Valentina Bun | Saint-Petersburg State University (original) (raw)
Vol. 20 (2017) by Valentina Bun
Memoria y Civilización, 2017
El artículo se dedica del examen de la influencia de la época histórica y la política de Estado s... more El artículo se dedica del examen de la influencia de la época histórica y la política de Estado sobre la tradición retratística española de la segunda mitad del siglo XVII y los principios del siglo XVIII. Para analizar las obras de aquellos períodos utiliza el análisis iconográfico y la descripción de la situación histórica y política de aquella época. La autora destaca las ideas comunes entre los retratos cortesanos de las épocas Carlos II y Felipe V. En el artículo dice sobre la sucesión de la tradición del ambiente del retrato cortesano español de la Casa de Austria y de la Casa de Borbón. El aparato estado del último Habsburgo y del primer Borbón utilizaba los retratos de monarca para manifestar su poder y los mecanismos de representar el efigie real eran iguales.
Papers by Valentina Bun
ИСПАНИСТИКА В ЭПОХУ ЦИФРОВИЗАЦИИ материалы V Международного Конгресса испанистов России, Восточной Европы и Центральной Азии, 2023
The article is devoted to the analysis of network resources about the international and national ... more The article is devoted to the analysis of network resources about the
international and national art auctions. Most auction houses have official websites that contain information about future and past auctions, including catalogs of the lots with photos, descriptions and expert assessments. Thus, online resources about auctions can be considered unique sources for studying works of art, in particular the Spanish court
portrait from personal collections. Rare examples of the royal portrait that might appear at auctions are important for the iconography research. The author’s replicas or the works of the workshop of court painters put up for auction testify both to the number of private orders, and to the popularity of certain portrait image. The works of masters of the second and third circles, richly represented at national Spanish auctions, are even more promising for the study of iconography. These examples reflect the development and distribution of a selected portrait schemes and models of representation of the Spanish ruler of the Modern Age.
Keywords: Auctions, Portrait, Spain, Modern Age, Charles II, Philip V.
НАУЧНЫЕ ТРУДЫ. Вып. 49. , 2019
The author explores how the introduction of the Royal portrait into another portrait (both graphi... more The author explores how the introduction of the Royal portrait into another
portrait (both graphic and painting) emphasized and enriched the symbolic meaning of the whole painting. The court portrait in Spain never was a mere painting of the appearance. The article presents a study of the important hidden message the Spanish portraits convey, such as ideas of legitimacy, dynastical inheritance, kings presence and approval.
Keywords: portrait; House of Habsburg; Early modern period; Spanish art.
Such an important period in the development of Spanish Portraiture as Court Portrait of the secon... more Such an important period in the development of Spanish Portraiture as Court Portrait of the second half of the XVIIth century has always been underestimated in the studies of russain scholars. This article explores the most significant works of this period: portraits of the Royalty by Huan Carreno de Miranda.
The purpose of this study was to show the role which French painters played in the history of Spa... more The purpose of this study was to show the role which French painters played in the history of Spanish court portrait in the second half of the 17 th century-the first half of the 18 th century. The author traced the mechanism of interaction between the neighboring art schools of Spain and France in the 17 th century court portraiture and proposed a new approach to the works of the French painters at the Spanish court in the first half of the 18 th century. Theorists traditionally regard the latter as the time of the French hegemony in the Spanish court portrait. The author invites readers to look afresh at the Spanish court portrait of the first half of the 18 th century and suggests to treat it as a new period, which stems from the art of the previous century within the local Spanish tradition. It is important to define portraits painted by Tiger, Courtilleau, Rigaud, Houasse, Ranc, Van Loo and others as works that influenced the new canon and image of the Spanish monarch. The author applied historical, culturological, iconographic methods and comparative analysis in order to trace the continual development of the Spanish Court Portraiture and estimate the contribution of the French Painters.
НОВОЕ ИСКУССТВОЗНАНИЕ, Nov 4, 2020
НОВОЕ ИСКУССТВОЗНАНИЕ, 2020
The article deals with the little studied group of paintings: the royal equestrian portraits made... more The article deals with the little studied group of paintings: the royal equestrian portraits made during the reign of Charles II
of Spain. Until now, non-Russia-based researchers were mainly interested in random artworks or the works of individual artists, while
Russian scholars in general did not address this issue. The focus of the study was on the equestrian portraits of Charles II and certain
features of representation of the Spanish ruler in the second half of the 17th century. Portraits made during the regency of Mariana of
Austria in the 1670s are the most striking. In accordance with her propaganda, Herrera Barnuevo depicted weak and ailing Charles II on the
horseback as a gifted and strong ruler and triumphal commander. The following years saw multiple copies and versions of this composition
appear in the artist’s workshop for various state institutions and private collections. As the result, this made Charles II a Spanish Habsburg
with the greatest number of equestrian portraits. Therefore, not only the Spanish royal equestrian portrait of the second half of the 17th
century followed the line of baroque painting common for all European countries but also acquires local social function — an instrument
of political propaganda.
Новое искусствознание, 2019
Abstract. The article focuses upon the little-investigated group of monuments of Carlos II, the K... more Abstract. The article focuses upon the little-investigated group of monuments of Carlos II, the King of Spain. These are equestrian statues and standing full-length sculptures made mostly in the 17th century in the Kingdom of Naples and the Kingdom of Sicily. Spanish researches seldom explored the monuments because of their partial preservation and remoteness. Their complex analysis adds to the concept of the development of an image representation, which applies not only to the images of Carlos II but Spanish monarchy as a whole. The author attempts to combine historical-cultural and art historical approaches-comparative method is particularly chosen-in order to figure out typical stylistic and figurative features of these monuments. Having pictorial and graphic samples of portraits of Carlos II and other Spanish rulers, different sculptors chose different ways of constructing the image. Some tried to keep the resemblance with the conventional manner of portrait representation, but in most cases, we can speak about different recognizable iconographic details of the Spanish ruler while the portrait generally was idealized. Main sources for sculptors were engraved portraits made from pictures by court painters Martínez del Mazo, Herrera Barnuevo and Carreño de Miranda. Sculptors adopted their manner of the depiction of portrait features, costume details, postures, and iconographic elements. Thus, out of the borders of Spanish Pyrenees foreign sculptures didn't form the image of Carlos II as a specific historical figure but invented the image of a Spanish ruler as such, which was intensified by vivid baroque style of these works.
Keywords: sculpture; Carlos II; portrait; sculptural portrait; equestrian monument; monument.
Приволжский научный вестник , 2013
Such an important period in the development of Spanish Portraiture as Court Portrait of the secon... more Such an important period in the development of Spanish Portraiture as Court Portrait of the second half of the XVIIth century has always been underestimated in the studies of russain scholars. This article explores the most significant works of this period: portraits of the Royalty by Huan Carreño de Miranda. Keywords: spanish court portraiture, Carreño de Miranda, «the symbol portrait», «the symbol of a symbol», Mariana of Austria, Charles II. Среди представителей испанской придворной школы живописи второй полови-ны XVII века одной из наиболее значительных и ярких фигур в области портретирова-ния, несомненно, являлся Хуан Карреньо де Миранда. Живописец родился 25 марта 1614 года в Авилесе, в доме старинного местного рода, в семье художника, что пред-решило его судьбу. Будучи еще ребенком, он вместе с отцом приезжает в Мадрид в 1623 году, где поступает в мастерскую к Педро де лас Куэвосу и затем продолжает свое обучение у Бартоломе Романо. Решающим для Карреньо де Миранды стало знакомство с Веласкесом. Именно знаменитый мастер убедил его полностью сконцентрироваться на живописи и посту-пить на придворную службу. Успешной карьере при дворе способствовали не только талант и мастерство живописца, но и его дворянское происхождение, что выделяло его из ряда других придворных мастеров. В 1671 году Карреньо де Миранда становится приближенным живописцем короля (Pintor de Cámara) и, вплоть до самой своей смерти 3 октября 1685 года, пользуется благосклонностью испанского монарха Карлоса II, создавая многочисленные портретные произведения правителя и его окружения. Испанский придворный портрет второй половины XVII столетия долгое время оставался в тени великого гения Веласкеса. Художников-портретистов упрекали в стремлении к декоративизму и идеализации, в отсутствии внутреннего содержания изображаемых образов. Действительно, после Веласкеса на картинах придворных портретистов мы не увидим ярких портретных характеристик, с помощью которых этот
Вестник МГЛУ. Выпуск 24 , 2014
Speaking of the Spanish Court Portrait one surely thinks of the genius painter Velasquez and his ... more Speaking of the Spanish Court Portrait one surely thinks of the genius painter Velasquez and his magnifi cent works-masterpieces of world painting. Portrait painters of the middle and the second half of the XVII century remained outshone by the great master both for the researchers and everymen. Among these painters is apprentice of Velasquez-Juan Bautista Martínez del Mazo.
TEMAS Y FORMAS HISPÁNICAS: ARTE, CULTURA Y SOCIEDAD, 2015
Новое искусствознание = New Art Studies, 2018
The purpose of this study was to show the role which French painters played in the history of Spa... more The purpose of this study was to show the role which French painters played in the history of Spanish court portrait in the second half of the 17 th century-the first half of the 18 th century. The author traced the mechanism of interaction between the neighboring art schools of Spain and France in the 17 th century court portraiture and proposed a new approach to the works of the French painters at the Spanish court in the first half of the 18 th century. Theorists traditionally regard the latter as the time of the French hegemony in the Spanish court portrait. The author invites readers to look afresh at the Spanish court portrait of the first half of the 18 th century and suggests to treat it as a new period, which stems from the art of the previous century within the local Spanish tradition. It is important to define portraits painted by Tiger, Courtilleau, Rigaud, Houasse, Ranc, Van Loo and others as works that influenced the new canon and image of the Spanish monarch. The author applied historical, culturological, iconographic methods and comparative analysis in order to trace the continual development of the Spanish Court Portraiture and estimate the contribution of the French Painters.
Talks by Valentina Bun
РОССИЯ И ИБЕРОАМЕРИКА В ГЛОБАЛИЗИРУЮЩЕМСЯ МИРЕ: ИСТОРИЯ И СОВРЕМЕННОСТЬ / Материалы и доклады Второго международного форума. Санкт-Петербург, 1-3 октября 2015 г., 2015
En la segunda mitad del siglo XVII, el retrato de corte femenino español continuaba la tradición ... more En la segunda mitad del siglo XVII, el retrato de corte femenino español continuaba la tradición velazqueña en la ejecución de retratos cuando era necesaria la elaboración de lienzos privados. Pero a principios de los años noventa del siglo XVII, el gusto de la Corte en Madrid cambia bajo la influencia de pintores extranjeros, y los retratos creados por los pintores de corte permanecen en el estilo típico artístico del Barroco Europeo.
РОССИЯ И ИБЕРОАМЕРИКА В ГЛОБАЛИЗИРУЮЩЕМСЯ МИРЕ: ИСТОРИЯ И СОВРЕМЕННОСТЬ : Доклады и материалы Третьего международного форума Санкт-Петербург, 2-4 октября 2017, 2017
El desarollo de la pintura novohispana fue vinculado estrechamente con el ámbito artístico de la... more El desarollo de la pintura novohispana fue vinculado estrechamente con el ámbito artístico de la metrópoli. Los primeros modelos de retratar ya aparecían en Nueva España del siglo XVI. Pero sólo durante el próximo siglo algunas obras se convertieron en el fenómeno artístico que etapa del auge databa del siglo XVIII. Los retratos novohispanos del siglo XVII repiten el canon del retrato cortesano de España que formaba en el siglo anterior, sin embargo, ya el principio del siglo XVIII podemos decir de la aparición de propia escuela de la retratística. Las obras de la escuela novohispana se caracterizaban por la profunda individualidad y el verismo de los efigies y por la atención a los detalles. Estos rasgos de la escuela retratística de Nueva España fueron heredados de la tradición española, pero a diferencia de la metrópoli ellos se cobservaban y seguían desarollando en el siglo XVIII.
Memoria y Civilización, 2017
El artículo se dedica del examen de la influencia de la época histórica y la política de Estado s... more El artículo se dedica del examen de la influencia de la época histórica y la política de Estado sobre la tradición retratística española de la segunda mitad del siglo XVII y los principios del siglo XVIII. Para analizar las obras de aquellos períodos utiliza el análisis iconográfico y la descripción de la situación histórica y política de aquella época. La autora destaca las ideas comunes entre los retratos cortesanos de las épocas Carlos II y Felipe V. En el artículo dice sobre la sucesión de la tradición del ambiente del retrato cortesano español de la Casa de Austria y de la Casa de Borbón. El aparato estado del último Habsburgo y del primer Borbón utilizaba los retratos de monarca para manifestar su poder y los mecanismos de representar el efigie real eran iguales.
ИСПАНИСТИКА В ЭПОХУ ЦИФРОВИЗАЦИИ материалы V Международного Конгресса испанистов России, Восточной Европы и Центральной Азии, 2023
The article is devoted to the analysis of network resources about the international and national ... more The article is devoted to the analysis of network resources about the
international and national art auctions. Most auction houses have official websites that contain information about future and past auctions, including catalogs of the lots with photos, descriptions and expert assessments. Thus, online resources about auctions can be considered unique sources for studying works of art, in particular the Spanish court
portrait from personal collections. Rare examples of the royal portrait that might appear at auctions are important for the iconography research. The author’s replicas or the works of the workshop of court painters put up for auction testify both to the number of private orders, and to the popularity of certain portrait image. The works of masters of the second and third circles, richly represented at national Spanish auctions, are even more promising for the study of iconography. These examples reflect the development and distribution of a selected portrait schemes and models of representation of the Spanish ruler of the Modern Age.
Keywords: Auctions, Portrait, Spain, Modern Age, Charles II, Philip V.
НАУЧНЫЕ ТРУДЫ. Вып. 49. , 2019
The author explores how the introduction of the Royal portrait into another portrait (both graphi... more The author explores how the introduction of the Royal portrait into another
portrait (both graphic and painting) emphasized and enriched the symbolic meaning of the whole painting. The court portrait in Spain never was a mere painting of the appearance. The article presents a study of the important hidden message the Spanish portraits convey, such as ideas of legitimacy, dynastical inheritance, kings presence and approval.
Keywords: portrait; House of Habsburg; Early modern period; Spanish art.
Such an important period in the development of Spanish Portraiture as Court Portrait of the secon... more Such an important period in the development of Spanish Portraiture as Court Portrait of the second half of the XVIIth century has always been underestimated in the studies of russain scholars. This article explores the most significant works of this period: portraits of the Royalty by Huan Carreno de Miranda.
The purpose of this study was to show the role which French painters played in the history of Spa... more The purpose of this study was to show the role which French painters played in the history of Spanish court portrait in the second half of the 17 th century-the first half of the 18 th century. The author traced the mechanism of interaction between the neighboring art schools of Spain and France in the 17 th century court portraiture and proposed a new approach to the works of the French painters at the Spanish court in the first half of the 18 th century. Theorists traditionally regard the latter as the time of the French hegemony in the Spanish court portrait. The author invites readers to look afresh at the Spanish court portrait of the first half of the 18 th century and suggests to treat it as a new period, which stems from the art of the previous century within the local Spanish tradition. It is important to define portraits painted by Tiger, Courtilleau, Rigaud, Houasse, Ranc, Van Loo and others as works that influenced the new canon and image of the Spanish monarch. The author applied historical, culturological, iconographic methods and comparative analysis in order to trace the continual development of the Spanish Court Portraiture and estimate the contribution of the French Painters.
НОВОЕ ИСКУССТВОЗНАНИЕ, Nov 4, 2020
НОВОЕ ИСКУССТВОЗНАНИЕ, 2020
The article deals with the little studied group of paintings: the royal equestrian portraits made... more The article deals with the little studied group of paintings: the royal equestrian portraits made during the reign of Charles II
of Spain. Until now, non-Russia-based researchers were mainly interested in random artworks or the works of individual artists, while
Russian scholars in general did not address this issue. The focus of the study was on the equestrian portraits of Charles II and certain
features of representation of the Spanish ruler in the second half of the 17th century. Portraits made during the regency of Mariana of
Austria in the 1670s are the most striking. In accordance with her propaganda, Herrera Barnuevo depicted weak and ailing Charles II on the
horseback as a gifted and strong ruler and triumphal commander. The following years saw multiple copies and versions of this composition
appear in the artist’s workshop for various state institutions and private collections. As the result, this made Charles II a Spanish Habsburg
with the greatest number of equestrian portraits. Therefore, not only the Spanish royal equestrian portrait of the second half of the 17th
century followed the line of baroque painting common for all European countries but also acquires local social function — an instrument
of political propaganda.
Новое искусствознание, 2019
Abstract. The article focuses upon the little-investigated group of monuments of Carlos II, the K... more Abstract. The article focuses upon the little-investigated group of monuments of Carlos II, the King of Spain. These are equestrian statues and standing full-length sculptures made mostly in the 17th century in the Kingdom of Naples and the Kingdom of Sicily. Spanish researches seldom explored the monuments because of their partial preservation and remoteness. Their complex analysis adds to the concept of the development of an image representation, which applies not only to the images of Carlos II but Spanish monarchy as a whole. The author attempts to combine historical-cultural and art historical approaches-comparative method is particularly chosen-in order to figure out typical stylistic and figurative features of these monuments. Having pictorial and graphic samples of portraits of Carlos II and other Spanish rulers, different sculptors chose different ways of constructing the image. Some tried to keep the resemblance with the conventional manner of portrait representation, but in most cases, we can speak about different recognizable iconographic details of the Spanish ruler while the portrait generally was idealized. Main sources for sculptors were engraved portraits made from pictures by court painters Martínez del Mazo, Herrera Barnuevo and Carreño de Miranda. Sculptors adopted their manner of the depiction of portrait features, costume details, postures, and iconographic elements. Thus, out of the borders of Spanish Pyrenees foreign sculptures didn't form the image of Carlos II as a specific historical figure but invented the image of a Spanish ruler as such, which was intensified by vivid baroque style of these works.
Keywords: sculpture; Carlos II; portrait; sculptural portrait; equestrian monument; monument.
Приволжский научный вестник , 2013
Such an important period in the development of Spanish Portraiture as Court Portrait of the secon... more Such an important period in the development of Spanish Portraiture as Court Portrait of the second half of the XVIIth century has always been underestimated in the studies of russain scholars. This article explores the most significant works of this period: portraits of the Royalty by Huan Carreño de Miranda. Keywords: spanish court portraiture, Carreño de Miranda, «the symbol portrait», «the symbol of a symbol», Mariana of Austria, Charles II. Среди представителей испанской придворной школы живописи второй полови-ны XVII века одной из наиболее значительных и ярких фигур в области портретирова-ния, несомненно, являлся Хуан Карреньо де Миранда. Живописец родился 25 марта 1614 года в Авилесе, в доме старинного местного рода, в семье художника, что пред-решило его судьбу. Будучи еще ребенком, он вместе с отцом приезжает в Мадрид в 1623 году, где поступает в мастерскую к Педро де лас Куэвосу и затем продолжает свое обучение у Бартоломе Романо. Решающим для Карреньо де Миранды стало знакомство с Веласкесом. Именно знаменитый мастер убедил его полностью сконцентрироваться на живописи и посту-пить на придворную службу. Успешной карьере при дворе способствовали не только талант и мастерство живописца, но и его дворянское происхождение, что выделяло его из ряда других придворных мастеров. В 1671 году Карреньо де Миранда становится приближенным живописцем короля (Pintor de Cámara) и, вплоть до самой своей смерти 3 октября 1685 года, пользуется благосклонностью испанского монарха Карлоса II, создавая многочисленные портретные произведения правителя и его окружения. Испанский придворный портрет второй половины XVII столетия долгое время оставался в тени великого гения Веласкеса. Художников-портретистов упрекали в стремлении к декоративизму и идеализации, в отсутствии внутреннего содержания изображаемых образов. Действительно, после Веласкеса на картинах придворных портретистов мы не увидим ярких портретных характеристик, с помощью которых этот
Вестник МГЛУ. Выпуск 24 , 2014
Speaking of the Spanish Court Portrait one surely thinks of the genius painter Velasquez and his ... more Speaking of the Spanish Court Portrait one surely thinks of the genius painter Velasquez and his magnifi cent works-masterpieces of world painting. Portrait painters of the middle and the second half of the XVII century remained outshone by the great master both for the researchers and everymen. Among these painters is apprentice of Velasquez-Juan Bautista Martínez del Mazo.
TEMAS Y FORMAS HISPÁNICAS: ARTE, CULTURA Y SOCIEDAD, 2015
Новое искусствознание = New Art Studies, 2018
The purpose of this study was to show the role which French painters played in the history of Spa... more The purpose of this study was to show the role which French painters played in the history of Spanish court portrait in the second half of the 17 th century-the first half of the 18 th century. The author traced the mechanism of interaction between the neighboring art schools of Spain and France in the 17 th century court portraiture and proposed a new approach to the works of the French painters at the Spanish court in the first half of the 18 th century. Theorists traditionally regard the latter as the time of the French hegemony in the Spanish court portrait. The author invites readers to look afresh at the Spanish court portrait of the first half of the 18 th century and suggests to treat it as a new period, which stems from the art of the previous century within the local Spanish tradition. It is important to define portraits painted by Tiger, Courtilleau, Rigaud, Houasse, Ranc, Van Loo and others as works that influenced the new canon and image of the Spanish monarch. The author applied historical, culturological, iconographic methods and comparative analysis in order to trace the continual development of the Spanish Court Portraiture and estimate the contribution of the French Painters.
РОССИЯ И ИБЕРОАМЕРИКА В ГЛОБАЛИЗИРУЮЩЕМСЯ МИРЕ: ИСТОРИЯ И СОВРЕМЕННОСТЬ / Материалы и доклады Второго международного форума. Санкт-Петербург, 1-3 октября 2015 г., 2015
En la segunda mitad del siglo XVII, el retrato de corte femenino español continuaba la tradición ... more En la segunda mitad del siglo XVII, el retrato de corte femenino español continuaba la tradición velazqueña en la ejecución de retratos cuando era necesaria la elaboración de lienzos privados. Pero a principios de los años noventa del siglo XVII, el gusto de la Corte en Madrid cambia bajo la influencia de pintores extranjeros, y los retratos creados por los pintores de corte permanecen en el estilo típico artístico del Barroco Europeo.
РОССИЯ И ИБЕРОАМЕРИКА В ГЛОБАЛИЗИРУЮЩЕМСЯ МИРЕ: ИСТОРИЯ И СОВРЕМЕННОСТЬ : Доклады и материалы Третьего международного форума Санкт-Петербург, 2-4 октября 2017, 2017
El desarollo de la pintura novohispana fue vinculado estrechamente con el ámbito artístico de la... more El desarollo de la pintura novohispana fue vinculado estrechamente con el ámbito artístico de la metrópoli. Los primeros modelos de retratar ya aparecían en Nueva España del siglo XVI. Pero sólo durante el próximo siglo algunas obras se convertieron en el fenómeno artístico que etapa del auge databa del siglo XVIII. Los retratos novohispanos del siglo XVII repiten el canon del retrato cortesano de España que formaba en el siglo anterior, sin embargo, ya el principio del siglo XVIII podemos decir de la aparición de propia escuela de la retratística. Las obras de la escuela novohispana se caracterizaban por la profunda individualidad y el verismo de los efigies y por la atención a los detalles. Estos rasgos de la escuela retratística de Nueva España fueron heredados de la tradición española, pero a diferencia de la metrópoli ellos se cobservaban y seguían desarollando en el siglo XVIII.