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espanolEste articulo analiza la actitud de algunos intelectuales y artistas chilenos del siglo XIX frente a las obras de los pintores mas destacados del Siglo de Oro espanol. Se reconstruye la forma en que el discurso de rechazo a la tradicion artistica y cultural del periodo colonial convivio con la admiracion por Murillo, Velazquez, Ribera y Zurbaran. Se da cuenta, al mismo tiempo, del papel que las obras de los pintores espanoles desempenaron en los espacios culturales chilenos, asi como de su impacto en la formacion de los pintores locales de la segunda mitad de la centuria. Las ideas de la elite intelectual, los viajes a Europa, las exhibiciones, el coleccionismo y las practicas artisticas permiten aproximarse a la comprension de este fenomeno. EnglishThis article analyses the attitude some nineteenth-century Chilean artists and intellectuals had towards works of the most important painters of the Spanish Golden Age. This study reconstructs the way in which rejection of the artistic and cultural colonial tradition coexisted with admiration for Murillo, Velazquez, Ribera, and Zurbaran. Attention will also be paid to the role works by these Spanish painters played within the Chilean cultural realm as well as their impact on the education of local painters in the second half of the century. The ideas of the intellectual elite, trips to Europe, exhibitions, collecting, and artistic practices in particular will be considered in order to better understand this phenomenon.

espanolLa Historia de Marco Antonio y Cleopatra (1639) de Alonso de Castillo Solorzano es el repositorio mas amplio de materiales acerca de Cleopatra durante todo el Siglo de Oro espanol, y ademas el volumen posee la singularidad de ser una historia en prosa que incorpora un numero sustancial de composiciones poeticas, del mismo Castillo Solorzano y de otros escritores. El presente articulo analiza los contextos de la obra y los mensajes morales y politicos que quiere difundir el autor a traves de la presentacion de Cleopatra y otros protagonistas importantes de la historia romana (Julio Cesar, Marco Antonio, Octaviano) con quienes se entrelazaba la vida de la egipciana. Este ensayo identifica las fuentes precisas de varias secciones en prosa y demuestra como se entretejen y hacia que fines. Se escudrinan luego el caracter y los efectos de las poesias interpoladas, prestando una atencion particular a los sonetos del aragones Francisco Diego de Sayas, quien es, despues de Castillo Solorzano, el contribuidor mas importante en terminos numericos. La ultima parte del estudio propone unas conclusiones sobre la interaccion de los dos elementos, prosisticos y poeticos, en la composicion y los significados de la Historia de Marco Antonio y Cleopatra. EnglishAlonso de Castillo Solorzano’s Historia de Marco Antonio y Cleopatra (1639) is the most sustained treatment of the figure of Cleopatra in the Spanish Golden Age and the volume also has the particularity of being a prose history interspersed with a significant number of poems by the author and by other writers. This article contextualises the work and examines the moral and political lessons which emerge from the presentation of Cleopatra and of the major Roman figures (Julius Caesar, Antony, Octavian) with whom her life became entwined. The essay identifies the exact sources of much of Castillo Solorzano’s prose history and demonstrates how these are woven together and to what ends. The character and effects of the interpolated poetry are then examined, with a special emphasis on the most prolific external contributor to the volume, the Aragonese Francisco Diego de Sayas. The final part of the study offers some conclusions about the interaction or otherwise of prose and poetry in the composition and meanings of Historia de Marco Antonio y Cleopatra.

espanolLa poesia visual experimento un auge en la Espana de los Austrias. Por ello, no es de extranar que uno de los grandes poemas del Siglo de Oro, las Soledades de Luis de Gongora (1561–1627), destacara por sus descripciones poeticas de la naturaleza. El presente articulo abordara el reflejo de la maxima horaciana ut pictura poesis (la poesia es como la pintura) en la obra de Gongora mediante un analisis de la vista panoramica que admira el peregrino desde un risco en la Soledad primera, versos 182–211. Mi primera tesis es que este pasaje ofrece una representacion en clave pictorica del escenario en el que transcurrira la accion del poema (mise en abyme). Mi segunda tesis es que estos versos son un ejemplo de lo que Gracian llamaria agudeza paradoja, pues hay cierta contradiccion entre los objetivos de (i) ofrecer una vision total ubicando al protagonista en un lugar elevado (teicoscopia); y (ii) describir poeticamente el paisaje como una deslumbrante obra pictorica (ecfrasis). Esta paradoja se resolvera recurriendo a teoria del arte, concretamente, a la nocion de Idea de Erwin Panofsky EnglishPictorial poetry underwent a revival in Habsburg Spain. It is therefore not surprising that one of the landmark Baroque poems of the Spanish Golden Age, the Soledades, written by Luis de Gongora (1561–1627), should have excelled in providing visual descriptions of the natural world. This essay will address the reflection of Horace’s famous pronouncement ut pictura poesis (painting is like poetry) in Gongora’s work, paying particular attention to the panoramic landscape admired by the pilgrim from a cliff in the Soledad primera, lines 182–211. The first thesis is that this passage delivers a pictorial representation of the scenery where the action of the poem will take place through a mise en abyme. The second thesis is that it also offers an agudeza paradoja — to use Gracian’s terminology — for there is a paradoxical dissonance between the objectives of (i) offering a total vision by placing the protagonist on a high vantage point (teichoscopy), and (ii) poetically describing the landscape he sees as a dazzling work of art (ekphrasis). This paradox will be resolved by resorting to art theory, and more particularly, to Erwin Panofsky’s notion of Idea.

For far too long, the Spanish Golden Age has been characterized, by historians and literary specialists alike, as a period where ordinary Spaniards lived in a country dominated by the Inquisition, an absolute monarchy and a strict hierarchical social structure, where the nobility lived off their rents and did little or nothing to invest in or develop the land and industry, where the peasants were ground down and starving, where there was no toleration of minorities and 'others' and pluralism was nonexistent, and where women were virtually invisible. These 'myths' and their representation were the standard fare of the English Elizabethan and Jacobean stage, and in truth few have changed substantially in the intervening centuries. For many aspects of the Spanish Golden Age the 'Black Legend' lives on. Drawing on much of my own research over the last thirty years, I will re-examine in this paper some of these enduring myths in an effort to get closer to the 'real' Golden Age.

The Spanish Golden Age produced one of the high spots of world drama. Duncan Wheeler has written a brilliant, thoroughly researched and what one hopes will prove to be a hugely influential volume o...