited collection looks at perceptions and representations of Philip IV, Spain's 'Planet King', and his government against the backdrop of the seventeenth-century General Crisis in Europe, wars, revolutions and a sovereign debt crisis. Scholars often associate Philip's reign (1621-1665) with decline, decadence, crisis, stagnation and adversity (as did many contemporaries); yet the glittering cultural and artistic achievements (enhanced by his patronage) of the period led it to be dubbed 'the' Golden Age. The book analyses these contradictions, examining Philip's own understanding of kingship and how he and his courtiers used art and ceremony to project an image of strength, tradition, culture and prestige, while, at the same time, the empire grappled with revolts in Europe and falling trade with its New World colonies.

The Golden Age of the Spanish Empire would establish five centuries of Western supremacy across the globe and usher in an era of transatlantic exploration that eventually gave rise to the modern world. It was a time of discovery and adventure, of great political and social change-it was a time when Spain learned to rule the world. Assembling a spectacular cast of legendary characters like the Duke of Alba, El Greco, Miguel de Cervantes, and Diego Velázquez, Robert Goodwin brings the Spanish Golden Age to life with the vivid clarity and gripping narrative of an epic novel. From scholars and playwrights, to poets and soldiers, Goodwin is in complete command of the history of this tumultuous and exciting period. But the superstars alone will not tell the whole tale-Goodwin delves deep to find previously unrecorded sources and accounts of how Spain's Golden Age would unfold, and ultimately, unravel. Spain is a sweeping and revealing portrait of Spain at the height of its power and a world at the dawn of the modern age.