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By exploring textual, visual and material culture, this volume
presents a range of new research into the experiences, agencies and
diverse political identities of Iberian women between the fifteenth
and early-eighteenth century. Representing Women's Political
Identity in the Early Modern Iberian World explores how the
political identities of Iberian women were represented in various
forms of visual culture including: religious paintings and
portraiture; costume; and devotional and funerary sculpture. This
study examines the transmission of Iberian culture and its concepts
of identity to locations such as Peru, Goa and Mexico, providing a
rich insight into Iberia's complex history and legacy. The
collection of essays explores the lives of protagonists, which vary
from queens and members of the nobility to painters and nuns,
allowing for a more nuanced understanding of both the elite and
non-elite woman's experience in Spain, Portugal and their overseas
realms during the early modern period. By addressing the
significance of gender alongside the visual representation of
political ideology and identity, this book is an invaluable source
for students and researchers of early modern Iberia and the history
of women.
By exploring textual, visual and material culture, this volume
presents a range of new research into the experiences, agencies and
diverse political identities of Iberian women between the fifteenth
and early-eighteenth century. Representing Women's Political
Identity in the Early Modern Iberian World explores how the
political identities of Iberian women were represented in various
forms of visual culture including: religious paintings and
portraiture; costume; and devotional and funerary sculpture. This
study examines the transmission of Iberian culture and its concepts
of identity to locations such as Peru, Goa and Mexico, providing a
rich insight into Iberia's complex history and legacy. The
collection of essays explores the lives of protagonists, which vary
from queens and members of the nobility to painters and nuns,
allowing for a more nuanced understanding of both the elite and
non-elite woman's experience in Spain, Portugal and their overseas
realms during the early modern period. By addressing the
significance of gender alongside the visual representation of
political ideology and identity, this book is an invaluable source
for students and researchers of early modern Iberia and the history
of women.
From the Golden Age to Goya. This is the first study wholly devoted
to reception of Spanish art in Britain and Ireland. Examining the
extent and sources of knowledge of Spanish art in the British Isles
during an age of increasing contact, particularly in theaftermath
of the Peninsular War, it contains contributions by leading
scholars, including reprints of three essays by Enriqueta Harris
Frankfort, to whose memory this book is dedicated. Focusing on
Spanish art from the Golden Age to Goya, these studies chart the
growth in understanding and appreciation of the Spanish School, and
its punctuation by controversies and continuing distrust of
religious images in Protestant Britain, as well as by the
successive `discoveries' of individual artists - Murillo,
Velazquez, Ribera, Zurbaran, El Greco and Goya. The book publishes
important new research on art importation, collecting and dealing,
and discusses the increase in access to andscholarship on works of
art, including their reproduction through both traditional prints
and copies and the newly invented photographic methods. It also
considers for the first time the role of women in reflecting taste
for thearts of Spain. It is richly illustrated with 17 colour and
54 black and white illustrations. NIGEL GLENDINNING is Emeritus
Professor of Spanish and Fellow of Queen Mary University of London.
HILARY MACARTNEY isHonorary Research Fellow of the Institute for
Art History, University of Glasgow. Contributors: NIGEL
GLENDINNING, HILARY MACARTNEY, JEREMY ROE, SARAH SYMMONS, MARJORIE
TRUSTED, ENRIQUETA HARRIS FRANKFORT
During the second half of the 10th/4th century, the Umayyad
caliphate of al-Andalus became a powerful political formation in
Western Europe. Described by the contemporary German nun Hrotsvitha
as the 'ornament of the world', Cordoba was the destiny of
embassies and traders coming from places as far away as
Constantinople, the Ottoman empire and Italy. The zenith of this
political supremacy coincided with the rule of al-Hakam II (961-976
CE), whose name is associated with the enlargement of the mosque of
Cordoba, the magnificent palatine city of Madinat al-Zahra' and the
rich caliphal library which housed Arab, Latin and Hebrew
manuscripts. This book is based on an extraordinary source that had
never been the subject of a comprehensive study: the annals written
by an official and chronicler of the caliph's court, 'Isa b. Ahmad
al-Razi, who carefully annotated the big and small events of the
court. Used by Ibn Hayyan to compose one of the volumes of his
celebrated Muqtabis, these 'annals' have come to us in a
substantial fragment of more than 135 folia that cover the period
from June 971 to July 975 CE. This source provides an eye-witness
account of the caliphate, which describes with stunning detail all
the events, characters, places and narratives of the Umayyad
caliphate, and is a fundamental work in helping us to understand
the configuration of the Mediterranean in the 10th century CE.
This volume offers a series of essays that explore the significance
of visual imagery as a medium for the representation of spiritual
and ideological concerns by the Catholic Church in the Spanish
Habsburg Empire. Each of these essays provides a valuable
contribution to established areas of research such as Velazquez
studies, St. Teresa of Avila as spiritual exemplar for the
Counter-Reformation in Spain, the iconography of St. Francis of
Assisi, or the evolution of Peruvian Christian iconography. A
valuable contribution of all these essays is their discussion of
new visual and textual sources which are revealing of the diverse
modes of representation developed by the Church to `Delight, Move
and Instruct' the many and diverse spectators of its artistic
message. Together these essays provide a range of critical
perspectives on the complex cultural, political and spiritual
context that shaped the evolution of Religious Art in cities as
distant as Cuzco and Madrid.
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