Publication: De lacas y charoles en España: siglos XVI-XIX
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2016-10-14
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Universidad Complutense de Madrid
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Abstract
La presente tesis doctoral trata de la laca en España entre los siglos XVI y XIX. Además de contener información sobre esta manufactura artística autóctona ofrece un estudio preliminar que permite situarla dentro del contexto internacional. El propósito de esta investigación consiste en demostrar la existencia de una significativa producción de laca en nuestro país comparable a las de otros países europeos. Al tratarse de un argumento prácticamente inédito, al que tanto la historiografía española como la extranjera han prestado escasa atención, la tesis define las características generales de estas obras, analiza sus diferencias y semejanzas con el resto de las lacas europeas, indaga sobre sus límites cronológicos y sobre el papel que desempeñaron dentro del ámbito de las artes suntuarias y las influencias que recibieron. Con el fin de contextualizar la investigación sobre nuestra laca ésta se vincula al estudio de la circulación en España de las lacas asiáticas, europeas y americanas entre los siglos XVI y XIX A pesar de que numerosos interrogantes deben ser aún despejados, consideramos que el trabajo llevado a cabo ha conseguido alcanzar, en buena medida, los objetivos planteados. En primer lugar, se ha constatado la existencia de una producción de laca, entre los siglos XVI y XIX, equiparable cuantitativa y cualitativamente a las de otros centros europeos, si bien es probable que ya se fabricaran objetos lacados en el siglo XVI. Esta hipótesis se basa principalmente en dos documentos de 1580 y 1594 respectivamente, en los que se hace referencia a dos artesanos que podrían haber desempeñado labores de lacado. A través de la metodología de estudio utilizada, se han podido establecer, en líneas generales, algunos de los rasgos más característicos de estos objetos. En este sentido, la información más relevante se ha extraído de los estudios directos llevados a cabo en treinta y seis obras españolas de los siglos XVIII y XIX y del análisis comparativo entre ellas y otras veinticuatro de los mismos siglos y de los siguientes países: Inglaterra, Francia, Italia, Países Bajos y Alemania. Estos estudios incluyen los exámenes científicos efectuados en veintitrés objetos: nueve europeos (siete británicos y dos franceses) y catorce españoles, con el fin de profundizar en su tecnología de elaboración. Nuestra laca no solo coincide con la europea en cuanto a los objetivos perseguidos - emular el brillo, la luminosidad y el estilo de las lacas orientales- sino también en los métodos y materiales empleados. Al igual que en Europa, la laca se destinaba a la decoración de una amplia variedad de objetos suntuarios que pueden englobarse principalmente en tres tipologías distintas: mobiliario, carruajes e instrumentos musicales. Por su parte, con esta técnica podían revestirse distintas clases de soporte: madera, piel, metal, cartón piedra, etc., aunque el más frecuentemente utilizado era la madera...
This thesis focuses on lacquer in Spain between the 16th and 19th centuries. Apart from providing information about its artistic production in Spain, it offers a preliminary study to place Spanish lacquerware within an international context. The aim of the research is to demonstrate the existence of a significant production of lacquer in Spain, comparable to that in other European countries. Given that this is a virtually untreated subject that has received scant attention from Spanish and foreign historians alike, the thesis defines the general characteristics of this lacquerware, looks at the differences and similarities between it and other European lacquer, establishes a chronological time frame, shows the role lacquer played in the decorative arts and reveals the influences that marked it from the outset. With a view to contextualizing the research on Spanish lacquer, this has also been linked to a study of the Asian, European and American lacquer that was circulating in Spain between the 16th and 19th centuries. The research methods employed have enabled us to establish in general terms some of the most characteristic features of this lacquer. In this respect, the most relevant information was obtained from studies conducted directly on 36 Spanish pieces dating from the 18th and 19th centuries and a comparative analysis between them and another 24 pieces from the following European countries: England, France, Italy, the Netherlands and Germany. These studies included scientific tests on 23 pieces: nine European (seven British and two French) and fourteen Spanish, in order to gain a deeper knowledge of the techniques used in their production. Spanish lacquerware resembles other European lacquer not only in terms of its objectives -to emulate the sheen, brightness and style of Oriental lacquer- but also in the methods and materials employed. As in the rest of Europe, lacquer was used primarily to decorate a large variety of luxury items, these falling mainly into three categories: furniture, carriages and musical instruments. The technique could moreover be applied to different materials (wood, leather, metal, papier mâché, etc.), although the most frequently used was wood. Spanish lacquer generally followed, with notable personality, the artistic trends of the different historical periods covered in this thesis. With regard to motifs, there is a clear predominance of chinoiserie, which was depicted very freely and with little faithfulness to the original models. Illustrations that were circulating around Europe were often copied, and the decorations of imported lacquerware served as inspiration. This chinoiserie was, however, combined with motifs of a more western or local character and there was no shortage of religious symbols...
This thesis focuses on lacquer in Spain between the 16th and 19th centuries. Apart from providing information about its artistic production in Spain, it offers a preliminary study to place Spanish lacquerware within an international context. The aim of the research is to demonstrate the existence of a significant production of lacquer in Spain, comparable to that in other European countries. Given that this is a virtually untreated subject that has received scant attention from Spanish and foreign historians alike, the thesis defines the general characteristics of this lacquerware, looks at the differences and similarities between it and other European lacquer, establishes a chronological time frame, shows the role lacquer played in the decorative arts and reveals the influences that marked it from the outset. With a view to contextualizing the research on Spanish lacquer, this has also been linked to a study of the Asian, European and American lacquer that was circulating in Spain between the 16th and 19th centuries. The research methods employed have enabled us to establish in general terms some of the most characteristic features of this lacquer. In this respect, the most relevant information was obtained from studies conducted directly on 36 Spanish pieces dating from the 18th and 19th centuries and a comparative analysis between them and another 24 pieces from the following European countries: England, France, Italy, the Netherlands and Germany. These studies included scientific tests on 23 pieces: nine European (seven British and two French) and fourteen Spanish, in order to gain a deeper knowledge of the techniques used in their production. Spanish lacquerware resembles other European lacquer not only in terms of its objectives -to emulate the sheen, brightness and style of Oriental lacquer- but also in the methods and materials employed. As in the rest of Europe, lacquer was used primarily to decorate a large variety of luxury items, these falling mainly into three categories: furniture, carriages and musical instruments. The technique could moreover be applied to different materials (wood, leather, metal, papier mâché, etc.), although the most frequently used was wood. Spanish lacquer generally followed, with notable personality, the artistic trends of the different historical periods covered in this thesis. With regard to motifs, there is a clear predominance of chinoiserie, which was depicted very freely and with little faithfulness to the original models. Illustrations that were circulating around Europe were often copied, and the decorations of imported lacquerware served as inspiration. This chinoiserie was, however, combined with motifs of a more western or local character and there was no shortage of religious symbols...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, Departamento de Historia del Arte II (Moderno), leída el 12/01/2016