Art and Empire

Art & Empire Art & Empire The Golden Age of Spain

The Golden Age of Spain

CONTENTS

7

Director’s Foreword rox a n a v e l á s qu e z m a rtí n e z d e l c a m p o

13

Introduction Art along the Route of the Spanish Habsburgs j o n at h a n b row n

37

Beyond the Peninsula, beyond Painting: Spain’s Global Golden Age michael a. brown

91

The Reception of Images in the Hispanic World: Processes of Selection, Hybridization and Transformation b e n i t o n ava r r e t e p r i e t o

111

Spanish Magnificence: Cosmopolitan Luxuries at Home in the Golden Age j o r g e f . r i va s p é r e z

143

“Desired and sought by the rest of the world”: Asian Art in the Hispanic World sofía sanabrais

171 EXHIBITED WORKS

179 SOURCES CITED

185 INDEX

191 ACKNOWLED GMENTS

193 CONTRIBUTORS

195 M A P A N D I L LU S T R AT I O N C R E D I T S

CONTENTS

7

Director’s Foreword rox a n a v e l á s qu e z m a rtí n e z d e l c a m p o

13

Introduction Art along the Route of the Spanish Habsburgs j o n at h a n b row n

37

Beyond the Peninsula, beyond Painting: Spain’s Global Golden Age michael a. brown

91

The Reception of Images in the Hispanic World: Processes of Selection, Hybridization and Transformation b e n i t o n ava r r e t e p r i e t o

111

Spanish Magnificence: Cosmopolitan Luxuries at Home in the Golden Age j o r g e f . r i va s p é r e z

143

“Desired and sought by the rest of the world”: Asian Art in the Hispanic World sofía sanabrais

171 EXHIBITED WORKS

179 SOURCES CITED

185 INDEX

191 ACKNOWLED GMENTS

193 CONTRIBUTORS

195 M A P A N D I L LU S T R AT I O N C R E D I T S

Sanabrais, and Professor Benito Navarrete Prieto, as well as a very special mention of gratitude to Professor Jonathan Brown, whose renowned scholarship helped provide the genesis for the concept of the project and whose indispensable introductory essay graces the following pages. Anita Feldman, Deputy Director for Curatorial Affairs and Education, ably steered the project and expended tireless efforts to ensure that the scholarship in this volume will continue to enrich the field long after the exhibition closes. Thanks to Alexis Miller, Chief Conservator of Paintings at the Balboa Art Conservation Center, who carried out the meticulous and sensitive conservation treatment of Zurbarán’s Virgin and Child with the Young Saint John the Baptist [cat. 1] in preparation for the exhibition. This crucial project, made possible by a very generous donor, also included the acquisition of a beautifully restored seventeenth-century Spanish frame for the painting.

At Ediciones El Viso, I would like to thank Santiago Saavedra, the president of this fine publishing house, along with Gonzalo Saavedra, Félix Andrada, and Mayte Garrido, for producing a beautiful volume to commemorate the show.

The rare opportunity to present such an ambitious and wide-ranging exhibition is only possible through the extraordinary generosity of museums, private collections, and donors. Along with the directors of all the lending institutions, I would like to thank in particular Dr. Christoph Heinrich, Frederick and Jan Mayer Director of the Denver Art Museum. By lending fourteen spectacular objects, the Denver Art Museum has been a crucial partner in the project. Finally, I must express my enormous gratitude for the many sponsoring individuals and organizations whose philanthropy supports this project: Debbie Turner, Tatiana and Robert Dotson, Mr. and Mrs. Paul F. Mosher, Sheryl and Harvey White, Eileen and Robert Hunt, Demi and Frank Rogozienski, Toni Bloomberg, Aaron Feldman, Carolina and Tom Gildred, Lisa and Chuck Hellerich, Barbara Katz, Janice and David Lowenberg, A. Fenner Milton, Kevin Rowe and Irene Vlitos Rowe, the National Endowment for the Arts, the Nicolás Cortés Gallery, the Carl & Marilynn Thoma Art Foundation, the Allison and Robert Price Family Foundation, the Spain-USA Foundation, the Georges and Germaine Fusenot Charity Foundation, Golden Door, HomeFed Corporation, Sotheby’s, Christie’s, Canterbury Consulting, KPBS, and an additional donor who wishes to remain anonymous.

We would like to offer our thanks, above all, to Taffin Ann and Gene Ray, with­ out whose transformative support this exhibition would not be possible.

ROX A N A V E L Á S Q U E Z M A RT Í N E Z D E L C A M P O Maruja Baldwin Executive Director, The San Diego Museum of Art

10

4.

F RANCISCO DE ZURBARÁN (Spain, 1598–1664) Saint Francis in Prayer in a Grotto, ca. 1650–55 Oil on canvas, 62 x 39 5/8 in. (157.5 cm x 100.5 cm) The San Diego Museum of Art

Sanabrais, and Professor Benito Navarrete Prieto, as well as a very special mention of gratitude to Professor Jonathan Brown, whose renowned scholarship helped provide the genesis for the concept of the project and whose indispensable introductory essay graces the following pages. Anita Feldman, Deputy Director for Curatorial Affairs and Education, ably steered the project and expended tireless efforts to ensure that the scholarship in this volume will continue to enrich the field long after the exhibition closes. Thanks to Alexis Miller, Chief Conservator of Paintings at the Balboa Art Conservation Center, who carried out the meticulous and sensitive conservation treatment of Zurbarán’s Virgin and Child with the Young Saint John the Baptist [cat. 1] in preparation for the exhibition. This crucial project, made possible by a very generous donor, also included the acquisition of a beautifully restored seventeenth-century Spanish frame for the painting.

At Ediciones El Viso, I would like to thank Santiago Saavedra, the president of this fine publishing house, along with Gonzalo Saavedra, Félix Andrada, and Mayte Garrido, for producing a beautiful volume to commemorate the show.

The rare opportunity to present such an ambitious and wide-ranging exhibition is only possible through the extraordinary generosity of museums, private collections, and donors. Along with the directors of all the lending institutions, I would like to thank in particular Dr. Christoph Heinrich, Frederick and Jan Mayer Director of the Denver Art Museum. By lending fourteen spectacular objects, the Denver Art Museum has been a crucial partner in the project. Finally, I must express my enormous gratitude for the many sponsoring individuals and organizations whose philanthropy supports this project: Debbie Turner, Tatiana and Robert Dotson, Mr. and Mrs. Paul F. Mosher, Sheryl and Harvey White, Eileen and Robert Hunt, Demi and Frank Rogozienski, Toni Bloomberg, Aaron Feldman, Carolina and Tom Gildred, Lisa and Chuck Hellerich, Barbara Katz, Janice and David Lowenberg, A. Fenner Milton, Kevin Rowe and Irene Vlitos Rowe, the National Endowment for the Arts, the Nicolás Cortés Gallery, the Carl & Marilynn Thoma Art Foundation, the Allison and Robert Price Family Foundation, the Spain-USA Foundation, the Georges and Germaine Fusenot Charity Foundation, Golden Door, HomeFed Corporation, Sotheby’s, Christie’s, Canterbury Consulting, KPBS, and an additional donor who wishes to remain anonymous.

We would like to offer our thanks, above all, to Taffin Ann and Gene Ray, with­ out whose transformative support this exhibition would not be possible.

ROX A N A V E L Á S Q U E Z M A RT Í N E Z D E L C A M P O Maruja Baldwin Executive Director, The San Diego Museum of Art

10

4.

F RANCISCO DE ZURBARÁN (Spain, 1598–1664) Saint Francis in Prayer in a Grotto, ca. 1650–55 Oil on canvas, 62 x 39 5/8 in. (157.5 cm x 100.5 cm) The San Diego Museum of Art

8. J UAN CARREÑO DE MIRANDA (Spain 1614–1685) Charles II of Spain, 1673 il on canvas, 80 1/4 x 56 in. (203.8 x 142.2 cm) O Colección BBVA, Madrid

9. J OHANNES VAN DOETECUM I (Netherlands, 1528/32–1605) Leo Belgicus, 1598, reissued by Henricus Hondius in 1630 Engraving, 17 x 21 3/4 in. (430 x 550 mm) Map and Atlas Museum of La Jolla

17

8. J UAN CARREÑO DE MIRANDA (Spain 1614–1685) Charles II of Spain, 1673 il on canvas, 80 1/4 x 56 in. (203.8 x 142.2 cm) O Colección BBVA, Madrid

9. J OHANNES VAN DOETECUM I (Netherlands, 1528/32–1605) Leo Belgicus, 1598, reissued by Henricus Hondius in 1630 Engraving, 17 x 21 3/4 in. (430 x 550 mm) Map and Atlas Museum of La Jolla

17

14.

W ILLEM BLAEU (Netherlands, 1571–1638) Regnum Hispania nova description, 1642 Map and Atlas Museum of La Jolla

15. Plaza Mayor of Madrid, Spain (Madrid), ca. 1665 il on canvas, 53 1/4 x 78 3/4 in. (135 x 200 cm) O Pérez Simón Collection (pp. 26–27)

24

14.

W ILLEM BLAEU (Netherlands, 1571–1638) Regnum Hispania nova description, 1642 Map and Atlas Museum of La Jolla

15. Plaza Mayor of Madrid, Spain (Madrid), ca. 1665 il on canvas, 53 1/4 x 78 3/4 in. (135 x 200 cm) O Pérez Simón Collection (pp. 26–27)

24

23. B ARTOLOMÉ CARDUCHO (Spain, born Italy, 1560–1608) The Death of Saint Francis, 1593 Oil on canvas, 45 1/4 x 60 1/4 in. (115 x 153 cm) useu Nacional de Arte Antiga, Lisbon M

40

24. F RANCISCO RIBALTA (Spain, 1565–1628) Saint Francis Comforted by a Musical Angel, ca. 1625 il on canvas, 42 x 62 in. (106.7 x 157.5 cm) O Wadsworth Atheneum, Hartford

41

23. B ARTOLOMÉ CARDUCHO (Spain, born Italy, 1560–1608) The Death of Saint Francis, 1593 Oil on canvas, 45 1/4 x 60 1/4 in. (115 x 153 cm) useu Nacional de Arte Antiga, Lisbon M

40

24. F RANCISCO RIBALTA (Spain, 1565–1628) Saint Francis Comforted by a Musical Angel, ca. 1625 il on canvas, 42 x 62 in. (106.7 x 157.5 cm) O Wadsworth Atheneum, Hartford

41

33. Dish with the Christ Child, Reus, Catalonia, Spain, early 17th century in-enameled and luster-painted earthenware, T diam. 13 1/8 in. (33.3 cm) The Metropolitan Museum of Art, New York

34. Missal Stand, Puebla, Mexico, ca. 1700 ard woods, tortoiseshell, bone, ebony, silver wire, H 12 1/2 x 12 1/4 x 10 7/8 in. (31.8 x 31.1 x 27.6 cm) Museum of Spanish Colonial Art, Santa Fe

35.

Marquetry Box, Peru, 18th century Wood, mother-of-pearl, ivory, 7 1/2 x 15 3/4 in. (19 x 40 cm) useum of Spanish Colonial Art, Santa Fe M

32.

Santiago a caballo (Saint James on Horseback), Mexico, 17th century arved, polychrome, and estofado wood; wrought-iron sword, C stirrups, and bridle, 70 7/8 x 49 1/4 x 35 1/2 in. (80 x 125 x 90 cm) Museo Franz Mayer, Mexico City

50

51

33. Dish with the Christ Child, Reus, Catalonia, Spain, early 17th century in-enameled and luster-painted earthenware, T diam. 13 1/8 in. (33.3 cm) The Metropolitan Museum of Art, New York

34. Missal Stand, Puebla, Mexico, ca. 1700 ard woods, tortoiseshell, bone, ebony, silver wire, H 12 1/2 x 12 1/4 x 10 7/8 in. (31.8 x 31.1 x 27.6 cm) Museum of Spanish Colonial Art, Santa Fe

35.

Marquetry Box, Peru, 18th century Wood, mother-of-pearl, ivory, 7 1/2 x 15 3/4 in. (19 x 40 cm) useum of Spanish Colonial Art, Santa Fe M

32.

Santiago a caballo (Saint James on Horseback), Mexico, 17th century arved, polychrome, and estofado wood; wrought-iron sword, C stirrups, and bridle, 70 7/8 x 49 1/4 x 35 1/2 in. (80 x 125 x 90 cm) Museo Franz Mayer, Mexico City

50

51

49. EL GRECO (Spain, born Crete, 1541–1614) The Adoration of the Shepherds, ca. 1576–77 Oil on copper, 14 7/8 x 12 3/4 in. (37.8 x 32.4 cm) he San Diego Museum of Art T

68

50. F RANCISCO DE ZURBARÁN (Spain, 1598–1664) Supper at Emmaus, 1639 Oil on canvas, 89 3/4 x 60 5/8 in. (228 x 154 cm) useo Nacional de San Carlos, Mexico City M

49. EL GRECO (Spain, born Crete, 1541–1614) The Adoration of the Shepherds, ca. 1576–77 Oil on copper, 14 7/8 x 12 3/4 in. (37.8 x 32.4 cm) he San Diego Museum of Art T

68

50. F RANCISCO DE ZURBARÁN (Spain, 1598–1664) Supper at Emmaus, 1639 Oil on canvas, 89 3/4 x 60 5/8 in. (228 x 154 cm) useo Nacional de San Carlos, Mexico City M

63.

J OSÉ ANTOLÍNEZ (Spain, 1635–1675) Saint Michael the Archangel Overcoming Satan, ca. 1670 il on canvas, 81 1/2 x 57 1/2 in. (207 x 146.1 cm) O Bob Jones University Museum and Gallery, Greenville

64. C LAUDIO COELLO (Spain, 1642–1693) Saint Michael the Archangel, 1665–70 il on canvas, 71 x 45 in. (180.3 x 114.3 cm) O Sarah Campbell Blaffer Foundation, Houston

86

63.

J OSÉ ANTOLÍNEZ (Spain, 1635–1675) Saint Michael the Archangel Overcoming Satan, ca. 1670 il on canvas, 81 1/2 x 57 1/2 in. (207 x 146.1 cm) O Bob Jones University Museum and Gallery, Greenville

64. C LAUDIO COELLO (Spain, 1642–1693) Saint Michael the Archangel, 1665–70 il on canvas, 71 x 45 in. (180.3 x 114.3 cm) O Sarah Campbell Blaffer Foundation, Houston

86

72. B ALTASAR DE ECHAVE IBÍA (Mexico, ca. 1585/1604–1644) The Crucifixion, 1637 Oil on copper, 16 3/4 x 16 7/8 in. (42.5 x 42.9 cm) enver Art Museum D

104

73. B ALTASAR DE ECHAVE IBÍA (Mexico, ca. 1585/1604–1644) The Road to Calvary, 1638 Oil on copper, 16 3/4 x 16 7/8 in. (42.5 x 42.9 cm) enver Art Museum D

105

72. B ALTASAR DE ECHAVE IBÍA (Mexico, ca. 1585/1604–1644) The Crucifixion, 1637 Oil on copper, 16 3/4 x 16 7/8 in. (42.5 x 42.9 cm) enver Art Museum D

104

73. B ALTASAR DE ECHAVE IBÍA (Mexico, ca. 1585/1604–1644) The Road to Calvary, 1638 Oil on copper, 16 3/4 x 16 7/8 in. (42.5 x 42.9 cm) enver Art Museum D

105

102. Processional Banner

Guatemala, late 17th century Silver with gilding, 30 1/4 x 23 1/2 in.

(76.8 x 59.7 cm ) San Antonio Museum of Art

102. Processional Banner

Guatemala, late 17th century Silver with gilding, 30 1/4 x 23 1/2 in.

(76.8 x 59.7 cm ) San Antonio Museum of Art

Art & Empire Art & Empire The Golden Age of Spain

The Golden Age of Spain