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Always, whenever George Encil acquired a new work of art, something completely ovbious, and yet very rare, then happened. He didn't just become the owner: rather he undertook a sponsorship. He has adopted a piece from the orphanage of the world's art supply and received it into his collection. In many cases, a deed was established which brought to the work an Interpretation which befitted it for the first time since the piece issued from the shaping hands of the artist. Each stage play, each performance of a piece of music, brings today nearly perfect expositions of its creator's intentions; only in the area of visual art, do people think it permissable to make a junk room out of the gallery, from which, in case of financial need, a piece can be thrown upon the slave block of the international art market. The author opposes this attitude wehemently. In the examples taken from the narrative of his experiences he demonstrates that with the acquisition of a work of art commences the duty of preserving it, of restoring it, finding the requisite frame, and alloting it a worthy place for itself. The exposition and proclamation of this conviction is the mission to which the author feels called. His report is an appeal for people to take an interest in the ever dwindling supply of works of art and he would prefer to see every collector become a godfather rather than a possessor; an interpreter rather than a beneficiary. This proclamation does not exempt public collections, in which, following exemplary interpretations, even stepchildren of art will be sheltered. A lifetime spent as a collector qualifies the author for this proclamation, and the presentation before us supports and explains this attitude.
As the first comprehensive volume devoted entirely to women of both the Spanish and Austrian Habsburg royal dynasties spanning the sixteenth and the seventeenth centuries, this interdisciplinary collection illuminates their complex and often contradictory political functions and their interrelations across early modern national borders. The essays in this volume investigate the lives of six Habsburg women who, as queens consort and queen regent, duchesses, a vicereine, and a nun, left an indelible mark on the diplomatic and cultural map of early modern Europe. Contributors examine the national and transnational impact of these notable women through their biographies, and explore how they transferred their cultural, religious, and political traditions as the women moved from one court to another. Early Modern Habsburg Women investigates the complex lives of Philip II’s daughter, the Infanta Catalina Micaela (1567-1597); her daughter, Margherita of Savoy, Vicereine of Portugal (1589-1655); and Maria Maddalena of Austria, Grand Duchess of Florence (1589-1631). The second generation of Habsburg women that the volume addresses includes Philip IV’s first wife, Isabel of Borbón (1602-1644), who became a Habsburg by marriage; Rudolph II’s daughter, Sor Ana Dorotea (1611-1694), the only Habsburg nun in the collection; and Philip IV’s second wife, Mariana of Austria (1634-1696), queen regent and mother to the last Spanish Habsburg. Through archival documents, pictorial and historical accounts, literature, and correspondence, as well as cultural artifacts such as paintings, jewelry, and garments, this volume brings to light the impact of Habsburg women in the broader historical, political, and cultural contexts. The essays fill a scholarly need by covering various phases of the lives of early modern royal women, who often struggled to sustain their family loyalty while at the service of a foreign court, even when protecting and preparing their heirs for rule a
By providing precise and accurate examples placed and scrutinized in their historical context, Art and Faith in Tridentine Spain (1545-1690) explains how painting, sculpture, and sacred space were able to convey and accomplish the dogmatic decisions and the spiritual message of the Council of Trent. Beyond the Decree on the Holy Images, it is to the letter and to the spirit of all dogmatic Canons that post-Council art refers. From the 1500s to the 1680s Counter-Reformist art became a valuable and effective arm of the Church of Rome.