Publication: Diventando vera amica. La vera amicizia y el retrato de la esposa virtuosa en el Cinquecento italiano
Loading...
Official URL
Full text at PDC
Publication Date
2019-07-11
Authors
Advisors (or tutors)
Editors
Journal Title
Journal ISSN
Volume Title
Publisher
Universidad Complutense de Madrid
Citations
Exportar
Abstract
Diventando vera amica. La vera amicizia y el retrato de la esposa virtuosa en el Cinquecento italiano se centra en el estudio del vínculo de la amistad conyugal con la configuración del retrato de la esposa en el Cinquecento italiano. Se ha dividido para ello en dos partes. La primera se denomina “Vera amicitia. La amistad conyugal de Pitágoras a Lodovico Dolce”. En ella se aborda el estudio de la verdadera amistad como la relación que une de los esposos. Con esta parte se cumple el objetivo de hacer un estudio específico y profundo de la evolución del vínculo de la amistad perfecta aplicada al vínculo conyugal desde la Antigüedad griega hasta la Italia de la temprana Edad Moderna, apenas estudiado anteriormente. Constituye la principal base teórica de todo estudio. Con ella se amplía el campo de conocimiento sobre los ideales de comportamiento de la esposa en la Italia del siglo XVIy se integran en un mismo discurso las diversas virtudes femeninas. También destaca por expandir el rico universo del amor en el Renacimiento hacia uno de sus principales capítulos prácticamente desconocido: la amistad marital denominada vera amicizia. Así con esta investigación se consigue demostrar el papel primordial que en esta amistad tenía la mujer y cómo determinó la construcción de su rol ideal. Pero además se demuestra el notable peso social que tenía este íntimo vínculo especialmente en el Cinquecento para el progreso de toda la sociedad. Todo ello se desarrolla a través del estudio de múltiples autores renacentistas y la vigencia de textos clásicos y medievales, como Pitágoras, Aristóteles, Plutarco, san Bernardino de Siena, Francesco Barbaro, Alberti o Lodovico Dolce. La segunda parte se titula “Vera amica. El retrato de la esposa virtuosa en el Cinquecento italiano”. En ella se comprueba cómo las teorías en torno a la vera amicizia conyugal promovieron la construcción de los ideales de la esposa virtuosa hasta el punto de determinar la iconografía de los retratos femeninos del Cinquecento. Así se lleva a cabo un detenido estudio del aparato simbólico de múltiples retratos de mujeres prometidas, recientes esposas o damas casadas realizados por pintores como Tiziano, Palma il Vecchio, Lorenzo Lotto, Giorgione, Bartolomeo Veneto, Giovanni Cariani o Paris Bordone, entre otros. Por un lado este estudio destaca por aunar en un discurso común la diversidad iconográfica que en ellos se muestra respecto a la configuración ideal de la mujer moderna. Para su mejor comprensión, se ha dividido en tres partes genéricas particularmente importantes: la belleza, el binomio castidad y fecundidad y el amor. Por otro lado, esta tesis supone una notable contribución por tener como objeto de estudio principal algunas pinturas que han sido particularmente controvertidas, unas por su considerada belleza ideal y otras por el parcial desnudo de las representadas. En ambos casos la crítica historiográfica ha demostrado estar particularmente dividida, planteando que algunas representaciones femeninas del Cinquecento italiano eran imágenes de mujeres idealmente bellas o bien retratos -más o menos ideales- de cortesanas. La presente investigación se ha desarrollado con el fin de integrar estas imágenes dentro de los usos y el aparato simbólico y gestual del retrato de la esposa virtuosa...
Diventando vera amica. La vera amicizia y el retrato de la esposa virtuosa en el Cinquecento italiano is focused on the study of conjugal friendship in relation with the wife’s portait in the Italian Cinquecento. It has been divided in two parts. The first one is called “Vera amicitia. Conjugal friendship from Pythagoras to Lodovico Dolce”. In this it is explained the relation between the true friendship and the conjugal relationship from Ancient Greece to the Early Modern Age, with a detailed and deep study. So, the knowledge about the ideals of the wife›s behaviour and virtues in sixteenth-century Italy is been broadened. Also this part stands out for expanding the rich universe of love in the Renaissance to one of its main virtually unknown chapters: the marital friendship called vera amicizia. Thus, with this research, it is possible to demonstrate the primordial role that the woman played in this conjugal friendship and how it determined the construction of her ideal role. But it also shows the remarkable social weight of this intimate link, especially in the Cinquecento for the progress of the whole society. All this is developed through the study of multiple classical, medieval and renaissance authors, such as Pythagoras, Aristotle, Plutarch, Saint Bernardino of Siena, Francesco Barbaro, Alberti or Lodovico Dolce. The second part is entitled “Vera amica. The virtuous wife’s portrait in the Italian Cinquecento”. In it the conclusions about the conjugal vera amicizia and the virtuous wife’s ideals serve to explain the iconography of several feminine portraits of the Cinquecento. Thus, it is a careful research of the symbolic apparatus of multiple portraits of engaged women, novelle spose and married ladies made by painters such as Tiziano, Palma il Vecchio, Lorenzo Lotto, Giorgione, Bartolomeo Veneto, Giovanni Cariani or Paris Bordone, among others. On the one hand, this study stands out for bringing together in a common discourse the plural iconography shown in them concerning the ideal configuration of the modern woman. For its better understanding, it has been divided into three generic parts: beauty, chastity and fecundity, and love. On the other hand, this PhD thesis is a remarkable contribution because of the study of some paintings that have been particularly controversial. Some for their considered ideal beauty and others for the partial nude of the women represented. In both cases the researchers have been particularly divided, suggesting that some feminine representations of the Italian Cinquecento were images of ideal beauty or portraits -more or less ideal- of courtesans. Nonetheless, the present investigation has been developed in order to integrate these images within the uses of the symbolic and gestural apparatus of the virtuous wife’s portrait...
Diventando vera amica. La vera amicizia y el retrato de la esposa virtuosa en el Cinquecento italiano is focused on the study of conjugal friendship in relation with the wife’s portait in the Italian Cinquecento. It has been divided in two parts. The first one is called “Vera amicitia. Conjugal friendship from Pythagoras to Lodovico Dolce”. In this it is explained the relation between the true friendship and the conjugal relationship from Ancient Greece to the Early Modern Age, with a detailed and deep study. So, the knowledge about the ideals of the wife›s behaviour and virtues in sixteenth-century Italy is been broadened. Also this part stands out for expanding the rich universe of love in the Renaissance to one of its main virtually unknown chapters: the marital friendship called vera amicizia. Thus, with this research, it is possible to demonstrate the primordial role that the woman played in this conjugal friendship and how it determined the construction of her ideal role. But it also shows the remarkable social weight of this intimate link, especially in the Cinquecento for the progress of the whole society. All this is developed through the study of multiple classical, medieval and renaissance authors, such as Pythagoras, Aristotle, Plutarch, Saint Bernardino of Siena, Francesco Barbaro, Alberti or Lodovico Dolce. The second part is entitled “Vera amica. The virtuous wife’s portrait in the Italian Cinquecento”. In it the conclusions about the conjugal vera amicizia and the virtuous wife’s ideals serve to explain the iconography of several feminine portraits of the Cinquecento. Thus, it is a careful research of the symbolic apparatus of multiple portraits of engaged women, novelle spose and married ladies made by painters such as Tiziano, Palma il Vecchio, Lorenzo Lotto, Giorgione, Bartolomeo Veneto, Giovanni Cariani or Paris Bordone, among others. On the one hand, this study stands out for bringing together in a common discourse the plural iconography shown in them concerning the ideal configuration of the modern woman. For its better understanding, it has been divided into three generic parts: beauty, chastity and fecundity, and love. On the other hand, this PhD thesis is a remarkable contribution because of the study of some paintings that have been particularly controversial. Some for their considered ideal beauty and others for the partial nude of the women represented. In both cases the researchers have been particularly divided, suggesting that some feminine representations of the Italian Cinquecento were images of ideal beauty or portraits -more or less ideal- of courtesans. Nonetheless, the present investigation has been developed in order to integrate these images within the uses of the symbolic and gestural apparatus of the virtuous wife’s portrait...
Description
Tesis de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, Departamento de Historia del Arte, leída el 20/12/2018