Publication: Coleccionismo privado y mercado de pintura española en Madrid, 1808-1898
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2017-04-26
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Universidad Complutense de Madrid
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Abstract
Introducción: Esta tesis doctoral se basa en el estudio de las colecciones particulares y de los comercios y comerciantes que, de forma permanente o temporal, estuvieron radicados o asentados en Madrid entre 1808 y 1898. Muchos de ellos han sido ignorados hasta ahora, o bien su conocimiento se ha limitado a la mención que, de forma escueta, se hacía de ellos en algunas fuentes. Por ese motivo, la valoración de los ya estudiados resultaba limitada y parcial, cuando no errónea, por la ausencia de una contextualización adecuada. La investigación se ha basado en el estudio de fuentes muy diversas, principalmente inventarios de bienes, cartas de dote, contratos de ventas y catálogos de subastas, así como epistolarios, noticias de prensa, fotografías y diferentes fuentes literarias. Objetivos: La tesis se planteó como el primer análisis específico del coleccionismo privado de pintura en la Corte durante el siglo XIX, así como de la estructura comercial que le dio soporte, cuyo funcionamiento era casi desconocido hasta ahora. Para ello, era necesaria la identificación de muchos coleccionistas y el estudio y valoración de sus colecciones, igualmente ignotas. Además, la tesis se centra, de forma concreta, en la apreciación y el gusto por la pintura española, que experimentó una revalorización ininterrumpida durante toda la centuria. La tesis también propone demostrar cómo la capital del Reino se mantuvo a lo largo de todo el siglo como lugar de referencia para coleccionistas y comerciantes de otras provincias españolas. Estructura: su contenido se estructura, de manera cronológica, en tres grandes capítulos, cada uno de los cuales abarca prácticamente un tercio del siglo, que se corresponden, en buena medida, con los sucesivos reinados de Fernando VII, Isabel II y Alfonso XII. Cada capítulo se inicia con un panorama general que ofrece las principales características del periodo. Se analizan después la repercusión de los hechos históricos y sociales en el coleccionismo y el mercado y otras cuestiones de carácter específico para cada periodo, relativas a asuntos como el gusto por la pintura española y el papel ejercido por el mecenazgo privado. Cada una de las más de 140 colecciones tratadas se estudia de forma individualizada, atendiendo a su formación, al sentido y contenido de la misma, a su fortuna crítica y a su dispersión. El mercado ocupa en cada capítulo un apartado propio, donde se trata cada uno de los diferentes comerciantes y comercios, que suman más de cuarenta en todo el siglo...
Introduction: This doctoral dissertation is based on the study of collections by private individuals, dealers and businesses located in Madrid on a permanent or temporary basis between 1808 and 1898. Until now, many were unknown or only known through limited mentions in sources. The resulting absence of adequate contextualization has made evaluations of collections already studied, limited and partial if not actually erroneous. Our research has drawn on very diverse sources—primarily inventories of chattels, dowry letters, sales contracts and auction catalogues, as well as correspondence, press releases, photographs and various literary sources. Objectives: This dissertation thus constitutes the first specific analysis of private collecting of paintings in 19th-century Madrid, and of the underlying commercial structure whose functioning was practically unknown until now. This analysis has required identifying many collectors and studying and evaluating their collections, which were equally unknown. Moreover, the dissertation focuses concretely on the appreciation and taste for Spanish painting, which grew uninterruptedly throughout the century. It also seeks to demonstrate how the capital of the Realm remained a point of reference over the entire century for collectors and dealers from other Spanish provinces. Structure: Contents are structured chronologically in three large chapters, which cover roughly a third of a century each and largely correspond to the successive reigns of Ferdinand VII, Elizabeth II and Alphonse XII. Each chapter begins with an overview of the period‘s general characteristics, followed by an analysis of how historical and social events influenced collecting and the market, and other matters specific to each period, such as the taste for Spanish painting and the role of private patronage. Over 140 collections are studied individually in terms of how they were assembled, their meaning and contents, their critical reception and how they were later dissolved. The market, which has its own section in each chapter, focuses on each of the different dealers and businesses—more than forty over the course of the century...
Introduction: This doctoral dissertation is based on the study of collections by private individuals, dealers and businesses located in Madrid on a permanent or temporary basis between 1808 and 1898. Until now, many were unknown or only known through limited mentions in sources. The resulting absence of adequate contextualization has made evaluations of collections already studied, limited and partial if not actually erroneous. Our research has drawn on very diverse sources—primarily inventories of chattels, dowry letters, sales contracts and auction catalogues, as well as correspondence, press releases, photographs and various literary sources. Objectives: This dissertation thus constitutes the first specific analysis of private collecting of paintings in 19th-century Madrid, and of the underlying commercial structure whose functioning was practically unknown until now. This analysis has required identifying many collectors and studying and evaluating their collections, which were equally unknown. Moreover, the dissertation focuses concretely on the appreciation and taste for Spanish painting, which grew uninterruptedly throughout the century. It also seeks to demonstrate how the capital of the Realm remained a point of reference over the entire century for collectors and dealers from other Spanish provinces. Structure: Contents are structured chronologically in three large chapters, which cover roughly a third of a century each and largely correspond to the successive reigns of Ferdinand VII, Elizabeth II and Alphonse XII. Each chapter begins with an overview of the period‘s general characteristics, followed by an analysis of how historical and social events influenced collecting and the market, and other matters specific to each period, such as the taste for Spanish painting and the role of private patronage. Over 140 collections are studied individually in terms of how they were assembled, their meaning and contents, their critical reception and how they were later dissolved. The market, which has its own section in each chapter, focuses on each of the different dealers and businesses—more than forty over the course of the century...
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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 12-09-2016