Sample chapter from Isabel of Castile, Flemish Aesthetics, and Identity Construction in the Works of Juan de Flandes (original) (raw)
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Ut commutando donemus : An Approach to Female Artistic Patronage in Northeast Iberia (1000-1100)
Bulletin du Centre d’études médiévales d’Auxerre
The advent of the year 1000 provided women from the Catalan counties and the kingdoms of Aragon and Navarre opportunities to assume an active role in the patronage of the arts. As pointed out by Teresa Vinyoles, women from those territories were able to buy, sell, and trade, to own lands and hold castles in fief, and to receive and pay tribute for their property in their own rights 1. For the most part, women's prolific agency in the creation and consumption of works of art and architecture kept pace with economic and social changes ushered in by the new millennium. Indeed, the journey to the three great pilgrimage destinations of Santiago de Compostela, Rome, and Jerusalem ; the continual advance of the Christian frontier towards the lands under Muslim rule, as well as pervasive Benedictine spirituality and emerging Cluniac sensibility are all key factors to bear in mind when specifying the context. Centring on the specific context of northeastern Iberia in the eleventh century, this article offers a concept of patronage as it was understood by the women who performed it. While medievalists are accustomed to reconstructing the circumstances in which an artwork was born, when studying artistic patronage there is still a tendency to avoid consideration of the social, economic, and legal differences between men and women in the Middle Ages. After a general reflection on this issue, this article focuses on the artistic patronage of three women of diverse status who to varying degrees ruled the counties, kingdoms, and lordships that were inherited or appropriated by their husbands, or whose agency actively contributed to shaping ruling policies when in power 2 .While scholarship has previously drawn historians' attention to Ermessenda de Carcassone (d. 1058), countess consort of Barcelona, Girona, and Osona (r. 992-1017), for the works she commissioned, Estefanía de Foix (d. 1066), queen consort of Navarre (r. 1040-1054), and Arsenda de Fluvià (d. 1068), wife of the Catalan warlord Arnau Mir de Tost (d. 1072), are less known. My intention in bringing the three together for comparison is to shine a light on how patronage helped each to realise her own expectations, whether of personal, familial, or institutional origin, and of a social, political, or devotional nature. One of the goals of this article is to analyse how works from the period convey different methods of selffashioning, including the use of textual and visual images to publicly present the patrons' main concerns. In addition, these images and works were used by these women to obtain some acknowledgment from male counterparts, especially as active agents involved in ruling matters. As consorts with limited power, these works of art and architecture were also crucial to exercise different degrees of authority in typical male realms such as war or ecclesiastical affairs. An examination of the circumstances Ut commutando donemus : An Approach to Female Artistic Patronage in Northeast...
Se trata de una novedosa aproximación al mundo del artista medieval, cuya obra se debatía entre la autoría divina y la firma individual. Temas como la formación del artista, su estatus laico o eclesiástico, el recurso a los modelos o la importancia de la itinerancia en su aprendizaje son abordados con rigor en esta publicación. Asimismo, los distintos roles profesionales desempeñados en los talleres medievales nos permiten conocer mejor cómo se construía y decoraba una catedral en la Edad Media. En esta visión sociológica de la obra de arte no puede faltar el papel omnipotente de los patronos medievales, personajes normalmente relacionados con la realeza y el estamento eclesiástico, que en muchos casos son los verdaderos “autores” de estas empresas, en la que las mujeres tuvieron también un destacable protagonismo. En el libro participan 20 autores procedentes de diversas universidades e instituciones museísticas de toda Europa. La publicación es el resultado del proyecto de investigación “Artistas, patronos y público. Catalunya y el Mediterráneo. Siglos XI-XV” (MICINN HAR2011-23015. Se trata de una novedosa aproximación al mundo del artista medieval, cuya obra se debatía entre la autoría divina y la firma individual. Temas como la formación del artista, su estatus laico o eclesiástico, el recurso a los modelos o la importancia de la itinerancia en su aprendizaje son abordados con rigor en esta publicación. Asimismo, los distintos roles profesionales desempeñados en los talleres medievales nos permiten conocer mejor cómo se construía y decoraba una catedral en la Edad Media. En esta visión sociológica de la obra de arte no puede faltar el papel omnipotente de los patronos medievales, personajes normalmente relacionados con la realeza y el estamento eclesiástico, que en muchos casos son los verdaderos “autores” de estas empresas, en la que las mujeres tuvieron también un destacable protagonismo. En el libro participan 17 autores procedentes de diversas universidades e instituciones museísticas de toda Europa. La publicación es el resultado de los proyectos de investigación “Artistas, patronos y público. Catalunya y el Mediterráneo. Siglos XI-XV”-Magistri Cataloniae (MICINN HAR2011-23015.) y "Movilidad y transferencia artística en el Mediterráneo Medieval (1187-1388). Artistas, objetos y modelos-Magistri Mediterranei (MICINN-HAR2015-63883-P) http://editorialcirculorojo.com/entre-la-letra-y-el-pincel-el-artista-medieval-leyenda-identidad-y-estatus/
The Routledge Companion to Iberian Studies, ed. Javier Muñoz-Basols, Laura Lonsdale, Manuel Delgado, Taylor and Francis, London, 2017, , 2017
It is well known that between the eleventh century and the thirteenth, Medieval Iberia was a cluster of different cultures and artistic traditions . Several political powers, religious beliefs and intellectual backgrounds were all to be found in the multifaceted land which lay between the Mediterranean and the Atlantic, from colourful and multicultural Al-Andalus to the emerging and creative Catalan counties. From the end of the eleventh century onwards some artistic enterprises promoted by Christian rulers seem to herald a new era in the use of visual arts, which placing them in the vanguard of Romanesque Europe.....
Art of the Hispanic World, 1492-1665
The visual arts carried out a wide array of crucial cultural work across the vast and shifting network of territories encompassed by the Spanish empire between the beginning of the conquest in 1492 and the death of Philip IV in 1665. This course will consider some of the practical, theoretical, esthetic, spiritual, and political functions that works of art performed in a selection of locales from this enormous empire, ranging from Madrid, Granada, and Lisbon, to Naples, Antwerp, Tenochtitlan, and Cuzco. What were the prerogatives and powers of images in and across these different venues? How did these prerogatives change when the images in question underwent the physical and cultural displacements of colonialism and global commerce? What did the producers and consumers of images think of themselves as producing and consuming in these cultural settings? We will explore a wide variety of art historical approaches, from traditional and canonical texts to recent interventions.