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- W2756589131 abstract "The Spanish Golden Age: Painting and Sculpture in Time of Velazquez, exhibition catalogue, Munchen: Hirmer, 2016. 334 pp. + 122 colored plates. 29 [euro]. The catalogue associated with exhibitions El Siglo de Oro: The Age of Veldzquez (Gemaldegalerie--Staatliche Museen zu Berlin, 2016) and The Spanish Golden Age: Painting and Sculpture in Time of Velazquez (Kunsthalle der Hypo--Kulturstiftung 2016/2017) is a scholarly undertaking. While exhibitions' purview was to present German public with an unprecedentedly comprehensive access to leading seventeenth-century Spanish artists, catalogue provided theoretical undergirding for such enterprise. The focus on significant, albeit understudied, painter Alonso Cano and sculptor Gregorio Fernandez; on cultural differences and similarities between Spanish and Italian Baroque; on technical difficulty (dificoldad) as a feature central to iconographical multiplicity of Spanish Baroque; on naturalistic tendencies and highly individualized styles for depicting Spanish mystical lore thus distinguish catalogue El Siglo de Oro: The Age of Velazquez from its predecessors. In recent years, London exhibition The Sacred Made Real: Spanish Painting and Sculpture 1600-1700 (2009; catalogue edited by Xavier Bray et al.) concentrated on idiosyncrasies of Spanish mystical approach to depicting religious visions by painters, sculptors, and designers of Siglo de Oro. Organized in 2009 as well, Indianapolis Museum of Art exhibition Sacred Spain: Art and Belief in Spanish World (catalogue edited by Ronda Kasl) addressed multifarious character of Spanish Baroque's intersections with emerging Counter-Reformation orientations in Spanish America. Expanding on these topics, El Siglo de Oro: The Age of Velazquez defends that seventeenth-century political decline acted as a foil for the stability of world power as a foundation for culture (18). Spain's collapse as universal power coincided with advent of Calderon's La vida es sueno (Life is a Dream) and El gran teatro del mundo (The Great Theater of World); Gracian's El Criticon; and most compelling creations by Velazquez, Francisco de Zurbaran, Alonso Cano, and young Bartolome Esteban Murillo. The eroding Spanish monarchy orchestrated aesthetic principles of stillo desornamentado (unadorned style) that originated El Escorial and developed with Juan Gomez de Mora's initiatives for Royal Monastery Church of Incarnation (DeLa Encarncion) in Madrid (23). A new Spanish tradition of sculptural Baroque decor, distinct from Italian Baroque, hence spread across Andalusia and Mexico. Karin Hellwig's chapter Theory and Practice: The Fine Arts in Seventeenth-Century Spain reflects on critical artistic criteria for Spanish painting and sculpture. The Spanish theorists Vicente Carduchio and Francisco Pacheco effected new belief in theparagone (the debate over competing claims of painting and sculpture) not only to dispute opinions on superiority of sculpture but also to affirm that painting is prevailing form of art and cumulative Spanish reaction to first forum for paragone that Benedetto Varchi held in Florence in 1547. Hellwig argues that Pacheco, authority of seventeenth-century Spanish art theory, defended superiority of painting over sister arts with recourse to ideas he derived from practice of painters who employed polychromies, pigments, and media (34, 35). …" @default.
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