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This book reconstructs King Philip II's grand design for the royal basilica of El Escorial.
A visually stunning examination of El Greco’s work that considers the artist’s constant reinvention and professional drive Renowned for a singular artistic vision, Domenikos Theotokopoulos, known as El Greco (1541–1614), developed his distinctive painting style as he assiduously pursued professional success. This fresh and engaging survey of El Greco’s work explores varied aspects of the artist’s career—his aesthetic education in Italy, the mixed reception of his mature works in Spain, his uncompromising approach to business, and the baroque logistics of his Toledo workshop—and reveals the depth of El Greco’s astounding ambition. The impressive volume focuses in particular on his 1577–79 altarpiece paintings for the Church of Santo Domingo el Antiguo in Toledo—among them the magnificent Assumption of the Virgin—which heralded the artist’s arrival in Spain after productive periods of formation and re-formation in Crete, Venice, and Rome. Lavishly illustrated and clothbound with gilded edges, this publication features reproductions and scholarly discussions of more than 60 works ranging from large-scale canvases to intimate panels, with essays that elucidate the motives and meanings behind the artist’s constantly changing and inventive approach.
This study explores the composition and performance of liturgical music in El Escorial, from its founding by Philip II in 1563 to the death of Charles II in 1700. Philip II promoted within his monastery-palace a musical foundation whose dual function as royal chapel and as monastery in the service of a Counter-Reformation monarch was unique. The study traces the ways in which music styles and practices responded to the changing functions of the institution. Perceived notions about Spanish royal musical patronage are challenged, musical manuscripts are scrutinized, biographical details of hundreds of musicians are uncovered, and musical practices are examined. Additionally, two important choral pieces are printed here for the first time.
This elegant exhibition catalog includes sixty-six works of art by this virtuoso sculptor, plus accompanying essays. Born in The Hague, Adriaen de Vries worked with the official sculptor to the Medici dukes beginning in 1580s, and in 1601 he was appointed official court sculptor to Rudolf II in Prague, where he worked until his death. Some of his best-known works are illustrated and described in this comprehensive volume, including the Bust of Emperor Rudolph II, the fountain Mercury and Cupid, Psyche Born Aloft by Putti, Juggling Man and The Wrestlers.
This “excellent study” shows how a Spanish archbishop laid the groundwork for the seventeenth-century expulsion of the Moriscos (James B. Tueller, Renaissance Quarterly). In early modern Spain, the monarchy’s policy of converting all subjects to Christianity only created new forms of tension among ethnic religious groups. Those whose families had always been Christian defined themselves in opposition to forcibly baptized Muslims (moriscos) and Jews (conversos). Here historian Benjamin Ehlers studies the relations between Christians and moriscos in Valencia by analyzing the ideas and policies of archbishop Juan de Ribera. Appointed to the diocese of Valencia in 1568, Juan de Ribera encountered a congregation deeply divided between Christians and moriscos. He came to identify with his Christian flock, leading hagiographers to celebrate him as a Valencian saint. But Ribera had a very different relationship with the moriscos, eventually devising a covert campaign to have them banished. His portrayal of the moriscos as traitors and heretics ultimately justified the Expulsion of 1609–1614, which Ribera considered the triumphant culmination of the Reconquest. Ehler’s sophisticated yet accessible study of the pluralist diocese of Valencia is a valuable contribution to the study of Catholic reform, moriscos, Christian-Muslim relations in early modern Spain, and early modern Europe.
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.
In a book addressing those interested in the transformation of monarchy into the modern state and in intersections of gender and political power, Katherine Crawford examines the roles of female regents in early modern France. The reigns of child kings loosened the normative structure in which adult males headed the body politic, setting the stage for innovative claims to authority made on gendered terms. When assuming the regency, Catherine de Medicis presented herself as dutiful mother, devoted widow, and benign peacemaker, masking her political power. In subsequent regencies, Marie de Medicis and Anne of Austria developed strategies that naturalized a regendering of political structures. They succeeded so thoroughly that Philippe d'Orleans found that this rhetoric at first supported but ultimately undermined his authority. Regencies demonstrated that power did not necessarily work from the places, bodies, or genders in which it was presumed to reside. While broadening the terms of monarchy, regencies involving complex negotiations among child kings, queen mothers, and royal uncles made clear that the state continued regardless of the king--a point not lost on the Revolutionaries or irrelevant to the fate of Marie-Antoinette.
While the masterpieces of the Italian Renaissance are usually associated with Italy’s historical seats of power, some of the era’s most characteristic works are to be found in places other than Florence, Rome, and Venice. They are the product of the diversity of regions and cultures that makes up the country. In Endless Periphery, Stephen J. Campbell examines a range of iconic works in order to unlock a rich series of local references in Renaissance art that include regional rulers, patron saints, and miracles, demonstrating, for example, that the works of Titian spoke to beholders differently in Naples, Brescia, or Milan than in his native Venice. More than a series of regional microhistories, Endless Periphery tracks the geographic mobility of Italian Renaissance art and artists, revealing a series of exchanges between artists and their patrons, as well as the power dynamics that fueled these exchanges. A counter history of one of the greatest epochs of art production, this richly illustrated book will bring new insight to our understanding of classic works of Italian art.
A Companion to the Spanish Renaissance makes a renewed case for the inclusion of Spain within broader European Renaissance movements. Its introduction, “A Renaissance for the ‘Spanish Renaissance’?” will be sure to incite polemic across a broad spectrum of academic fields. This interdisciplinary volume combines micro- with macro-history to offer a snapshot of the best new work being done in this area. With essays on politics and government, family and daily life, religion, nobles and court culture, birth and death, intellectual currents, ethnic groups, the plastic arts, literature, popular culture, law courts, women, literacy, libraries, civic ritual, illness, money, notions of community, philosophy and law, science, colonial empire, and historiography, it offers breath-taking scope without sacrificing attention to detail. Destined to become the standard go-to resource for non-specialists, this book also contains an extensive bibliography aimed at the serious researcher. Contributors are: Beatriz de Alba-Koch, Edward Behrend-Martínez, Cristian Berco, Harald E. Braun, Susan Byrne, Bernardo Canteñs, Frederick A. de Armas, William Eamon, Stephanie Fink, Enrique García Santo-Tomás, J.A. Garrido Ardila, Marya T. Green-Mercado, Elizabeth Teresa Howe, Hilaire Kallendorf, Henry Kamen, Elizabeth A. Lehfeldt, Michael J. Levin, Ruth MacKay, Fabien Montcher, Ignacio Navarrete, Jeffrey Schrader, Lía Schwartz, Elizabeth Ashcroft Terry, and Elvira Vilches.