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El Museo Nacional del Prado modificó poco después de 2012 los nombres de dos pinturas de Velázquez cuyos nombres estaban bien asentados mucho tiempo atrás, los enanos Sebastián de Morra y don Diego de Acedo, “el Primo”. En el presente trabajo examinamos el recorrido de estos lienzos en los diversos inventarios de las casas reales, desarticulamos algunos motivos que pudieron ser decisivos para el cambio de nombres y argumentamos sobre las etimologías de sus motes tradicionales y sus biografías para fundamentar que Sebastián de Morra es el enano del Alcázar vestido de rojo pintado en Fraga en 1644 y salvado del incendio de 1734, mientras don Diego de Acedo el Primo, es el “filósofo estudiando”, pareja del enano con la baraja de naipes que estaban en la Torre de la Parada desde que los pintara Velázquez en 1637.

The influence of Velázquez's Las Meninas on Sorolla has been noted by various scholars. However, little attention has been paid to the motif of the door opening into an illuminated rectangular space, with the chamberlain silhouetted against the light in the background of the painting, whose echo appears in Sorolla's genre paintings and portraits between 1900 and 1911. Through a visual analysis of a series of paintings made at the time, this paper examines the different configurations of 'Velázquez´s door' in Sorolla's work, whose interest in this pictorial motif in particular and in Las Meninas in general at this time could be linked to the fact that the painting had its own room in the Prado Museum from 1899 to 1910. [ABSTRACT FROM AUTHOR]

The author analyses the philosophic and anthropological notions embodied in the works of the great Spanish artist Diego Velázquez. In the author’s opinion, not only written texts have an underlying philosophy of their own, but creations of visual arts just as well. They, therefore, can be a subject to philosophical analysis. It certainly does not mean that they may be literally translated into a verbal text, but that they have a meaning and a message of their own, closely linked in their own way to their historical background, the spirit of the epoch in which they were created. That is what makes them topical for modern thinkers and explorers of visual arts. The author pays special attention to such subjects, constantly present in Velazquez’s works, as «The Mirror» theme, the correlation between the rational and the emotional side of human nature and, consequently, the essence of certain «anthropological constants» and, finally, the problem of human being as bearer of moral values.

Este artículo analiza Las hilanderas (1973) de Concha de Marco (1916-1989). El poemario ofrece una poética alegórica que revela lo que De Marco considera fundamental en su quehacer poético. La estructura del libro se basa en una écfrasis del cuadro de Velázquez Las hilanderas. El ambiente femenino del lienzo, con las míticas Aracne y Minerva, se integra en la representación de la poética. Se fusionan el hilar y el escribir. La poeta señala varios aspectos de su poética, siempre representados en relación con el cuadro de Velázquez. De Marcos subraya la importancia de adquirir un conocimiento de la tradición poética, el papel fundamental de una mirada intensa, la exploración de la intimidad, y los dilemas de todos los poetas, considerar los límites del contenido del poema y la cortedad del decir. Sobresale una poética de sueños que responde a la construcción del género durante el franquismo. En sus memorias, Concha de Marco revela las dificultades que tuvo por ser poeta y mujer. Las mujeres en la época franquista estaban destinadas al espacio doméstico y a sacrificar sus propios gustos y necesidades por los del marido. Se le negaba a la mujer independencia y autodeterminación. La poética de sueños abre las puertas hacia la libertad. La poesía es capaz de traspasar los límites impuestos en la realidad y de hacer que los sueños existan. En el poema es posible detener el tiempo, dar rienda suelta al deseo, ser libre.

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Aurora: Papeles del Seminario María Zambrano is the property of Seminario Maria Zambrano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Tiempos Modernos is the property of Tiempos Modernos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

El Ministerio del Tiempo (2015-2020), TV series broadcasted by Spanish National Public Television Channel, uses pictorial tradition to build up characters, past eras and mise-in-scene. This wide and intense use of painting provides a huge visual, aesthetic and storytelling richness in its building of the past. From this point of view, a case study of the recreation of Las meninas is carried out, revealing parallels between Velázquez's conception of his master painting and its audiovisual construction in the TV series. [ABSTRACT FROM AUTHOR]

Este artículo da a conocer los documentos inéditos de la testamentaría de Pablo de Valladolid así como los resultados de la investigación realizada a partir de los nuevos datos. El texto aborda la vida del bufón desde una perspectiva diferente a la de la historiografía tradicional, e identifica los años 1632-33 como un punto de inflexión en su biografía a raíz de su matrimonio con Beatriz de Villagrá y su entrada en la corte al servicio del rey. A partir de la documentación inédita se estudia su situación económica y su condición social y profesional.

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper reveals the identity and authorship of an unknown Portrait of a Gentleman previously attributed to the circle of Diego Velázquez. Based on the peculiar physiognomy of the sitter, and in comparison to other known portraits, it can be identified as Don Francisco Fernández de la Cueva, 8th Duke of Alburquerque (1619-1676), Viceroy of New Spain (1653-1660) and Sicily (1668-1670). Albuquerque was known to be in Flanders between 1640 and 1643, during which time he was portrayed by siblings Michaelina and Charles Wautier, to whom the painting can now be attributed for stylistic and historical reasons, and supported by evidence of the remains of a signature in the upper left-hand corner of the canvas. This paper traces the career of the Duke of Albuquerque, which is linked to the history of Spain, Flanders, Mexico, and Sicily, highlighting his inclination towards the Fine Arts, whilst delving into his polemic participation in the Battle of Rocroi in 1643.

Copyright of Moenia: Revista Lucense de Lingüística & Literatura is the property of Universidad de Santiago de Compostela, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anuario Calderoniano is the property of Anuario Calderoniano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The King’s summer study, la Pieza del Despacho de Verano, is a perfect point of departure for discussing the possibilities and limits of reconstructing a room in the Alcázar, the royal palace. Although the inventaries from 1666 and 1686 just tell us the subject and size of 33 pictures together with seven mirrors and six bufetes, the paper argues that it is possible to reconstruct the scale and decoration of the pieza del despacho de verano. On the basis of the order in the inventories, a convincing reconstruction is possible and leads to a visual presentation of the room that harbored Las Meninas. In a more general sense this gives us at hand a ‘layout’ for reconstructing other rooms in the king’s palace(s).

Resumen: Contribuir a la comprensión de la pintura de Diego Velázquez es el objetivo principal de este estudio, que pretende señalar alguna de las latentes raíces hispalenses que el genial artista llevó consigo y desarrolló con posterioridad en su dilatada etapa madrileña. Un mero apunte para alcanzar ese propósito podría establecerse poniendo en relación la tabla que representa a San Pablo Ermitaño y San Antonio, pintada por Pedro de Campaña, y el lienzo que, con un tema similar, ejecutó Velázquez: Encuentro de San Antonio Abad con San Pablo, primer ermitaño. Abstract: To contribute to the comprehension of the painting of Diego Velázquez is the main objective of this study, is to point out some of the latent sevillian roots that the artist kept in his extensive Madrid's stage. In this logic, I would like to analyze the relationships arising from the comparison of the table that represents to San Pablo Ermitaño y San Antonio by Pedro de Campaña, and the painting of Velázquez with a similar theme: Encuentro de San Antonio Abad con San Pablo, primer ermitaño.

Utiliser une scénographie construite par Velázquez et Le Brun trois cents ans plus tard est-il un choix politique fertile ? Le tricentenaire du traité des Pyrénées en 1959 est méconnu car il fut d’emblée oublié. Pourtant, cette célébration fastueuse fut conçue par les diplomates espagnols et français comme représentation totale d’un dégel entre les deux voisins à la fin d’une décennie où, à la faveur de la Guerre Froide, le régime franquiste rompt son isolement. D’où vient l’échec ? Après avoir cerné la résonance limitée de cet événement dans une première partie, le deuxième temps de l’analyse porte sur les préparatifs de cette représentation ex nihilo. Les leçons tirées par les décideurs dans les décennies suivantes sont étudiées dans la troisième partie. Au cœur de chaque axe, ce travail scrute l’articulation entre volonté de dégel bilatéral et représentation multivectorielle de cette volonté, vécue différemment par les organisateurs, les médias et l’opinion. Les principales sources utilisées sont les archives diplomatiques espagnoles et françaises. Histoire diplomatique, des arts et des représentations se côtoient ici.

This paper discusses the continuous interactions that social groups developed in daily life with their respective and interwoven socio-cultural practices, in this case with wine and laughter, as opposed to the classic dichotomy between popular culture and elite culture. The second goal is to analyse the moralising impact of counter-reformist discipline in the daily life of the Spaniards of the Golden Age. The extent of daily, persistent and tolerated transgressions throughout society is examined through the study of Velazquez’s.

A portrait of the Infanta María of Spain, Phillip IV’s sister and queen of Hungary and Bohemia is conserved in the Czech Republic belonging to the National Gallery of Prague. So far the picture has been known only for low-quality reproductions and attributed, therefore, to Velázquez’s workshop. Nevertheless an analysis to the natural one joint to the documents discovered about this queen, has permitted to us consider it, probably, as a work out of the direct brush of Diego Velázquez, Phillip IV’s court painter.

A través de la crónica de Fray Francisco de los Santos se ofrece un estudio sobre las investigaciones que tratan a Velázquez como decorador e ideólogo de la renovación escurialense, analizando la terminología y vocabulario estético del Padre Santos en el contexto de su consideración historiográfica.

This article deals with the practice of the "burla" in the court of Austrias (1563–1700) in connection with beings suffering from physical or psychic defects. The study concerns the artistic and mental representations of these "monstrous" beings in some paintings of the Golden century. The figures of the dwarf, the madman and the jester in particular are studied here. This question was approached especially by an esthetic point of view, we propose here an ethical, philosophic and political prospect, on this question of the "burla" in connection with the monstrousness. [ABSTRACT FROM AUTHOR]

Copyright of Ensayos. Historia y Teoría del Arte is the property of Instituto de Investigaciones Esteticas - Universidad Nacional de Colombia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista de Humanidades (1130-5029) is the property of Universidad Nacional de Educacion a Distancia, Centro Asociado de Sevilla and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of CECIL Cahiers d'etudes des cultures ibériques et latino-américaines is the property of Revue Cahiers d'etudes des cultures iberiques et latino-americaines (CECIL) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Este artículo analiza la actitud de algunos intelectuales y artistas chilenos del siglo XIX frente a las obras de los pintores más destacados del Siglo de Oro español. Se reconstruye la forma en que el discurso de rechazo a la tradición artística y cultural del período colonial convivió con la admiración por Murillo, Velázquez, Ribera y Zurbarán. Se da cuenta, al mismo tiempo, del papel que las obras de los pintores españoles desempeñaron en los espacios culturales chilenos, así como de su impacto en la formación de los pintores locales de la segunda mitad de la centuria. Las ideas de la élite intelectual, los viajes a Europa, las exhibiciones, el coleccionismo y las prácticas artísticas permiten aproximarse a la comprensión de este fenómeno. [ABSTRACT FROM AUTHOR]

Hoy en día no se sabe quién es la persona retratada por el pintor P.P. Rubens en el “Retrato de un Fraile Franciscano”. A través de este estudio planteo la hipótesis de que la persona retratada por P.P. Rubens en el “Retrato de un Fraile Franciscano”, c. 1604, y la persona retratada por Diego Velázquez “Retrato del Papa Inocencio X”, en 1650, son la misma persona con una diferencia de edad de cuarenta y seis años: se trataría de Giovanni Battista Pamphili.

In Joseph's bloodied coat, Velázquez refers to the envy Jacob's sons felt for the last but one of the brothers. Envy drove them to sell their brother as a slave and to pretend to their father that his son had died. Velázquez construes a perfectly articulated narrative through the space defined by two sticks lying on the ground, where he places the envious brothers according to their guilt. The work, painted during Velázquez's first trip to Italy, conceals messages regarding envy that are based on the biblical tale and on Ovidio's Metamorphosis. This paper endeavours to identify those references and to show how they are reflected in the picture. In this interpretation, the thorny stick between the legs of Judah, the sideways glance, the hand covering the mouth, the black garment and the shadowy space occupied by some of the figures acquire a new significance. [ABSTRACT FROM AUTHOR]

Copyright of Philostrato is the property of Epiarte, S.L. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Reseña de la obra: Company Climent, Ximo (2017), Velázquez. El placer de ver pintura. Lleida: Edicions i Publicacions de la Universitat de Lleida-CAEM, 174 p. ISBN: 978-84-9144-055-0

O artigo descreve a análise foucaultiana das telas Las meninas, de Velázquez, e Un bar aux Folies-Bergère, de Manet, para apresentar o tratamento dado pelos pintores ao lugar do espectador.

El presente estudio analiza el importante papel desempeñado por la revista romántica El Artista en los primeros años del reinado isabelino en cuanto a la valoración de Murillo y Velázquez. Considerada por derecho propio una pionera en su campo, esta publicación se esforzó por emular en su encendida defensa del Romanticismo a sus homólogas extranjeras, especialmente la francesa L’Artiste. No obstante, ese posicionamiento tan declarado no le impidió mostrar una profunda admiración por la pintura española del Siglo de Oro. Debido en gran medida al acento que se puso en la España isabelina en lo intrínsecamente español, tanto Velázquez como Murillo llamaron la atención de El Artista, dedicándoles una serie de textos que procederemos a analizar prestando especial atención a la evolución experimentada en la centuria isabelina por la fortuna crítica de ambos pintores.

Copyright of Boletin del Museo del Prado is the property of Museo Nacional del Prado and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The interest in European masters from the past was a phenomenon related to the development of the artistic careers of many artists in Australia at the end of the nineteenth and beginning of the twentieth century. More than that, the copying or emulation of great works of art was seen to be a necessary part of an artist’s training1. This paper looks at Hugh Ramsay and his fascination with the painting Las Meninas (1656) by Velázquez as part of a larger study into understanding how the Spanish in uence was re ected in Australian art. Ramsay introduced elements from Las Meninas into his Portrait of the artist standing before easel, which took him to personify the role of the painter as Velázquez.