Publication: En el taller de Rubens: de la praxis a la ciencia. Análisis microestructural de preparaciones coloreadas con técnicas microscópicas (SEM/TEM)
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2016-09-07
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Universidad Complutense de Madrid
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Abstract
Esta tesis forma parte del Proyecto de Investigación HUM2006-01847/ARTE, financiado por el Ministerio de Educación y Cultura. Ha sido realizado en la Facultad de Bellas Artes de Madrid, con la colaboración del Museo Nacional de Prado, y comprende el estudio histórico y análisis técnico comparativo de las preparaciones coloreadas sobre lienzo de dos cuadros de Rubens: “Retrato ecuestre del Duque de Lerma” (Madrid, 1603) y “Filopómenes reconocido por unos ancianos en Megara” (Amberes, 1609-1610); actualmente, la principal pinacoteca española conserva un importante número de obras del pintor, entre las que se cuentan los dos lienzos seleccionados. Pedro Pablo Rubens (1577-1640), es uno de los artistas flamencos más influyentes que dominó la pintura barroca europea del siglo XVII. Se dedicó prácticamente de forma exclusiva a la pintura y a la negociación política, alcanzando una elevada posición social y económica y un alto nivel cultural para la época. Su producción pictórica es muy amplia, reflejo de ello son las numerosas investigaciones que se han publicado a lo largo de los años. En el plano político se comprometió firmemente por alcanzar la paz en Europa; su convicción personal en el proyecto de renovación de la monarquía católica le llevó a emprender una intensa carrera diplomática en las cortes de Italia, Francia, Inglaterra, Holanda y, principalmente, España. Los dos viajes que realiza a Valladolid y Madrid (1603-04 y 1628-29), le permitieron, además, conocer la gran colección de arte de los Sitios Reales, y desarrollar una gran producción pictórica..
This thesis is part of Research Project HUM2006-01847/ARTE, which is financed by the Ministry of Education and Culture. It was performed in the Fine Arts Faculty of Madrid in conjunction with the Museo Nacional del Prado, and it encompasses a historical study and comparative technical analysis of the coloured preparations on the canvass of two Rubens paintings: “Equestrian portrait of the Duke of Lerma” (Madrid, 1603) and “The Recognition of Philopoemen” (Antwerp, 1609-1610). Currently, the Prado, the most important trove of paintings in Spain houses a large number of works by Rubens, including the two canvases chosen. Peter Paul Rubens (1577-1640) was one of the most influential Flemish artists who dominated European Baroque painting in the 17th century. He worked almost exclusively in painting and political negotiations and achieved a high social and economic position and a high cultural level for the era. His painting oeuvre is quite extensive, and this is reflected in the large number of studies that have been published on it throughout the years. Politically, he was steadfastly committed to achieving peace in Europe; his personal convictions in the undertaking of revamping the Catholic monarchy led him to embark upon an intense diplomatic career in the courts of Italy, France, England, Holland and, most importantly, Spain. The two journeys he took of Valladolid and Madrid (1603-04 and 1628-29) also enabled him to become familiar with the large art collection of the royal holdings and to develop an extensive body of painting...
This thesis is part of Research Project HUM2006-01847/ARTE, which is financed by the Ministry of Education and Culture. It was performed in the Fine Arts Faculty of Madrid in conjunction with the Museo Nacional del Prado, and it encompasses a historical study and comparative technical analysis of the coloured preparations on the canvass of two Rubens paintings: “Equestrian portrait of the Duke of Lerma” (Madrid, 1603) and “The Recognition of Philopoemen” (Antwerp, 1609-1610). Currently, the Prado, the most important trove of paintings in Spain houses a large number of works by Rubens, including the two canvases chosen. Peter Paul Rubens (1577-1640) was one of the most influential Flemish artists who dominated European Baroque painting in the 17th century. He worked almost exclusively in painting and political negotiations and achieved a high social and economic position and a high cultural level for the era. His painting oeuvre is quite extensive, and this is reflected in the large number of studies that have been published on it throughout the years. Politically, he was steadfastly committed to achieving peace in Europe; his personal convictions in the undertaking of revamping the Catholic monarchy led him to embark upon an intense diplomatic career in the courts of Italy, France, England, Holland and, most importantly, Spain. The two journeys he took of Valladolid and Madrid (1603-04 and 1628-29) also enabled him to become familiar with the large art collection of the royal holdings and to develop an extensive body of painting...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, Departamento de Pintura, leída el 15-01-2016