Publication: Figuras ridículas: la pintura de género en España en el siglo XVII
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2020-03-03
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Universidad Complutense de Madrid
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Abstract
El presente trabajo aborda la llegada y desarrollo de la pintura de género a España, desde finales del siglo XVI hasta las primeras décadas del XVII, así como su conflictivo encaje dentro del estamento artístico español. A pesar de resultar un asunto codiciado y coleccionado por una élite cultivada, los pintores españoles optaron por mantenerse al margen de su práctica. De esta manera, un novedoso género pictórico nacido en Flandes hacia la mitad del siglo XVI, trasladado de forma rápida al norte de Italia donde adquiere una entidad propia, no termina de asentarse en España, incluso cuando estos territorios donde surge (Flandes y Lombardía) pertenecen a la corona española. Es evidente que en su rechazo se concitan una serie de factores, tanto políticos como sociales, religiosos y estéticos, todos ellos explorados a lo largo de esta investigación. Resulta asimismo paradójico que los dos pintores españoles más importantes de su tiempo, como son Diego Velázquez (1599-1660) y Bartolomé Esteban Murillo (1617-1682), encontraran precisamente en la pintura de género un cauce de expresión privilegiado, generando una serie de pinturas sin parangón en la Europa Moderna...
The present work deals with the arrival of Genre Painting to Spain, since the Endof the 16th till the first decades of the 17th Century as well as his difficult insertion inthe Spanish artistic context. Despite being a kind of painting that was searched andcollected by the elite, Spanish painters preferred to remain apart from its development.That can explain why a novel pictorial genre, born in Flanders in the 1550s and quicklydeveloped in Northern Italy, where it reached its full essence, was not completelysuccessful in Spain, even taking into account that the territories where it was bornbelonged to the Spanish Monarchy. It is evident that in its rejection were broughttogether different causes, political as well as social, religious and aesthetic, and all ofthem are analysed through this research. It is also paradoxical that the two mostimportant Spanish painters of their time, Diego Velázquez (1599-1660) and Bartolomé Esteban Murillo (1617-1682), would find just in Genre painting a privileged means ofexpression, creating a series of pictures without an equivalent in contemporary Europe...
The present work deals with the arrival of Genre Painting to Spain, since the Endof the 16th till the first decades of the 17th Century as well as his difficult insertion inthe Spanish artistic context. Despite being a kind of painting that was searched andcollected by the elite, Spanish painters preferred to remain apart from its development.That can explain why a novel pictorial genre, born in Flanders in the 1550s and quicklydeveloped in Northern Italy, where it reached its full essence, was not completelysuccessful in Spain, even taking into account that the territories where it was bornbelonged to the Spanish Monarchy. It is evident that in its rejection were broughttogether different causes, political as well as social, religious and aesthetic, and all ofthem are analysed through this research. It is also paradoxical that the two mostimportant Spanish painters of their time, Diego Velázquez (1599-1660) and Bartolomé Esteban Murillo (1617-1682), would find just in Genre painting a privileged means ofexpression, creating a series of pictures without an equivalent in contemporary Europe...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, leída el 25-11-2019