Publication: Giovanni Battista Crescenzi (Roma, 1577-Madrid, 1635) y la renovación de las artes durante el reinado de Felipe IV
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2017-05-09
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Universidad Complutense de Madrid
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Giovanni Battista Crescenzi (Roma, 1577 - Madrid, 1635) es una figura capital del panorama artístico cortesano de principios del siglo XVII. Nacido en Roma en 1577, en el seno de una familia de patricios romanos cuyos ascendientes se remontan al siglo X, Crescenzi fue educado en un ambiente marcado por la profunda espiritualidad de su padre, Virgilio Crescenzi, y el gusto por la práctica artística, recibiendo lecciones de dibujo del pintor Cristoforo Roncalli il Pomarancio. Los conocimientos y destrezas adquiridos durante estos años sentaron las bases de una sólida actividad, centrada en el estudio del dibujo como herramienta indispensable para la práctica de la pintura y la arquitectura. Crescenzi supo transformar estos conocimientos en una verdadera profesión, siempre dentro de los cánones que marcaba el decoro debido a la nobleza de su linaje. Esta condición aristocrática marca forzosamente su actividad artística, justificando en muchas ocasiones su ausencia en la documentación de las obras atribuidas o la falta de definición de sus verdaderas competencias y atribuciones en las fábricas que supervisaba. El análisis de su formación y primera actividad en Roma, como Soprintendente delle fabbriche del papa Paolo V, ha revelado interesantes datos para profundizar en su posterior actividad para Felipe III y Felipe IV. Crescenzi participó en las principales fábricas emprendidas por la monarquía española a comienzos del siglo XVII, la construcción de la fachada del Alcázar de Madrid, la reactivación de las obras del panteón del monasterio de San Lorenzo el Real de El Escorial (ejecutado según sus trazas y supervisión, especialmente en la obra del bronce) o el palacio del Buen Retiro, en muchas ocasiones junto al arquitecto Alonso Carbonel, un colaborador indispensable. A partir de 1626, la presencia de Crescenzi en la corte se intensificó notablemente, consiguiendo dos importantes mercedes por parte del monarca: el marquesado de la Torre y el hábito de la orden de Santiago. Alentado por la protección del conde duque de Olivares, y revestido con tales prebendas, Crescenzi alcanza el cénit de su carrera en octubre de 1630 con el nombramiento como superintendente de las Obras Reales. “Su casa fue un museo de preciosas colecciones”, como decía Ceán Bermúdez, una verdadera academia frecuentada por Juan de Van der Hamen, Juan Fernández el Labrador y especialmente Antonio de Pereda, su criado y principal protegido, contribuyendo a la difusión en España de las novedades italianas planteadas en el bodegón y el paisaje...
Giovanni Battista Crescenzi (Rome, 1577 - Madrid, 1635) is a capital figure of courtly art scene in the early Seventeenth Century. Crescenzi was born in 1577, in a family of Roman patricians whose ancestors date back to X century. He was educated in an environment marked by deep spirituality of his father, Virgilio Crescenzi, and taste for artistic practice, receiving drawing lessons from the painter Cristoforo Roncalli il Pomarancio. The knowledge and skills acquired over these years founded a solid activity, focused on the study of drawing as essential to the practice of painting and architecture. Crescenzi was able to transform this knowledge into a real profession, always within the canons that marked the decorum due to the nobility of his lineage. This aristocratic condition necessarily mark his artistic activity, often justifying their absence in the documentation of the works attributed or blur their true competencies and responsibilities in overseeing factories. The analysis of their training and first activity in Rome as sopraintendente delle fabbriche of Pope Paul V, has revealed interesting facts to deepen their subsequent activity for Felipe III and Felipe IV. Crescenzi participated in major buildings undertaken by the Spanish monarchy in the early Seventeenth Century: the reform of the facade of the Alcazar of Madrid, the pantheon of San Lorenzo el Real de El Escorial (reactivated by his traces and supervision, especially in the work of bronze) or the Buen Retiro Palace, often with the architect Alonso Carbonel, an indispensable partner. Since 1626, Crescenzi’s presence in court was intensified significantly, achieving two important mercedes from the monarch: the Marquis de la Torre and the habit of the Order of Santiago. Encouraged by the protection of the Count-Duke of Olivares, Crescenzi reached the zenith of his career in October 1630 with the appointment as superintendent of the Royal Works. His house was an art academy frequented by Juan van der Hamen, Juan Fernandez Labrador and especially Antonio de Pereda, his servant and principal protected, and contributed to the dissemination of still life and landscape between spanish collectors...
Giovanni Battista Crescenzi (Rome, 1577 - Madrid, 1635) is a capital figure of courtly art scene in the early Seventeenth Century. Crescenzi was born in 1577, in a family of Roman patricians whose ancestors date back to X century. He was educated in an environment marked by deep spirituality of his father, Virgilio Crescenzi, and taste for artistic practice, receiving drawing lessons from the painter Cristoforo Roncalli il Pomarancio. The knowledge and skills acquired over these years founded a solid activity, focused on the study of drawing as essential to the practice of painting and architecture. Crescenzi was able to transform this knowledge into a real profession, always within the canons that marked the decorum due to the nobility of his lineage. This aristocratic condition necessarily mark his artistic activity, often justifying their absence in the documentation of the works attributed or blur their true competencies and responsibilities in overseeing factories. The analysis of their training and first activity in Rome as sopraintendente delle fabbriche of Pope Paul V, has revealed interesting facts to deepen their subsequent activity for Felipe III and Felipe IV. Crescenzi participated in major buildings undertaken by the Spanish monarchy in the early Seventeenth Century: the reform of the facade of the Alcazar of Madrid, the pantheon of San Lorenzo el Real de El Escorial (reactivated by his traces and supervision, especially in the work of bronze) or the Buen Retiro Palace, often with the architect Alonso Carbonel, an indispensable partner. Since 1626, Crescenzi’s presence in court was intensified significantly, achieving two important mercedes from the monarch: the Marquis de la Torre and the habit of the Order of Santiago. Encouraged by the protection of the Count-Duke of Olivares, Crescenzi reached the zenith of his career in October 1630 with the appointment as superintendent of the Royal Works. His house was an art academy frequented by Juan van der Hamen, Juan Fernandez Labrador and especially Antonio de Pereda, his servant and principal protected, and contributed to the dissemination of still life and landscape between spanish collectors...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, leída el 08-01-2016