Annemarie Jordan Gschwend
Universidade Nova de Lisboa, Art History, Department Member
- Habsburg Court Portraits and Painters, Renaissance Menageries, Juana of Austria As Patron and Collector, The Cultural and Diplomatic World of Hans Khevenhüller, The Court of Philip II, The Portuguese Court In the Renaissance, and 429 moreHans Schöpfer, Philip II of Spain, Patronage and collecting, Court Studies, Habsburg Studies, Early Modern History, Italian Renaissance Art, Cultural History, History of Collecting, Portuguese History, Art History, Charles V, Portuguese Discoveries and Expansion, Early Modern Italy, Portraiture, Early modern Spain, 16th and 17th century Dutch and Flemish Art, Southeast Asian history, Court history, Courts and Elites (History), History of Collections, Renaissance Studies, Material Culture Studies, Early Modern Portuguese History, Women's Studies, Fashion History, Patronage (History), Animals in Culture, Menageries, Queenship in Medieval and Early Modern Europe, Early Modern economic and social history, Elites, Collecting and Collections, History of the Portuguese Empire, Aristocracy, Renaissance, late medieval and early modern history of European nobility and courts, Juan Caramuel y Lobkowitz, Jacopo da Trezzo, Catherine of Austria, History of the Spanish-Habsburg Netherlands, Habsburg, Portugal, Portuguese Studies, Lisbon (Portugal), Descalzas Reales Convent, Renaissance music, Rudolf II, Victorian Studies, Nineteenth Century Studies, Nineteenth-Century Literature and Culture, Victorian cultural studies, Nineteenth Century British History and Culture, Print Culture, Digital Humanities, Early Modern Europe, Maritime Studies, Southeast Asian Studies, Maritime History, Port cities, Ports and Harbours, Material Culture, Consumption and Material Culture, Consumption Studies, Cultural Studies, History of Zoos, Animal Studies, Animals in Art, Animals & Society studies, History of Animals, History Portuguese and Spanish, Memoir writing/ autobiography, Nobility, Farnese Collection, PALATIUM Court Residences, Austrian History, Spanish History, Global History, Spanish Monarchy, Spain (History), Emperor Charles V, History of Medicine and the Body, History of pharmacy, Early Modern Spain and Spanish America, Architectural History, History of the Book, Medieval Iberian History, Italian Renaissance Architecture, Spanish Caribbean Early Colonial History, Atlantic World, Early Modern Urbanism, Nineteenth-century Art, Pre-Raphaelite Painting, Jorge de la Rua / Jooris van der Straeten, History of Science and Technology, History of Cartography, Iberian Studies, History of Botanical Illustration, History of Botany, Paleography, Culture Transfer, Botany, History, Herbals, Renaissance Humanism, French language and literature of Middle Ages, History of Archives, Brazilian Art, Spanish Art, History of Art, Iconography, 15th Century Netherlandish Art, Modern History, Tapestry Studies, Spanish Court Art, Diplomatic History, History of Savoy's Duchy, Felipe II 23, Flemish Painting, Household Inventories, Philip II, Early modern Germany, Historia Moderna, Political History, Epistolary literature, Family history, History of Elites, Historia Moderna De España, Queenship, Social and Cultural History, Habsburg Monarchy, History of (Early) Modern Nobility, administrative history, Gender History, Monarchy, Monarquía Hispánica, Latin American History, Latin American and Caribbean History, Music, Military History, Manuscripts and Early Printed Books, 16th Century (History), French art, Lyon, Early Modern Studies, Alchemy, Astral Magic, Medieval Astrology and Magic, Renaissance In Lyon, Urban History, Manuscript Studies, Vitraux, Enluminure, Medieval History, Civic Processions, Royal Entries, Tableaux Vivants, History of Science, Science Studies, Portuguese Intellectual and Cultural History, Franciscan Studies, Visual Studies, Visual Culture, Royal Patronage, PALACIO DE ARANJUEZ, Chinese art history, Korean Art, Japanese noh theatre, Japanese/Asian performing arts, Japanese Buddhist Art, Japanese Theory of Art, East Asian Archaeology, East Asian Politics, Islamic Art, History of Korean Ceramics, African Art History, African art and aesthetics, Art and Globalization, Southeast Asian Art History, Archaeology of the Silk Road, History of Horse Riding, Archaeology of Horse and Riders, Pirates, History of Piracy, Archaeology: Maritime & Underwater archaeology; shipwreck archaeology; archaeology of piracy, Spanish Renaissance and Baroque Art, Early Modern Art and Visual Culture, Architecture, Diplomacy, Books, Arte Colonial Americano, Colonial Art and Portuguese and Spanish Empires, Diego Velazquez, Images and history, Visual and Cultural Studies, East Asian Art history, Japanese Art History, Korean Art History, Buddhist Art, Buddhist Studies, Buddhist Iconography, Buddhist Art History and Archaeology, Korean Buddhist Art, Chinese Buddhist art, Gender Studies, Media and Cultural Studies, Cultural Materialism, Genre studies, Global & Comparative History, Merchant communities, Early Modern economic history, Nautical Archaeology, Underwater Archaeology, Maritime Archaeology, Atlantic history, Portraits, Spanish Studies, Modern Spanish History, Palatium, Courts, European Modern History. Minister-favourites, Royal Favourite, Tapestry, Medieval urban history, Renaissance Art, Decorative Arts, Textiles (Art History), History of Textiles, Medieval Goldsmith`s Art, Embroidered Textiles, Medieval Flanders, Gothic Ivories, Medieval Spain, Medieval Mediterranean Art and Architecture, Ivory Carving, Medieval Towns, Medieval Bridges, The Medieval Cult of Relics, French and Burgundian Court Art, Goldsmiths, Court Culture, Medieval Italy, Norman Sicily, Tapestries, Medieval Tapestry, Patronage (Medieval Studies), Medieval jewellery, Church Treasuries, Flemish Tapestries, Goldsmithery, Jewellery, Goldsmith, Silversmith, Gold, Silver, Craft Guilds, Commonaute, Or, Argent, Jewellery, Medieval Jewelry, History of Sculpture, Hispanic Arts and Culture, Intellectual History, Art and Science, Spanish early modern History, Habsburg dynasty, Early Modern Church History, History of Monasticism, Counter-Reformation, Historia del Arte, Latin American Art, Historia del arte latinoamericano, Portuguese Art, Lateinamerikastudien, Arte Peruano Virreinal, siglos XVI - XVII, Arte Novohispano, Colonial Latin American Art- Mexico and Peru, Arte colonial andino, Colonial Studies, Prints (Art History), History of Printmaking, Humanities, Cultural Theory, Caribbean History, Social Network Analysis (Social Sciences), Medieval History, Gender History, Medieval Studies, Medieval Church History, Women's History, Late Middle Ages, Monsters and Monster Theory, Travel Literature, Early Modern print culture, Historia, Early Modern/Siglo de Oro, Hispanic Studies, History Of Emotions, Renaissance literature, Spanish Medieval and Golden Age Literature, Spanish painting, XVI-XVIIIth century Spanish Painting, Cultural Heritage, Arquitetura e Urbanismo, História Da Cidade, Renaissance Rome, Urbanism, History of architecture, Urban Design, Urban Studies, Italian Renaissance Architectural History, Urban Planning, Cultural Memory, History of Architectural Representation, Cities, Memory Places, The Architectural Treatise, Place-Identity (Architecture), Place (Architecture), Sacred Music, Heritage Studies, Monuments, Cultural memory/Memorialization, Role of Monuments and Memorials in Preserving Memory of Conflicts, Representation/Cultural Studies, Mediterranean Studies, Town planning, Drawing as a research tool, Visual Arts, Architecture and Public Spaces, 3D Modelling (Architecture), - Architecture history, Arquitectura, Architettura, Renaissance Treatises, Prints and Drawings, Renaissance Milan, History of Renaissance Science, Renaissance antiquarianism, 16th Century Italian Art, Topography and Urban History of Rome, Patrimonio Cultural, African Studies, Indian Ocean World, Indian Ocean, Old China in the Western Indian Ocean: Researching story and narratives of being, Gujarati, Mozambique, Indian Ocean Trade, 16th Century Netherlandish Art, 16th century Europe, Phillip II, Early Modern London, Merchant networks, Intelligence and Espionage, Exotic animals, Renaissance Portrait Medal, Furniture, Artistic relations between Italy and Spain, Early Modern Material Culture, History of Dress, Consumers & Consumption, Consumerism, Mughal India, Indo-Portuguese Art, Women and Gender Studies, Relics and Relic Veneration, Early Modern Women, Clothing Culture, Kingship and systems of rule, Furniture History, Animals and Animality, Exoticism, History of Costume, Inventarios, Cultural Policy, Cultural Mappings, Renaissance Festivals, Italian Renaissance and Baroque Art, Female Artistic Consumption and Patronage; Early Modern Period, Gender, British Museum, Japanese Studies, John Carter Brown Library, Pietro Candido, Maximilian von Habsburg, Kaiser Maximilian I., Emperor Maximilian, 15th Century Burgundy, Burgundian Court, Culture at the court of Valois Burgundy, Animal Science, Italian Renaissance, Tournament Spectacle, Renaissance Jousting and Tournaments, Tomás Luis de Victoria, Silver, Silversmithing, Archives, Art Market, Account Books, Art Economics and Markets, Social History of Art, Royal Palaces, Casa Real De Castilla. Corte Real Bajomedieval. Oficiales Regios. Vida Y Cultura Curial. Cancillería Real. Prosopografía. Fuentes Documentales., Nimrod, Glyptics, Engraved gems, Cameos, Intaglios, Female Patronage of Arts, Women and Culture, Nanban culture and art., History of Colonial Mexico, Globalization, Biombos, Nanban Culture, Food History, Cooking and Food Preparation (archaeology), History Of Food Consumption, Early Modern Women Writers, Antoine Perrenot de Granvelle, Gemology, Joalharia, Ourivesaria, Gemmology, History of Jewelry, Lapidary, Pearls, Diamonds, Gemology and the lapidary proces now and of antiquity, History of Gemstones, Wittelsbach, Lobkowicz family, J. Paul Getty Museum, Getty Museum, South Asian Art, Diplomatic Gifts, Colour Theory, History of Collecting and Antiquarianism, Research Methodology, and Ethicsedit
- A Senior Research Scholar with the Centro de Humanidades (CHAM, formerly História d'Aquém e d'Além-Mar ) in Lisbon a... moreA Senior Research Scholar with the Centro de Humanidades (CHAM, formerly História d'Aquém e d'Além-Mar ) in Lisbon and Switzerland since 2010, she obtained her Ph.D in 1994 from Brown University, writing a dissertation on the court, household and collection of Catherine of Austria, queen of Portugal (1507-1578). Her areas of specialization include patronage, collecting, menageries and Kunstkammers at the Renaissance courts in Austria, the Netherlands, Spain and Portugal. In recent years, this research has focused on the court culture, patronage and collections of Habsburg women: in particular the sisters, wives and aunts of the rulers: Philip II of Spain, and the Emperors Charles V and Maximilian II. A further specialization focuses on the cultural and artistic transfer between Africa, Asia, Brazil and the Renaissance Habsburg courts.
She is author of numerous publications (articles, exhibition catalogue essays and contributions in books), including her own books: Retrato de Corte em Portugal. O legado de António Moro (1552-1572), (Lisbon, 1994), The Story of Süleyman. Celebrity Elephants and other Exotica in Renaissance Portugal (Zurich, 2012), and a recent biography on the Portuguese queen, Catherine of Austria: Catarina de Áustria. A rainha colecionadora, (Lisbon, 2012). She wrote several entries on Portuguese royal patrons and patronage for the Macmillan Dictionary of Art (London, 1996), and contributed two lengthy essays on the queens Leonor and Catherine of Austria for the Getty Foundation project: The Emperor Charles V and the Inventories of the Imperial Family, directed by Fernando Checa Cremades, published in 3 volumes (Madrid, 2010).
Dr Jordan was recently decorated by the Portuguese government with the Order of Henry the Navigator for guest curating the international exhibition: Ivories of Ceylon. Luxury Goods of the Renaissance, which venued in 2011 at the Museum Rietberg in Zurich. This was the first exhibit ever on Portugal during the Age of Discovery to be shown in Switzerland.
She recently guest curated with K. J. P. Lowe in Lisbon the exhibition: Cidade Global. Lisboa no Renacimento | The Global City. Lisbon in the Renaissance which venued at the Museu Nacional de Arte Antiga, February-April 2017 and the Museu Nacional Soares dos Reis, May-September 2017.edit
BOOK REVIEW | A Spectacle for a Spanish Princess: The Festive Entry of Joanna of Castile into Brussels (1496) | By Dagmar H. Eichberger, ed. Turnhout: Brepols Publishers, 2024. 440 pp, 240 color illus. ISBN 978-2-503-59443-9 | Review... more
BOOK REVIEW |
A Spectacle for a Spanish Princess: The Festive Entry of Joanna of Castile into Brussels (1496) |
By Dagmar H. Eichberger, ed.
Turnhout: Brepols Publishers, 2024. 440 pp, 240 color illus. ISBN 978-2-503-59443-9 |
Review published July 2024 |
HISTORIANS OF NETHERLANDISH ART REVIEWS
Ths volume, published by Brepols with the collaboration of CEEH (Centro de Estudios Europa Hispánica), addresses an event known from only one primary source, the manuscript of the Festive Entry of Joanna of Castile into Brussels in the Kupferstichkabinett at the Staatliche Museen in Berlin (ms. 78 D5). The editor, Dagmar Eichberger, has delivered an interdisciplinary study on the literary, visual, and material culture of Brussels in 1496, the
year in which the Joyeuse entrée of the Spanish princess Joanna of Castile took place in the city following her marriage to Philip the Fair. The monograph tells the story of the woman, nicknamed “the Mad” by positivist writers; in this volume, though, she is considered as an important player in the negotiation between the Habsburgs, the Trastámara-Aragón.
A Spectacle for a Spanish Princess: The Festive Entry of Joanna of Castile into Brussels (1496) |
By Dagmar H. Eichberger, ed.
Turnhout: Brepols Publishers, 2024. 440 pp, 240 color illus. ISBN 978-2-503-59443-9 |
Review published July 2024 |
HISTORIANS OF NETHERLANDISH ART REVIEWS
Ths volume, published by Brepols with the collaboration of CEEH (Centro de Estudios Europa Hispánica), addresses an event known from only one primary source, the manuscript of the Festive Entry of Joanna of Castile into Brussels in the Kupferstichkabinett at the Staatliche Museen in Berlin (ms. 78 D5). The editor, Dagmar Eichberger, has delivered an interdisciplinary study on the literary, visual, and material culture of Brussels in 1496, the
year in which the Joyeuse entrée of the Spanish princess Joanna of Castile took place in the city following her marriage to Philip the Fair. The monograph tells the story of the woman, nicknamed “the Mad” by positivist writers; in this volume, though, she is considered as an important player in the negotiation between the Habsburgs, the Trastámara-Aragón.
Research Interests:
This volume introduces the reader to the festive entry of princess Joanna of Castile into Brussels (1496) that marks the dynastic union between Spain and the Burgundian Netherlands. On the evening of 9 December 1496, Princess Joanna,... more
This volume introduces the reader to the festive entry of princess Joanna of Castile into Brussels (1496) that marks the dynastic union between Spain and the Burgundian Netherlands. On the evening of 9 December 1496, Princess Joanna, Infanta of Castile, reaches the outskirts of Brussels where a procession of secular and ecclesiastical dignitaries welcomes her. After having been married to Philip the Fair in Lier, Joanna travelled to Brussels by herself. Equipped with torches and processional crosses, the citizens accompany her all the way to the heart of the city, the large market square with its magnificent town hall. The Berlin manuscript 78 D5 is the first illustrated report of an entry concentrating on one single lady. The manuscript is a treasure to all those interested in urban culture of the Early Modern period. The author of the festival booklet compares the well-lit city with the splendours of Troy and Carthage. Twenty-eight stage sets, or Tableaux Vivants, and an elaborate procession mirror the costly intellectual program presented to the sixteen-year-old princess. The carefully planned theatrical productions underscore themes of marriage, female virtues and the politics of war and peace. The program includes entertainments, soundscapes, and pyrotechnic amusements. The Latin texts are made available in English translation. The entire manuscript, with its sixty-three folios, is reproduced in colour. Eleven leading scholars present their new findings on this spectacular entry from an interdisciplinary approach.
Research Interests:
[2022] FBAUL ebook on portraiture | Edited by Annemarie Jordan Gschwend | Maria João Gamito | Fernando António Baptista Pereira | INTRODUCTION AND PRINCIPLE OBJECTIVES OF THIS CONGRESS This colloquium intends to discuss the theory and... more
[2022] FBAUL ebook on portraiture |
Edited by Annemarie Jordan Gschwend | Maria João Gamito | Fernando António Baptista Pereira |
INTRODUCTION AND PRINCIPLE OBJECTIVES OF THIS CONGRESS
This colloquium intends to discuss the theory and practice of artistic, historical, anthropological, social and political experience on the topic of portraiture, as well as the fictional dimension contained within it. Located at the intersection of several disciplinary fields, the discussion(s) and papers will address the portrait as a concept, theme, process, object (monument and document) and device, in its multiple developments and in its successive conceptual, technological and contextual updates.
More than defining a temporal framework, the subtitle – From Francisco de Holanda to Susan Sontag – underscores the dynamic porosity on the researched topic in the fields of art and literature, as well as, in its mutual reversibility.
Edited by Annemarie Jordan Gschwend | Maria João Gamito | Fernando António Baptista Pereira |
INTRODUCTION AND PRINCIPLE OBJECTIVES OF THIS CONGRESS
This colloquium intends to discuss the theory and practice of artistic, historical, anthropological, social and political experience on the topic of portraiture, as well as the fictional dimension contained within it. Located at the intersection of several disciplinary fields, the discussion(s) and papers will address the portrait as a concept, theme, process, object (monument and document) and device, in its multiple developments and in its successive conceptual, technological and contextual updates.
More than defining a temporal framework, the subtitle – From Francisco de Holanda to Susan Sontag – underscores the dynamic porosity on the researched topic in the fields of art and literature, as well as, in its mutual reversibility.
Research Interests: Art Theory, Portraiture, Art Theory and Politics, Theory and Practice of Visual Arts, Self Portraiture, and 7 morePhotography & Portraiture, Aesthetics and Theory of Arts, Art Theory and Criticism, Theory of Art, Renaissance Portraiture, Portraiture and the Problematic of Representation, and Francisco De Holanda
Hugo Miguel Crespo & Annemarie Jordan Gschwend
Research Interests:
Awarded an Honorable Mention by The Eleanor Tufts Award. The Award Committee called the book a "transformative scholarly contribution." Awarded the 2016 "Admiral Teixeira da Mota" Prize from the Academia de Marinha (Naval Academy), Lisbon... more
Awarded an Honorable Mention by The Eleanor Tufts Award. The Award Committee called the book a "transformative scholarly contribution." Awarded the 2016 "Admiral Teixeira da Mota" Prize from the Academia de Marinha (Naval Academy), Lisbon Recently identified by the editors as the Rua Nova dos Mercadores, the principal commercial and financial street in Renaissance Lisbon, two sixteenth-century paintings, acquired by Dante Gabriel Rossetti in 1866, form the starting point for this portrait of a global city in the early modern period. Focusing on unpublished objects, and incorporating newly discovered documents and inventories that allow novel interpretations of the Rua Nova and the goods for sale on it, these essays offer a compelling and original study of a metropolis whose reach once spanned four continents. The Rua Nova views painted by an anonymous Flemish artist portray an everyday scene on a recognizable street, with a diverse global population. This thoroughfare was the meeting point of all kinds of people, from rich to poor, slave to knight, indigenous Portuguese to Jews and diasporic black Africans. The volume highlights the unique status of Lisbon as an entrepôt for curiosities, luxury goods and wild animals. As the Portuguese trading empire of the fifteenth and sixteenth century expanded sea-routes and networks from West Africa to India and the Far East, non-European cargoes were brought back to Renaissance Lisbon. Many rarities were earmarked for the Portuguese court, but simultaneously exclusive items were readily available for sale on the Rua Nova, the Lisbon equivalent of Bond Street or Fifth Avenue. Specialized shops offered West African and Ceylonese ivories, raffia and Asian textiles, rock crystals, Ming porcelain, Chinese and Ryukyuan lacquerware, jewelry, precious stones, naturalia and exotic animal byproducts. Lisbon was also a hub of distribution for overseas goods to other courts and cities in Europe. The cross-cultural and artistic influences between Lisbon and Portuguese Africa and Asia at this date will be reassessed. Lisbon was imagined as the head of empire or caput mundi, while the River Tagus became the aquatic gateway to a globally connected world. Lisbon evolved into a dynamic Atlantic port city, excelling in shipbuilding, cartography and the manufacture of naval instruments. The historian Damião de Góis bragged of the “Tagus reigning over the world”. Lisbon’s fame depended on its river, an aquatic avenue that competed with the Rua Nova, providing a means of interaction, trade and communication along Lisbon’s coastline. Even for the cosmopolitan Góis, who traveled extensively for the Portuguese crown, Lisbon’s chaotic docks were worth describing. Of all the European cities he experienced, only Lisbon and her rival Seville could be “rightfully called Ladies and Queens of the Sea”. Góis contended that they had opened up the early modern world through circumnavigation. Lisbon was destroyed in a devastating earthquake and tsunami in November 1755. These paintings are the only large-scale vistas of Rua Nova dos Mercadores to have survived, and together with the new objects and archival sources offer a fresh and original insight into Renaissance Lisbon and its material culture.
E-book $60.00
ISBN: 9781914532009
Published June 2021
E-book $60.00
ISBN: 9781914532009
Published June 2021
Research Interests: Digital Humanities, Globalization, Material Culture Studies, Global cities, Global Studies, and 11 moreConsumption Studies, Cities and globalization/Global cities, Consumption and Material Culture, Material Culture, Portugal (History), Portugal, Lisbon (Portugal), Cultural Globalization, Consumption Culture, Streets, and Globalization and Cities
Edited by Arthur MacGregor, University of Oxford Interposed between the natural world in all its diversity and the edited form in which we encounter it in literature, imagery and the museum, lie the multiple practices of the naturalists... more
Edited by Arthur MacGregor, University of Oxford
Interposed between the natural world in all its diversity and the edited form in which we encounter it in literature, imagery and the museum, lie the multiple practices of the naturalists in selecting, recording and preserving the specimens from which our world view is to be reconstituted. The factors that weigh at every stage are here dissected, analysed and set within a historical narrative that spans more than five centuries. During that era, every aspect evolved and changed, as engagement with nature moved from a speculative pursuit heavily influenced by classical scholarship to a systematic science, drawing on advanced theory and technology. Far from being neutrally objective, the process of representing nature is shown as fraught with constraint and compromise.
With a Foreword by Sir David Attenborough
Contributors are: Marie Addyman, Peter Barnard, Paul D. Brinkman, Ian Convery, Peter Davis, Felix Driver, Florike Egmond, Annemarie Jordan Gschwend, Geoff Hancock, Stephen Harris, Hanna Hodacs, Stuart Houston, Dominik Huenniger, Rob Huxley, Charlie Jarvis, Malgosia Nowak-Kemp, Shepard Krech III, Mark Lawley, Arthur Lucas, Marco Masseti, Geoff Moore, Pat Morris, Charles Nelson, Robert Peck, Helen Scales, Han F. Vermeulen, and Glyn Williams.
Interposed between the natural world in all its diversity and the edited form in which we encounter it in literature, imagery and the museum, lie the multiple practices of the naturalists in selecting, recording and preserving the specimens from which our world view is to be reconstituted. The factors that weigh at every stage are here dissected, analysed and set within a historical narrative that spans more than five centuries. During that era, every aspect evolved and changed, as engagement with nature moved from a speculative pursuit heavily influenced by classical scholarship to a systematic science, drawing on advanced theory and technology. Far from being neutrally objective, the process of representing nature is shown as fraught with constraint and compromise.
With a Foreword by Sir David Attenborough
Contributors are: Marie Addyman, Peter Barnard, Paul D. Brinkman, Ian Convery, Peter Davis, Felix Driver, Florike Egmond, Annemarie Jordan Gschwend, Geoff Hancock, Stephen Harris, Hanna Hodacs, Stuart Houston, Dominik Huenniger, Rob Huxley, Charlie Jarvis, Malgosia Nowak-Kemp, Shepard Krech III, Mark Lawley, Arthur Lucas, Marco Masseti, Geoff Moore, Pat Morris, Charles Nelson, Robert Peck, Helen Scales, Han F. Vermeulen, and Glyn Williams.
Research Interests: Animal Science, History of Natural History, Animal Studies, Exotic Species, Natural History, and 14 moreAnimals & Society studies, Animals in Literature, Animals in Culture, Nature, Menageries, Animals, Natural history collections, History of Animals, Exotic animals, Natural History Museums, Especies Exóticas, Animales Exoticos, Natural History Illustration, and Renaissance Menageries
Research Interests:
Research Interests:
Research Interests:
Hugo Miguel Crespo The Art of Collecting. Lisbon, Europe and the Early Modern World (1500-1800). Lisbon, 2019, ISBN: 978-989-96180-5-3 Two essays by Annemarie Jordan Gschwend The Art of Collecting among Habsburg Women.... more
Hugo Miguel Crespo
The Art of Collecting.
Lisbon, Europe and the Early Modern World (1500-1800).
Lisbon, 2019, ISBN: 978-989-96180-5-3
Two essays by Annemarie Jordan Gschwend
The Art of Collecting among Habsburg Women. Catherine and Juana of Austria and their pursuit of luxury, pp. 35-53
The Art of Collecting Asian Folding Fans at the Lisbon Court, pp.79-93
The Art of Collecting.
Lisbon, Europe and the Early Modern World (1500-1800).
Lisbon, 2019, ISBN: 978-989-96180-5-3
Two essays by Annemarie Jordan Gschwend
The Art of Collecting among Habsburg Women. Catherine and Juana of Austria and their pursuit of luxury, pp. 35-53
The Art of Collecting Asian Folding Fans at the Lisbon Court, pp.79-93
Research Interests:
Research Interests:
Sinopse Filha mais nova de Joana de Castela e de Filipe, o Belo, Catarina era o fruto de uma união dinástica que reuniu a Casa Real de Espanha com as dinastias borgonhesa e de Habsburgo. Mulher culta e inteligente, teve um casamento feliz... more
Sinopse
Filha mais nova de Joana de Castela e de Filipe, o Belo, Catarina era o fruto de uma união dinástica que reuniu a Casa Real de Espanha com as dinastias borgonhesa e de Habsburgo. Mulher culta e inteligente, teve um casamento feliz com D. João III e governou Portugal como rainha consorte e como regente por mais de cinquenta anos. Catarina de Áustria era uma estadista dotada, uma filantropa e uma grande colecionadora de arte. A sua coleção de arte asiática incluía mais objetos não europeus do que qualquer outra coleção contemporânea anterior ao século XVI.
A ela se deve também a conclusão da atual capela-mor do Mosteiro dos Jerónimos. Tal como era esperado de uma rainha consorte, deu à luz um herdeiro da Coroa e vários príncipes reais. Contudo, os seus nove filhos não lhe sobreviveram
Filha mais nova de Joana de Castela e de Filipe, o Belo, Catarina era o fruto de uma união dinástica que reuniu a Casa Real de Espanha com as dinastias borgonhesa e de Habsburgo. Mulher culta e inteligente, teve um casamento feliz com D. João III e governou Portugal como rainha consorte e como regente por mais de cinquenta anos. Catarina de Áustria era uma estadista dotada, uma filantropa e uma grande colecionadora de arte. A sua coleção de arte asiática incluía mais objetos não europeus do que qualquer outra coleção contemporânea anterior ao século XVI.
A ela se deve também a conclusão da atual capela-mor do Mosteiro dos Jerónimos. Tal como era esperado de uma rainha consorte, deu à luz um herdeiro da Coroa e vários príncipes reais. Contudo, os seus nove filhos não lhe sobreviveram
Research Interests: Gender Studies, Portuguese Studies, Gender History, Portuguese History, Courts, and 14 moreHabsburg Studies, Gender, History of Collections, History of the Portuguese Empire, Courts and Elites (History), Portugal (History), Portugal, Women and Gender Studies, Queenship in Medieval and Early Modern Europe, Lisbon (Portugal), Queenship, Habsburg, História de Portugal, and História De Arte Em Portugal
Prémio “Almirante Teixeira da Mota”/2016 Em 15 de novembro, o júri deliberou, por unanimidade, atribuir o prémio “Almirante Teixeira da Mota”/2016, no valor de cinco mil euros, ao trabalho, The Global City, com coordenação de Annemarie... more
Prémio “Almirante Teixeira da Mota”/2016
Em 15 de novembro, o júri deliberou, por unanimidade, atribuir o prémio “Almirante Teixeira da Mota”/2016, no valor de cinco mil euros, ao trabalho, The Global City, com coordenação de Annemarie Jordan Gschwend e K. J. P. Lowe.
O júri decidiu ainda atribuir menções honrosas aos trabalhos, A baleação e o Estado Novo. Industrialização e Organização Corporativa (1937-1958), da autoria de Francisco Maia Pereira Henriques, e Políticas Régias de Logística Naval (1481-1640), da autoria de Liliana Cristina Magalhães Oliveira.
Em 15 de novembro, o júri deliberou, por unanimidade, atribuir o prémio “Almirante Teixeira da Mota”/2016, no valor de cinco mil euros, ao trabalho, The Global City, com coordenação de Annemarie Jordan Gschwend e K. J. P. Lowe.
O júri decidiu ainda atribuir menções honrosas aos trabalhos, A baleação e o Estado Novo. Industrialização e Organização Corporativa (1937-1958), da autoria de Francisco Maia Pereira Henriques, e Políticas Régias de Logística Naval (1481-1640), da autoria de Liliana Cristina Magalhães Oliveira.
Research Interests: Architecture, Renaissance Studies, Urban History, Global cities, Urban Studies, and 13 moreUrbanism, Global History, History of the Portuguese Empire, History of architecture, Cities, Lisbon (Portugal), Port cities, Arquitetura e Urbanismo, Urbanismo, Lisbon Story, Historic cities, Lisbon Earthquake, and Cultural History of the Portuguese and European Expansion
The Story of Süleyman now available at Amazon.de for a discounted price!
https://www.amazon.de/Süleyman-Celebrity-Elephants-Renaissance-Portugal/dp/1616588217/ref=sr_1_1?ie=UTF8&qid=1478955666&sr=8-1&keywords=the+story+of+süleyman
https://www.amazon.de/Süleyman-Celebrity-Elephants-Renaissance-Portugal/dp/1616588217/ref=sr_1_1?ie=UTF8&qid=1478955666&sr=8-1&keywords=the+story+of+süleyman
Research Interests: Asian Studies, Southeast Asian Studies, Festivals and music, Renaissance Studies, South Asian Studies, and 33 moreHabsburg Studies, Asian History, South Asian History, East Asian Studies, Gardens, Global History, Ottoman-Habsburg relations, Collecting and Collections, History of the Spanish-Habsburg Netherlands, Portugal (History), Portugal, History of Collecting, Festivals, Elephants, Patronage and collecting, Asian Elephants in Culture and History, History of Zoos, Asian elephants, Exotic animals, Pets and Animals, Royal Entries, Asian Art, Ménageries, Habsburg, Global Art History, Exotics Pets, Sri Lankan Elephants, Botanical Gardens, History of Ceylon, Globalization and International Trade, História De Arte Em Portugal, Renaissance Menageries, and Menageries in the Renaissance
Paul Holberton Publishing, London
Expected 2022
Expected 2022
Research Interests: Material Culture Studies, Habsburg Studies, Spanish History, Consumption Studies, History Portuguese and Spanish, and 20 moreDiplomacy, History of Collections, Collecting and Collections, Consumption and Material Culture, History of the Spanish-Habsburg Netherlands, Cultural Diplomacy, Material Culture, History of Collecting, Austrian History, Collectors and Collecting, Early modern European history, hisory of science, history of religion, Kunstkammer, Austria, Habsburg, Consumption Culture, Philip II of Spain, Court of Rudolf II, Early Collections and Kunstkammer, Rudolf II, and Wunderkammern/Kunstkammern/Naturalienkammern
Honorable Mention The Global City: on the streets of Renaissance Lisbon Edited by A. Jordan Gschwend & Kate Lowe REPORT OF THE ELEANOR TUFTS AWARD COMMITTEE IN 2016 The Award Committee would also like to recognize the transformative... more
Honorable Mention
The Global City: on the streets of Renaissance Lisbon
Edited by A. Jordan Gschwend & Kate Lowe
REPORT OF THE ELEANOR TUFTS AWARD COMMITTEE IN 2016
The Award Committee would also like to recognize the transformative scholarly contributions of Annemarie Jordan Gschwend and K.J.P. Lowe with an Honorable Mention for their study The Global City: On the Streets of Renaissance Lisbon (London: Paul Holberton, 2015).
Respectfully,
The 2016 Eleanor Tufts Book Award Committee
Michael A. Brown, Ph.D. (Chair), Associate Curator of European Art, The San Diego Museum of Art
Andrew Schulz, Associate Dean for Research, College of Arts and Architecture, Pennsylvania State University
Jessica Weiss, Assistant Professor of Art History, Theory and Criticism, Metropolitan State University of Denver
The Global City: on the streets of Renaissance Lisbon
Edited by A. Jordan Gschwend & Kate Lowe
REPORT OF THE ELEANOR TUFTS AWARD COMMITTEE IN 2016
The Award Committee would also like to recognize the transformative scholarly contributions of Annemarie Jordan Gschwend and K.J.P. Lowe with an Honorable Mention for their study The Global City: On the Streets of Renaissance Lisbon (London: Paul Holberton, 2015).
Respectfully,
The 2016 Eleanor Tufts Book Award Committee
Michael A. Brown, Ph.D. (Chair), Associate Curator of European Art, The San Diego Museum of Art
Andrew Schulz, Associate Dean for Research, College of Arts and Architecture, Pennsylvania State University
Jessica Weiss, Assistant Professor of Art History, Theory and Criticism, Metropolitan State University of Denver
Research Interests:
Launch of The Global City: On the Streets of Renaissance Lisbon edited by Annemarie Jordan Gschwend and Professor Kate Lowe at Michael Backman Ltd, November 18, 2015. The launch included a special presentation on Renaissance Lisbon by... more
Launch of The Global City: On the Streets of Renaissance Lisbon
edited by Annemarie Jordan Gschwend and Professor Kate Lowe
at Michael Backman Ltd, November 18, 2015.
The launch included a special presentation on Renaissance Lisbon by Professor Henrique Leitão, of the University of Lisbon, and a video presentation by Annemarie Jordan Gschwend showing a reconstruction of Lisbon's Rua Nova in the 16th century.
As well as the authors, attendees included Dr Holly Trusted (V&A), Diana Scarisbrick (Author), Dr Hazel Forsyth (Museum of London), Alvaro Sequeira Pinto (Scholar & Collector), Debby Larkin, (graphic designer & filmmaker), Beatriz Chador (Consultant Curator, V&A), Sarah Corbet (founder and editor of www.ethnicjewelsmagazine.com), Diccon & Leslie Pullen (SOAS), Professor Jos Hackforth-Jones (director of the Sotheby's Institute), Professor Margot Finn (UCL), Jonathan Hope (independent scholar & dealer), Paul Holberton (Paul Holberton Publishing) and Elizabeth Herridge (Author).
The book provides a marvellous account of the 16th century trade in luxury goods from Asia and elsewhere into Lisbon and from there to the rest of Europe. It includes images of many important objects that have not previously been published.
edited by Annemarie Jordan Gschwend and Professor Kate Lowe
at Michael Backman Ltd, November 18, 2015.
The launch included a special presentation on Renaissance Lisbon by Professor Henrique Leitão, of the University of Lisbon, and a video presentation by Annemarie Jordan Gschwend showing a reconstruction of Lisbon's Rua Nova in the 16th century.
As well as the authors, attendees included Dr Holly Trusted (V&A), Diana Scarisbrick (Author), Dr Hazel Forsyth (Museum of London), Alvaro Sequeira Pinto (Scholar & Collector), Debby Larkin, (graphic designer & filmmaker), Beatriz Chador (Consultant Curator, V&A), Sarah Corbet (founder and editor of www.ethnicjewelsmagazine.com), Diccon & Leslie Pullen (SOAS), Professor Jos Hackforth-Jones (director of the Sotheby's Institute), Professor Margot Finn (UCL), Jonathan Hope (independent scholar & dealer), Paul Holberton (Paul Holberton Publishing) and Elizabeth Herridge (Author).
The book provides a marvellous account of the 16th century trade in luxury goods from Asia and elsewhere into Lisbon and from there to the rest of Europe. It includes images of many important objects that have not previously been published.
Research Interests:
These 3 important volumes which publish 68 Habsburg inventories of the 16th century are now for sale at a discount price at F. Villaverde Editors in Madrid. These books are a must for any scholar studying royal collections and collecting... more
These 3 important volumes which publish 68 Habsburg inventories of the 16th century are now for sale at a discount price at F. Villaverde Editors in Madrid.
These books are a must for any scholar studying royal collections and collecting in the Renaissance.
These books are a must for any scholar studying royal collections and collecting in the Renaissance.
Research Interests: Austria (European History), Habsburg Studies, History of The Netherlands, Patronage (History), Collecting and Collections, and 26 moreHistory of the Spanish-Habsburg Netherlands, 14th and 15th centuries Portugal, Portugal (History), Spain, Charles V, Early modern Spain, Portugal, History of Collecting, Austrian History, Patronage and collecting, Lisbon (Portugal), Early Modern Collecting, Collectors and Collecting, History of Collecting and Antiquarianism, Burgundian Netherlands, Collecting, Netherlands, Female Patronage, Political patronage, Austria, Patronage, Austrian Studies, Habsburg, Habsburg Monarchy, Emperor Charles V, and História De Arte Em Portugal
Research Interests:
" Dezembro 19, 2012. Publicação espanhola comenta edição portuguesa de «A rainha colecionadora - Catarina de Áustria» «El libro destaca sobremanera cuando analiza el papel de Catalina como coleccionista y mecenas, gracias, en... more
"
Dezembro 19, 2012.
Publicação espanhola comenta edição portuguesa de «A rainha colecionadora - Catarina de Áustria»
«El libro destaca sobremanera cuando analiza el papel de Catalina como coleccionista y mecenas, gracias, en parte, a los productos que llegaban al puerto de Lisboa provenientes de todos los lugares de su imperio colonial. Conellos la reina pudo mantener a lo largo de su vida un intercambio permanente con otros miembros de la Casa de Austria y un importante coleccionismo de piezas y regalos preciosos: animales salvajes y exóticos, especias, plantas, drogas, muebles, tapices, etc., y que servía a Juan y a Catalina para recalcar su papel como
Dominus mundi.»
Félix Labrador Arroyo, Libros de la corte, otoño-invierno 2012"
Dezembro 19, 2012.
Publicação espanhola comenta edição portuguesa de «A rainha colecionadora - Catarina de Áustria»
«El libro destaca sobremanera cuando analiza el papel de Catalina como coleccionista y mecenas, gracias, en parte, a los productos que llegaban al puerto de Lisboa provenientes de todos los lugares de su imperio colonial. Conellos la reina pudo mantener a lo largo de su vida un intercambio permanente con otros miembros de la Casa de Austria y un importante coleccionismo de piezas y regalos preciosos: animales salvajes y exóticos, especias, plantas, drogas, muebles, tapices, etc., y que servía a Juan y a Catalina para recalcar su papel como
Dominus mundi.»
Félix Labrador Arroyo, Libros de la corte, otoño-invierno 2012"
Short animated documentary film, 5`16“ written and directed by Ani Antonova hand-drawn animation | pencil on paper Aspect ratio: 2K Scope (2.39:1) Sound: 5.1 surround sound (2018) SYNOPSIS In the 16th Century, the elephant Süleyman... more
Short animated documentary film, 5`16“
written and directed by Ani Antonova
hand-drawn animation | pencil on paper
Aspect ratio: 2K Scope (2.39:1)
Sound: 5.1 surround sound
(2018)
SYNOPSIS
In the 16th Century, the elephant Süleyman makes a long journey from Ceylon to Portugal, then walks the whole way from Lisbon to Vienna trough the Alps for five months. To be a living royal gift is not an easy job, where even death is not a peaceful end.
FILM CRITIQUE
With her documentary animation film The Outlander, Ani Antonova tells the tale of the long and arduous journey undertaken by Süleyman, Vienna´s first elephant. It was in the 16th century that the animal initially voyaged from Ceylon to Lisbon, before being sent on a month-long journey as a living royal gift to Vienna under Maximilian II.
Over 5,000 individually drawn images render the animal in relentless motion, sketching the strenuous path taken across the Alps by the adolescent Süleyman – named after the Osman Sultan and arch-enemy of the Habsburg monarchy – in the company of its courtly retinue. Ani Antonova interweaves historical sources into her film, including images from the time of this extraordinary procession. The voice-over explains, “Wherever they arrived, people were excited to see them.” It is accompanied by delicately precise tracings of portraits, frescoes and animated coin motifs that dissolve into one another and underline the widespread euphoria caused by the exotic creature whose taming was intended to represent the monarchy´s power. The Outlander is the sad migration story of a thick-skinned immigrant passed on from one ruling dynasty to another, as he involuntarily treks across Europe. With this 5-minute pencil-drawn animation film Ani Antonova sensitively translates an excerpt of Europe´s past into a thoughtful reflection upon our contemporary world. (Jana Koch)
Translation: Eve Heller
CREDITS
Screenwriter and director: Ani Antonova
Based on the historical research of Dr Annemarie Jordan Gschwend
Animation: Ani Antonova, Dimiter Ovtcharov
Animation Supervisor: Pedro Serrazina
Compositing: Dimiter Ovtcharov
Sound design: Valeria Popova
Producers: Omega Films
St. Pölten University of Applied Sciences (AT)
Universidade Lusófona de Humanidades e Tecnologias (PT)
Distribution: sixpack film
AWARDS
Jury’s Citation Award
The Thomas Edison Black Maria Film Festival (2020, USA)
Award for short film, inspired by literary work
CineLibri – international book and movie festival (2020, Bulgaria)
Honorable Mention
ethnocineca International Documentary Film Festival (Vienna, Austria, 2020)
Audience Award
Under_The_Radar (Vienna, 2019, Austria)
Honorable Mention / Frame by Frame / Traditional Animation
Florida Animation Festival ( USA), 2019
Audience Award Austrian Panorama
Tricky Women (Vienna, Austria), 2019
Best narrative animation &
Audience Award
2 Days Animation Festival (Vienna, AT), 2018
written and directed by Ani Antonova
hand-drawn animation | pencil on paper
Aspect ratio: 2K Scope (2.39:1)
Sound: 5.1 surround sound
(2018)
SYNOPSIS
In the 16th Century, the elephant Süleyman makes a long journey from Ceylon to Portugal, then walks the whole way from Lisbon to Vienna trough the Alps for five months. To be a living royal gift is not an easy job, where even death is not a peaceful end.
FILM CRITIQUE
With her documentary animation film The Outlander, Ani Antonova tells the tale of the long and arduous journey undertaken by Süleyman, Vienna´s first elephant. It was in the 16th century that the animal initially voyaged from Ceylon to Lisbon, before being sent on a month-long journey as a living royal gift to Vienna under Maximilian II.
Over 5,000 individually drawn images render the animal in relentless motion, sketching the strenuous path taken across the Alps by the adolescent Süleyman – named after the Osman Sultan and arch-enemy of the Habsburg monarchy – in the company of its courtly retinue. Ani Antonova interweaves historical sources into her film, including images from the time of this extraordinary procession. The voice-over explains, “Wherever they arrived, people were excited to see them.” It is accompanied by delicately precise tracings of portraits, frescoes and animated coin motifs that dissolve into one another and underline the widespread euphoria caused by the exotic creature whose taming was intended to represent the monarchy´s power. The Outlander is the sad migration story of a thick-skinned immigrant passed on from one ruling dynasty to another, as he involuntarily treks across Europe. With this 5-minute pencil-drawn animation film Ani Antonova sensitively translates an excerpt of Europe´s past into a thoughtful reflection upon our contemporary world. (Jana Koch)
Translation: Eve Heller
CREDITS
Screenwriter and director: Ani Antonova
Based on the historical research of Dr Annemarie Jordan Gschwend
Animation: Ani Antonova, Dimiter Ovtcharov
Animation Supervisor: Pedro Serrazina
Compositing: Dimiter Ovtcharov
Sound design: Valeria Popova
Producers: Omega Films
St. Pölten University of Applied Sciences (AT)
Universidade Lusófona de Humanidades e Tecnologias (PT)
Distribution: sixpack film
AWARDS
Jury’s Citation Award
The Thomas Edison Black Maria Film Festival (2020, USA)
Award for short film, inspired by literary work
CineLibri – international book and movie festival (2020, Bulgaria)
Honorable Mention
ethnocineca International Documentary Film Festival (Vienna, Austria, 2020)
Audience Award
Under_The_Radar (Vienna, 2019, Austria)
Honorable Mention / Frame by Frame / Traditional Animation
Florida Animation Festival ( USA), 2019
Audience Award Austrian Panorama
Tricky Women (Vienna, Austria), 2019
Best narrative animation &
Audience Award
2 Days Animation Festival (Vienna, AT), 2018
Research Interests:
RTP VIDEO WITH PROFESSOR KATE LOWE Lisboa no Renascimento, a cidade global No século XVI a rua mais rica do mundo ficava em Lisboa, capital de um vasto império ultramarino. Joias, porcelanas, sedas, especiarias e outras mercadorias... more
RTP VIDEO WITH PROFESSOR KATE LOWE
Lisboa no Renascimento, a cidade global
No século XVI a rua mais rica do mundo ficava em Lisboa, capital de um vasto império ultramarino. Joias, porcelanas, sedas, especiarias e outras mercadorias exóticas importadas de África, do Brasil e da Ásia estavam à venda na rua Nova dos Mercadores.
Nos gloriosos tempos das Descobertas, quando os navegadores portugueses cruzaram os oceanos e Portugal conquistou um vasto Império, Lisboa era o centro comercial do novo mundo que as caravelas ligavam nas rotas marítimas.
Na capital manuelina respiravam-se exotismos importados de África, da Ásia e do Brasil. As lojas enchiam-se de artigos de luxo, produtos desconhecidos ou raros, cobiçados por milhares de comerciantes europeus que faziam as suas compras na rua Nova dos Mercadores, a mais movimentada artéria da cidade que também desapareceu no terramoto de 1755.
Duas pinturas datadas do século XVI que estiveram em exposição no Museu de Arte Antiga, durante os primeiros meses de 2017, ajudam-nos a reconstituir o quotidiano dessa cidade cosmopolita e multicultural, onde se avistavam gentes vindas de toda a parte, de Pernambuco a Timor, sobretudo escravos africanos. Os quadros intitulados “Vista da Rua Nova dos Mercadores” e “O Chafariz D´El Rei da Ribeira Velha, em Lisboa” levam-nos numa viagem até ao tempo em que Portugal trazia novos mundos à Europa.
A historiadora Kate Lowe conta-nos aqui que Lisboa tinha já todas as características de uma cidade global.
Lisboa no Renascimento, a cidade global
No século XVI a rua mais rica do mundo ficava em Lisboa, capital de um vasto império ultramarino. Joias, porcelanas, sedas, especiarias e outras mercadorias exóticas importadas de África, do Brasil e da Ásia estavam à venda na rua Nova dos Mercadores.
Nos gloriosos tempos das Descobertas, quando os navegadores portugueses cruzaram os oceanos e Portugal conquistou um vasto Império, Lisboa era o centro comercial do novo mundo que as caravelas ligavam nas rotas marítimas.
Na capital manuelina respiravam-se exotismos importados de África, da Ásia e do Brasil. As lojas enchiam-se de artigos de luxo, produtos desconhecidos ou raros, cobiçados por milhares de comerciantes europeus que faziam as suas compras na rua Nova dos Mercadores, a mais movimentada artéria da cidade que também desapareceu no terramoto de 1755.
Duas pinturas datadas do século XVI que estiveram em exposição no Museu de Arte Antiga, durante os primeiros meses de 2017, ajudam-nos a reconstituir o quotidiano dessa cidade cosmopolita e multicultural, onde se avistavam gentes vindas de toda a parte, de Pernambuco a Timor, sobretudo escravos africanos. Os quadros intitulados “Vista da Rua Nova dos Mercadores” e “O Chafariz D´El Rei da Ribeira Velha, em Lisboa” levam-nos numa viagem até ao tempo em que Portugal trazia novos mundos à Europa.
A historiadora Kate Lowe conta-nos aqui que Lisboa tinha já todas as características de uma cidade global.
Research Interests:
Catalogue entries and lengthier summaries on Flemish tapestries and Habsburg tapestry collectors in the sixteenth century. Online project and website with new photos of the major tapestry collectons in Spain, in particular the... more
Catalogue entries and lengthier summaries on Flemish tapestries and Habsburg tapestry collectors in the sixteenth century.
Online project and website with new photos of the major tapestry collectons in Spain, in particular the Patrimonio Nacional in Madrid.
Online project and website with new photos of the major tapestry collectons in Spain, in particular the Patrimonio Nacional in Madrid.
Süleyman's Journey This is the incredible story of a brave, small elephant, Süleyman, and his decade-long passage by land and sea from the jungles of Ceylon to Portugal, Spain and ultimately to Austria. It was an epic journey,... more
Süleyman's Journey
This is the incredible story of a brave, small elephant, Süleyman, and his decade-long passage by land and sea from the jungles of Ceylon to Portugal, Spain and ultimately to Austria. It was an epic journey, punctuated by a pirate attack off the coast of France, a trek across the Alps, and a celebrated river barge voyage. By the time this pachyderm finally reached Vienna on May 7, 1552, it had covered almost 15,000 kilometers (about 9,300 miles) on its journey from Asia and across Europe.
This is the incredible story of a brave, small elephant, Süleyman, and his decade-long passage by land and sea from the jungles of Ceylon to Portugal, Spain and ultimately to Austria. It was an epic journey, punctuated by a pirate attack off the coast of France, a trek across the Alps, and a celebrated river barge voyage. By the time this pachyderm finally reached Vienna on May 7, 1552, it had covered almost 15,000 kilometers (about 9,300 miles) on its journey from Asia and across Europe.
EXHIBITION REVIEW |
Sofonisba Anguissola: Portraitist of the Renaissance |
Rijksmuseum Twenthe, Enschede, Holland February 27, 2023 – June 9, 2023
Sofonisba Anguissola: Portraitist of the Renaissance |
Rijksmuseum Twenthe, Enschede, Holland February 27, 2023 – June 9, 2023
Research Interests:
COMPTOIRES DU. MONDE: LES FEITORIAS PORTUGAISES Dans le cadre de la saison France-Portugal, l’histoire d’un phénomène encore largement méconnu du grand public : les feitorias. Catalogue de l’exposition présentée au château d’Angers du... more
COMPTOIRES DU. MONDE: LES FEITORIAS PORTUGAISES
Dans le cadre de la saison France-Portugal, l’histoire d’un phénomène encore largement méconnu du grand public : les feitorias.
Catalogue de l’exposition présentée au château d’Angers du 9 juin au 9 octobre 2022.
Dans la seconde moitié du XIVe siècle, ravagé par des épidémies de peste et par une guerre de succession, le Portugal, exsangue, se lance pourtant dans une expansion, au départ fortement teintée de prétextes religieux. Se développent ainsi les comptoirs (feitorias) : entrepôts installés dans les zones côtières, construits dans le but de centraliser et, ainsi, de dominer le commerce des produits locaux vers le royaume (et de là vers l'Europe). Ils fonctionnent à la fois comme marché, entrepôt, lieu de rétention des esclaves, point d'appui à la navigation et aux douanes. Ainsi les Portugais détournent à leur profit une grande partie du commerce des épices vers l'Europe, jusqu'ici assuré par Venise. À Lisbonne, la Casa da lndia, centre de réception des marchandises de l'Orient, régule ce système, dès sa création en 1500. Un autre volet de l'empire commercial est la feitoria de Flandres, à Anvers, où les Portugais redistribuent les marchandises dans les pays de l'Europe du Nord. La conjoncture internationale pousse le Portugal à créer, dans le dernier quart du XVIe siècle, un second complexe économique entre les deux rives de l'Atlantique. De nombreuses feitorias sont alors créées le long des côtes d'Afrique occidentale et australe, dans l'océan Indien et au Brésil, de plus en plus centrées sur le commerce des esclaves.
Après des éclairages historiques et artistiques, l’ouvrage déploie un portfolio d’œuvres accompagnées de notices suivant les axes de l’exposition : La construction d’une histoire héroïque / Que vont-ils chercher ? / L’Afrique / L’Inde / Le Japon, la Chine, le Brésil.
Préface
Les débuts d’un monde globalisé (XVe-XVIe siècle)
Shopping dans la Lisbonne de la Renaissance : la rua nova dos mercadores
Les Feitorias africaines et l’esclavage
Regards sur… les Feitorias portugaises
Débuts d’un monde globalisé
Mythe, marchandises et esclavages
Objets premiers d’Afrique
Trésors indo-portugais
Toujours plus loin
Catalogue can be purchased online:
https://www.editions-du-patrimoine.fr/Librairie/Regards/Comptoirs-du-monde-Les-Feitorias-portugaises-du-XVe-XVIIe-siecle
Dans le cadre de la saison France-Portugal, l’histoire d’un phénomène encore largement méconnu du grand public : les feitorias.
Catalogue de l’exposition présentée au château d’Angers du 9 juin au 9 octobre 2022.
Dans la seconde moitié du XIVe siècle, ravagé par des épidémies de peste et par une guerre de succession, le Portugal, exsangue, se lance pourtant dans une expansion, au départ fortement teintée de prétextes religieux. Se développent ainsi les comptoirs (feitorias) : entrepôts installés dans les zones côtières, construits dans le but de centraliser et, ainsi, de dominer le commerce des produits locaux vers le royaume (et de là vers l'Europe). Ils fonctionnent à la fois comme marché, entrepôt, lieu de rétention des esclaves, point d'appui à la navigation et aux douanes. Ainsi les Portugais détournent à leur profit une grande partie du commerce des épices vers l'Europe, jusqu'ici assuré par Venise. À Lisbonne, la Casa da lndia, centre de réception des marchandises de l'Orient, régule ce système, dès sa création en 1500. Un autre volet de l'empire commercial est la feitoria de Flandres, à Anvers, où les Portugais redistribuent les marchandises dans les pays de l'Europe du Nord. La conjoncture internationale pousse le Portugal à créer, dans le dernier quart du XVIe siècle, un second complexe économique entre les deux rives de l'Atlantique. De nombreuses feitorias sont alors créées le long des côtes d'Afrique occidentale et australe, dans l'océan Indien et au Brésil, de plus en plus centrées sur le commerce des esclaves.
Après des éclairages historiques et artistiques, l’ouvrage déploie un portfolio d’œuvres accompagnées de notices suivant les axes de l’exposition : La construction d’une histoire héroïque / Que vont-ils chercher ? / L’Afrique / L’Inde / Le Japon, la Chine, le Brésil.
Préface
Les débuts d’un monde globalisé (XVe-XVIe siècle)
Shopping dans la Lisbonne de la Renaissance : la rua nova dos mercadores
Les Feitorias africaines et l’esclavage
Regards sur… les Feitorias portugaises
Débuts d’un monde globalisé
Mythe, marchandises et esclavages
Objets premiers d’Afrique
Trésors indo-portugais
Toujours plus loin
Catalogue can be purchased online:
https://www.editions-du-patrimoine.fr/Librairie/Regards/Comptoirs-du-monde-Les-Feitorias-portugaises-du-XVe-XVIIe-siecle
Research Interests:
Catalogue entry by Annemarie Jordan Gschwend |
Francisca Galloway, London
www.francescagalloway.com
London | Autumn 2021
Francisca Galloway, London
www.francescagalloway.com
London | Autumn 2021
Research Interests:
2017 EXHIBITION CATALOGUE: Museu Nacional de Arte Antiga Guest curated by Annemarie Jordan Gschwend and Kate Lowe English & Portuguese / 384 pages, all colour illustrations / Publisher: INCM - Imprensa Nacional Casa da Moeda / ISBN:... more
2017 EXHIBITION CATALOGUE: Museu Nacional de Arte Antiga
Guest curated by Annemarie Jordan Gschwend and Kate Lowe
English & Portuguese /
384 pages, all colour illustrations /
Publisher: INCM - Imprensa Nacional Casa da Moeda /
ISBN: 9789722725057
Website: https://www.incm.pt/portal/loja_detalhe.jsp?codigo=103090
Guest curated by Annemarie Jordan Gschwend and Kate Lowe
English & Portuguese /
384 pages, all colour illustrations /
Publisher: INCM - Imprensa Nacional Casa da Moeda /
ISBN: 9789722725057
Website: https://www.incm.pt/portal/loja_detalhe.jsp?codigo=103090
Research Interests:
2015 Summer Exhibiiton at Schloss Ambras in Innsbruck guest curated by Annemarie Jordan Gschwend Size: 28 x 24cm + 27,5 x 21 cm 296 + 35 pages, numerous illustrations, paperback English/German Wien: KHM Museumsverlag, 2015 Synopsis in... more
2015 Summer Exhibiiton at Schloss Ambras in Innsbruck guest curated by Annemarie Jordan Gschwend
Size: 28 x 24cm + 27,5 x 21 cm
296 + 35 pages, numerous illustrations, paperback
English/German
Wien: KHM Museumsverlag, 2015
Synopsis in English:
Echt tierisch! Die Menagerie des Fürsten
Exotic animals that traveled great distances, rare birds, noble dogs and horses, these and other animalia cavorted at Habsburg courts in the sixteenth century. On display are priceless Kunstkammer objects, paintings, drawings and engravings, including extraordinary animals studies and portraits, by Albrecht Dürer, Giambologna, Joris Hoefnagel, Roelant Savery and Veronese, as well as naturalia made from ivory and rhinoceros horn which tell incredible stories about the world of animals and their importance in the Renaissance.
Beside Tigerthier (Lion), the Dodo bird and civets belonging to Archduke Ferdinand II of Tyrol, you will learn about Süleyman, the Renaissance superstar: one of the earliest Ceylonese elephants to reach Europe, who enchanted crowds and people on his way from Lisbon to Vienna. In January 1552 he arrived in Innsbruck from Italy on foot, traversing the Brenner Pass in special shoes. Learn and see how this pachyderm made a lasting impression upon writers, painters and sculptors. Using the collection of Ferdinand II as a point of departure, this exhibitions presents exquisite masterpieces, some exhibited for the first time, along with newly researched rarities, including the renowned icon of animal portraits, Dürer’s Rhinoceros. 100 objects are on view, many high-profile loans from the Kunsthistorisches Museum, as well as from prestigious national and international museums. Also highlighting this show are masterful taxidermy specimens.
Accompanying this exhibition, curated by Annemarie Jordan Gschwend with Thomas Kuster, Veronika Sandbichler und Katharina Seidl
Size: 28 x 24cm + 27,5 x 21 cm
296 + 35 pages, numerous illustrations, paperback
English/German
Wien: KHM Museumsverlag, 2015
Synopsis in English:
Echt tierisch! Die Menagerie des Fürsten
Exotic animals that traveled great distances, rare birds, noble dogs and horses, these and other animalia cavorted at Habsburg courts in the sixteenth century. On display are priceless Kunstkammer objects, paintings, drawings and engravings, including extraordinary animals studies and portraits, by Albrecht Dürer, Giambologna, Joris Hoefnagel, Roelant Savery and Veronese, as well as naturalia made from ivory and rhinoceros horn which tell incredible stories about the world of animals and their importance in the Renaissance.
Beside Tigerthier (Lion), the Dodo bird and civets belonging to Archduke Ferdinand II of Tyrol, you will learn about Süleyman, the Renaissance superstar: one of the earliest Ceylonese elephants to reach Europe, who enchanted crowds and people on his way from Lisbon to Vienna. In January 1552 he arrived in Innsbruck from Italy on foot, traversing the Brenner Pass in special shoes. Learn and see how this pachyderm made a lasting impression upon writers, painters and sculptors. Using the collection of Ferdinand II as a point of departure, this exhibitions presents exquisite masterpieces, some exhibited for the first time, along with newly researched rarities, including the renowned icon of animal portraits, Dürer’s Rhinoceros. 100 objects are on view, many high-profile loans from the Kunsthistorisches Museum, as well as from prestigious national and international museums. Also highlighting this show are masterful taxidermy specimens.
Accompanying this exhibition, curated by Annemarie Jordan Gschwend with Thomas Kuster, Veronika Sandbichler und Katharina Seidl
Research Interests:
Scholarly catalogue published in conjunction with the international exhibition held at the Museum Rietberg in Zurich in 2010. Edited by Annemarie Jordan Gschwend and Johannes Beltz Zurich: Verlag Museum Rietberg, 2010. 30cm., hardcover,... more
Scholarly catalogue published in conjunction with the international exhibition held at the Museum Rietberg in Zurich in 2010.
Edited by Annemarie Jordan Gschwend and Johannes Beltz
Zurich: Verlag Museum Rietberg, 2010. 30cm., hardcover, 210pp., 110 color plates
ISBN: 9783907077498
Synopsis
In 1506, the Portuguese landed in Ceylon, what is today is the island of Sri Lanka. As a result, intense trade relations were established between the Portuguese crown and the Kingdom of Kotte in Southern Ceylon. Exclusive commodities such as elephants, spices like cinnamon, precious stones and scented woods reached Europe for an elite consumer market. This show focuses on the rare carved ivories which once belonged to the Queen of Portugal, Catherine of Austria (1507-1578), for whom these ivories were produced in the royal workshops of Kotte in the first half of the 16th century: small caskets adorned with gold inlaid with gems, exquisite combs and large fans with paper-thin blades. These prestige objects and unique luxury wares are enchanting because of their extreme beauty and mysterious carvings. They also link traditional icongraphy with motifs subsequently imported from Europe. Ceylonese ivories have never been the subject of a monograph. This catalogue showcases unique objects, some of which are published here for the first time, with historical, scholarly essays and entries, based upon the author’s years of archival research, and with the objective of reaching a larger audience. This catalogue sheds light upon a complex, global trade network which connected diplomats, merchants, traders, collectors and craftsmen. This monograph recounts a seldom told story of the political, economic and cultural exchange between Asia and Europe, globalization in the Renaissance.
Synopsis (German):
1506 landeten die Portugiesen in Ceylon, dem heutigen Sri Lanka. In Folge entwickelten sich intensive Handelsbeziehungen zwischen der portugiesischen Krone und dem Königreich von Kotte im Süden Ceylons: Exklusive Waren wie Elefanten, Edelhölzer, Gewürze wie Zimt, und Edelsteine sollten von nun an nach Europa gelangen und die Fürsten begeistern! Im Mittelpunkt stehen kostbare Elfenbeinschnitzereien aus dem Besitz der portugiesischen Königin Katharina von Habsburg (1507 -1578): Elfenbeinschnitzer in den Werkstätten von Kotte fertigten in der ersten Hälfte des 16. Jahrhunderts kleine Truhen aus Elfenbein, besetzten sie mit Gold und Edelsteinen und versahen grossflächigen Fächer mit Blättern aus hauchdünnem Elfenbein. Dieseeinstigen Prestigeobjekte und Luxusartikel bezaubern aufgrund ihrer aussergewöhnlichen Schönheit und geheimnisvollen Schnitzereien. Denn sie verbinden traditionelle lokale Motive mit Szenen, die eindeutig auf europäische Vorlagen zurückgehen. Noch niewaren diese faszinierenden Elfenbeinschnitzereien Gegenstand einer eigenen Monografie. Der Katalog präsentiert diese einzigartigen Objekte, von denen einige das erste Mal publiziert werden, mit einer ausführlichen historischen und kunstgeschichtlichenBeschreibung. Aufgrund jahrelanger Archivrecherchen der Autorin können damit neueste Erkenntnisse zur Renaissance-Zeit einem breiten Publikum zugänglich machen. Der Katalog ermöglicht tiefe Einblicke in ein komplexes, weit gespanntes Handelsnetzwerk aus Diplomaten, Herrschern, Händlern, Sammlern und Produzenten. Er erzählt von einem vorher noch nie dagewesenen politischen, wirtschaftlichen und kulturellen Austausch zwischen Asien und Europa, von einer Globalisierung im Zeitalter der Renaissance.
Edited by Annemarie Jordan Gschwend and Johannes Beltz
Zurich: Verlag Museum Rietberg, 2010. 30cm., hardcover, 210pp., 110 color plates
ISBN: 9783907077498
Synopsis
In 1506, the Portuguese landed in Ceylon, what is today is the island of Sri Lanka. As a result, intense trade relations were established between the Portuguese crown and the Kingdom of Kotte in Southern Ceylon. Exclusive commodities such as elephants, spices like cinnamon, precious stones and scented woods reached Europe for an elite consumer market. This show focuses on the rare carved ivories which once belonged to the Queen of Portugal, Catherine of Austria (1507-1578), for whom these ivories were produced in the royal workshops of Kotte in the first half of the 16th century: small caskets adorned with gold inlaid with gems, exquisite combs and large fans with paper-thin blades. These prestige objects and unique luxury wares are enchanting because of their extreme beauty and mysterious carvings. They also link traditional icongraphy with motifs subsequently imported from Europe. Ceylonese ivories have never been the subject of a monograph. This catalogue showcases unique objects, some of which are published here for the first time, with historical, scholarly essays and entries, based upon the author’s years of archival research, and with the objective of reaching a larger audience. This catalogue sheds light upon a complex, global trade network which connected diplomats, merchants, traders, collectors and craftsmen. This monograph recounts a seldom told story of the political, economic and cultural exchange between Asia and Europe, globalization in the Renaissance.
Synopsis (German):
1506 landeten die Portugiesen in Ceylon, dem heutigen Sri Lanka. In Folge entwickelten sich intensive Handelsbeziehungen zwischen der portugiesischen Krone und dem Königreich von Kotte im Süden Ceylons: Exklusive Waren wie Elefanten, Edelhölzer, Gewürze wie Zimt, und Edelsteine sollten von nun an nach Europa gelangen und die Fürsten begeistern! Im Mittelpunkt stehen kostbare Elfenbeinschnitzereien aus dem Besitz der portugiesischen Königin Katharina von Habsburg (1507 -1578): Elfenbeinschnitzer in den Werkstätten von Kotte fertigten in der ersten Hälfte des 16. Jahrhunderts kleine Truhen aus Elfenbein, besetzten sie mit Gold und Edelsteinen und versahen grossflächigen Fächer mit Blättern aus hauchdünnem Elfenbein. Dieseeinstigen Prestigeobjekte und Luxusartikel bezaubern aufgrund ihrer aussergewöhnlichen Schönheit und geheimnisvollen Schnitzereien. Denn sie verbinden traditionelle lokale Motive mit Szenen, die eindeutig auf europäische Vorlagen zurückgehen. Noch niewaren diese faszinierenden Elfenbeinschnitzereien Gegenstand einer eigenen Monografie. Der Katalog präsentiert diese einzigartigen Objekte, von denen einige das erste Mal publiziert werden, mit einer ausführlichen historischen und kunstgeschichtlichenBeschreibung. Aufgrund jahrelanger Archivrecherchen der Autorin können damit neueste Erkenntnisse zur Renaissance-Zeit einem breiten Publikum zugänglich machen. Der Katalog ermöglicht tiefe Einblicke in ein komplexes, weit gespanntes Handelsnetzwerk aus Diplomaten, Herrschern, Händlern, Sammlern und Produzenten. Er erzählt von einem vorher noch nie dagewesenen politischen, wirtschaftlichen und kulturellen Austausch zwischen Asien und Europa, von einer Globalisierung im Zeitalter der Renaissance.
Research Interests: Portuguese Discoveries and Expansion, Habsburg Studies, Global Studies, Collecting (Art), Collecting and Collections, and 12 moreGlobalism, Portugal (History), Portugal, History of Collecting, Patronage and collecting, Collectors and Collecting, History of Collecting and Antiquarianism, Age of Discovery, História de Portugal, History of Ceylon, Catherine of Austria, queen of Portugal, and Portuguese Ceylon
A Ceylonese Ceremonial Ladle. Catalogue Entry
A. Jordan Gschwend
A. Jordan Gschwend
Research Interests:
(Hgg.): Frauen Kunst und Macht. Drei Frauen aus dem Hause Habsburg, Wien: KHM-Museumsverband 2018, 182 S., zahlr. Farbabb., ISBN 978-3-99020-169-5, EUR 24,95 Inhaltsverzeichnis dieses Buches Buch im KVK suchen Link:... more
(Hgg.): Frauen Kunst und Macht. Drei Frauen aus dem Hause Habsburg, Wien: KHM-Museumsverband 2018, 182 S., zahlr. Farbabb., ISBN 978-3-99020-169-5, EUR 24,95 Inhaltsverzeichnis dieses Buches Buch im KVK suchen
Link: http://www.sehepunkte.de /2019/03/32123.html
Link: http://www.sehepunkte.de /2019/03/32123.html
Research Interests:
58, 272 visitors visited the 2018 Summer Exhibition guest curated by Dagmar Eichberger and Annemarie Jordan Gschwend at Schloss Ambras in Innsbruck. Title: Frauen. Kunst un Macht. Drei Frauen aus dem Hause Habsburg with a German and... more
58, 272 visitors visited the 2018 Summer Exhibition guest curated by Dagmar Eichberger and Annemarie Jordan Gschwend at Schloss Ambras in Innsbruck.
Title: Frauen. Kunst un Macht. Drei Frauen aus dem Hause Habsburg with a German and English catalogue
Title: Frauen. Kunst un Macht. Drei Frauen aus dem Hause Habsburg with a German and English catalogue
Research Interests:
Kathleen Wilson-Chevalier Sabine Haag, Dagmar Eichberger, Annemarie Jordan Gschwend, Women. The Art of Power : Three Women from the House of Habsburg Compte rendu. Source : Cour de France.fr Kathleen Wilson-Chevalier, « Sabine Haag,... more
Kathleen Wilson-Chevalier
Sabine Haag, Dagmar Eichberger, Annemarie Jordan Gschwend, Women. The
Art of Power : Three Women from the House of Habsburg
Compte rendu. Source : Cour de France.fr
Kathleen Wilson-Chevalier, « Sabine Haag, Dagmar Eichberger, Annemarie Jordan Gschwend, Women.
The Art of Power : Three Women from the House of Habsburg », KHM-Museumsverband, Vienne,
Autriche, 2018 (en allemand et en anglais). Compte rendu, Paris, Cour de France.fr, 2018
(https://cour-de-france.fr/article5221.html->https://cour-de-france.fr/article5221.html).
Sabine Haag, Dagmar Eichberger, Annemarie Jordan Gschwend, Women. The Art of Power :
Three Women from the House of Habsburg, KHM-Museumsverband, Vienne, Autriche, 2018.
Catalogue de l’exposition du Kunsthistorisches Museum Vienne et Schloss Ambras, Innsbruck,
14 juin-7 octobre 2018.
Sabine Haag, Dagmar Eichberger, Annemarie Jordan Gschwend, Women. The
Art of Power : Three Women from the House of Habsburg
Compte rendu. Source : Cour de France.fr
Kathleen Wilson-Chevalier, « Sabine Haag, Dagmar Eichberger, Annemarie Jordan Gschwend, Women.
The Art of Power : Three Women from the House of Habsburg », KHM-Museumsverband, Vienne,
Autriche, 2018 (en allemand et en anglais). Compte rendu, Paris, Cour de France.fr, 2018
(https://cour-de-france.fr/article5221.html->https://cour-de-france.fr/article5221.html).
Sabine Haag, Dagmar Eichberger, Annemarie Jordan Gschwend, Women. The Art of Power :
Three Women from the House of Habsburg, KHM-Museumsverband, Vienne, Autriche, 2018.
Catalogue de l’exposition du Kunsthistorisches Museum Vienne et Schloss Ambras, Innsbruck,
14 juin-7 octobre 2018.
Research Interests: Gender Studies, Courts, Habsburg Studies, Gender, Queenship (Medieval History), and 11 morePatronage (History), Collecting (Art), Collecting and Collections, Courts and Elites (History), Women and Gender Studies, History of Collecting, Queenship in Medieval and Early Modern Europe, Patronage and collecting, History of Collecting and Antiquarianism, Female Patronage, and Patronage
Women. The Art of Power Three Women from the House of Habsburg The Art of Power focuses on three remarkable women who set standards in courtly culture within the Habsburg dynasty: Archduchess Margaret, governor of the Burgundian... more
Women. The Art of Power
Three Women from the House of Habsburg
The Art of Power focuses on three remarkable women who set standards in courtly culture within the Habsburg dynasty: Archduchess Margaret, governor of the Burgundian Netherlands (1480– 1530), Archduchess Mary, Queen of Hungary (1505– 1558) and Archduchess Catherine, Queen of Portugal (1507– 1578). For the first time, an exhibition focuses on Habsburg female patronage in the Renaissance. Thus, this special exhibition on three powerful women, a daughter and two granddaughters of Emperor Maximilian I, sheds light on an unknown side of patronage in the history of art.
Three Women from the House of Habsburg
The Art of Power focuses on three remarkable women who set standards in courtly culture within the Habsburg dynasty: Archduchess Margaret, governor of the Burgundian Netherlands (1480– 1530), Archduchess Mary, Queen of Hungary (1505– 1558) and Archduchess Catherine, Queen of Portugal (1507– 1578). For the first time, an exhibition focuses on Habsburg female patronage in the Renaissance. Thus, this special exhibition on three powerful women, a daughter and two granddaughters of Emperor Maximilian I, sheds light on an unknown side of patronage in the history of art.
Women. The Art of Power Three Women from the House of Habsburg The Art of Power focuses on three remarkable women who set standards in courtly culture within the Habsburg dynasty: Archduchess Margaret, governor of the Burgundian... more
Women. The Art of Power
Three Women from the House of Habsburg
The Art of Power focuses on three remarkable women who set standards in courtly culture within the Habsburg dynasty: Archduchess Margaret, governor of the Burgundian Netherlands (1480– 1530), Archduchess Mary, Queen of Hungary (1505– 1558) and Archduchess Catherine, Queen of Portugal (1507– 1578). For the first time, an exhibition focuses on Habsburg female patronage in the Renaissance. Thus, this special exhibition on three powerful women, a daughter and two granddaughters of Emperor Maximilian I, sheds light on an unknown side of patronage in the history of art.
Three Women from the House of Habsburg
The Art of Power focuses on three remarkable women who set standards in courtly culture within the Habsburg dynasty: Archduchess Margaret, governor of the Burgundian Netherlands (1480– 1530), Archduchess Mary, Queen of Hungary (1505– 1558) and Archduchess Catherine, Queen of Portugal (1507– 1578). For the first time, an exhibition focuses on Habsburg female patronage in the Renaissance. Thus, this special exhibition on three powerful women, a daughter and two granddaughters of Emperor Maximilian I, sheds light on an unknown side of patronage in the history of art.
Research Interests: Gender Studies, Gender History, Habsburg Studies, Gender, Queenship (Medieval History), and 12 moreCollecting and Collections, History of the Spanish-Habsburg Netherlands, Portugal (History), Early modern Spain, Portugal, Women and Gender Studies, History of Collecting, Patronage and collecting, Collectors and Collecting, History of Collecting and Antiquarianism, Burgundian Court, and História de Portugal
The Art of Power Habsburg Women in the Renaissance The Art of Power focuses on three remarkable women who set standards in courtly culture within the Habsburg dynasty: Archduchess Margaret, governor of the Burgundian Netherlands (1480–... more
The Art of Power
Habsburg Women in the Renaissance
The Art of Power focuses on three remarkable women who set standards in courtly culture within the Habsburg dynasty: Archduchess Margaret, governor of the Burgundian Netherlands (1480– 1530), Archduchess Mary, Queen of Hungary (1505– 1558) and Archduchess Catherine, Queen of Portugal (1507– 1578). For the first time, an exhibition focuses on Habsburg female patronage in the Renaissance. Thus, this special exhibition on three powerful women, a daughter and two granddaughters of Emperor Maximilian I, sheds light on an unknown side of patronage in the history of art.
Margaret of Austria, Princess of Asturias and later Duchess of Savoy, was appointed governess of the Burgundian Netherlands by her father Maximilian I. She was a leading ruler whose legendary success was the »Ladies' Peace« in 1529. As an art collector, she was the role model for all subsequent generations of women in her family. Her niece, Mary of Hungary, a sister of Emperor Charles V, succeeded her as governess. She demonstrated an outstanding talent in the field of politics and had an exquisite taste in art matters also. Their youngest sister, Catherine of Austria, Queen of Portugal, was also a major art collector. Due to the flourishing trade on the Iberian Peninsula, she was directly at the source to supply the European courts with novel, valuable and exotic luxury goods.
The exhibition presents some one hundred works from important European collections from Austria, Hungary, Portugal, Switzerland and Germany: Kunstkammer objects, Tapestries, portraits, sculptures, illuminated manuscripts, valuable gemstone jewellery, and objects from new foreign lands. Such treasures and luxury articles were important for courtly representation in the Renaissance and reflected the social status, rank and wealth of the ruling families in the 16th century. Please also note the other exhibitions in Europe on the Habsburg’s Woman in Mechelen/Belgium, and Bourg-en-Bresse/France.
Habsburg Women in the Renaissance
The Art of Power focuses on three remarkable women who set standards in courtly culture within the Habsburg dynasty: Archduchess Margaret, governor of the Burgundian Netherlands (1480– 1530), Archduchess Mary, Queen of Hungary (1505– 1558) and Archduchess Catherine, Queen of Portugal (1507– 1578). For the first time, an exhibition focuses on Habsburg female patronage in the Renaissance. Thus, this special exhibition on three powerful women, a daughter and two granddaughters of Emperor Maximilian I, sheds light on an unknown side of patronage in the history of art.
Margaret of Austria, Princess of Asturias and later Duchess of Savoy, was appointed governess of the Burgundian Netherlands by her father Maximilian I. She was a leading ruler whose legendary success was the »Ladies' Peace« in 1529. As an art collector, she was the role model for all subsequent generations of women in her family. Her niece, Mary of Hungary, a sister of Emperor Charles V, succeeded her as governess. She demonstrated an outstanding talent in the field of politics and had an exquisite taste in art matters also. Their youngest sister, Catherine of Austria, Queen of Portugal, was also a major art collector. Due to the flourishing trade on the Iberian Peninsula, she was directly at the source to supply the European courts with novel, valuable and exotic luxury goods.
The exhibition presents some one hundred works from important European collections from Austria, Hungary, Portugal, Switzerland and Germany: Kunstkammer objects, Tapestries, portraits, sculptures, illuminated manuscripts, valuable gemstone jewellery, and objects from new foreign lands. Such treasures and luxury articles were important for courtly representation in the Renaissance and reflected the social status, rank and wealth of the ruling families in the 16th century. Please also note the other exhibitions in Europe on the Habsburg’s Woman in Mechelen/Belgium, and Bourg-en-Bresse/France.
Research Interests:
PRESS RELEASE
ENGLISH
Kunsthistorisches Museum: Drei Frauen aus dem Hause Habsburg
ENGLISH
Kunsthistorisches Museum: Drei Frauen aus dem Hause Habsburg
Research Interests: Gender Studies, Gender History, Courts, Habsburg Studies, Gender, and 17 moreHistory of Hungary, Hungarian Studies, Ottoman-Habsburg relations, Collecting (Art), Collecting and Collections, History of the Spanish-Habsburg Netherlands, Portugal (History), Portugal, Women and Gender Studies, History of Collecting, Patronage and collecting, Hungary, Collectors and Collecting, History of Collecting and Antiquarianism, Court Studies, History of Hungary and the Habsburg Monarchy, and Princes and Court Studies
The catalogue in German and English can be bought online at the KHM Shop
Research Interests:
Research Interests:
Published in the exhibition catalogue: Germana de Foix i la societat cortesana del seu temps, Valencia, 2003, pp. 91-99. The emperor Charles V’s immediate family played a quintessential role in his private and public life. He grew up in... more
Published in the exhibition catalogue: Germana de Foix i la societat cortesana del seu temps, Valencia, 2003, pp. 91-99.
The emperor Charles V’s immediate family played a quintessential role in his private and public life. He grew up in Flanders at the Mechelen (Malines) court surrounded by women who would later assume important political functions during his reign: his three sisters —Leonor of Austria, the future queen of Portugal and France, Isabella of Austria, queen of Denmark (1501-1526) and Mary of Hungary, the future regent of the Netherlands (1505-1558). Charles V’s sisters remained close to their brother, accompanying him throughout his life. This unwavering allegiance of his sisters proved indispensable, and by positioning his female relations at strategic European courts, as spouses of his allies and enemies, Charles was able to preserve and maintain invaluable alliances throughout his reign .
The emperor Charles V’s immediate family played a quintessential role in his private and public life. He grew up in Flanders at the Mechelen (Malines) court surrounded by women who would later assume important political functions during his reign: his three sisters —Leonor of Austria, the future queen of Portugal and France, Isabella of Austria, queen of Denmark (1501-1526) and Mary of Hungary, the future regent of the Netherlands (1505-1558). Charles V’s sisters remained close to their brother, accompanying him throughout his life. This unwavering allegiance of his sisters proved indispensable, and by positioning his female relations at strategic European courts, as spouses of his allies and enemies, Charles was able to preserve and maintain invaluable alliances throughout his reign .
Research Interests: Renaissance Studies, Renaissance, Habsburg Studies, History of The Netherlands, History of the Spanish-Habsburg Netherlands, and 18 moreCharles V, Charles Quint, Burgundian Netherlands, Netherlands, The Netherlands, Mary of Hungary, Habsburg, Margaret of Austria, Spanish early modern History, Habsburg dynasty, Emperor Charles V, Habsburg Spain, Spanish Habsburgs, Court Women in Habsburg Spain, Emperador Carlos V, Catherine of Austria, queen of Portugal, Habsburg Court in the Renaissance, Habsburg Women in the Renaissance, and Leonor of Austria, Queen of Portugal & France
Major international exhibition in Lisbon at the Museu Nacional del Arte Antiga: The Global City. Lisbon in the Renaissance
251 loans from 80 international and national lenders
Guest curated by Annemarie Jordan Gschwend & Kate Lowe
251 loans from 80 international and national lenders
Guest curated by Annemarie Jordan Gschwend & Kate Lowe
Research Interests: Victorian Studies, Globalization, Portuguese Studies, Portuguese History, Renaissance Studies, and 23 moreMaritime History, Renaissance, Global cities, Global Studies, Victorian cultural studies, Cities and globalization/Global cities, Rossetti, Dante Gabriel, Portugal (History), Portugal, Life aboard ancient merchant ships, Maritime, Lisbon (Portugal), 19th-century Arts and Hand-craftsmanship movement; William Morris, Edward Burne-Jones, Dante Gabriel Rossetti, Victorian Literature and Culture, Cidade de Lisboa, Dante Gabriel Rossetti, Society of Antiquaries, Lisboa, Globalization and Cities, Dante Rossetti, Pre-Rafaelites, História da Cidade de Lisboa, and Kelmscott Manor
Research Interests: Cultural History, Cultural Studies, Material Culture Studies, Habsburg Studies, Cultural Transfer Studies, and 21 moreQueenship (Medieval History), Collecting (Art), Collecting and Collections, Cross-cultural transfers, Consumption and Material Culture, Globalism, Material Culture, Portugal (History), Portugal, History of Collecting, History of Commodities in a Global Perspective, Queenship in Medieval and Early Modern Europe, Patronage and collecting, Collectors and Collecting, History of Collecting and Antiquarianism, Medieval Merchants, Careers and Networks, Art Collecting, History of Ceylon, Merchants and Merchant Colonies, Ceylon, and Ceylonese Ivories
Exhibition catalogue: The Global City. Lisbon in the Renaissance
Lisbon: Museu Nacional de Arte Antiga 2017
Guest edited by Annemarie Jordan Gschwend and K. J. P. Lowe
Cover & Table of Contents
Lisbon: Museu Nacional de Arte Antiga 2017
Guest edited by Annemarie Jordan Gschwend and K. J. P. Lowe
Cover & Table of Contents
Research Interests: African Studies, Material Culture Studies, Indian studies, Urban History, African Diaspora Studies, and 26 moreAfrican History, Global cities, Urban Planning, Consumption, Consumption Studies, Urban Studies, Urbanism, Animals and Animality, Cities and globalization/Global cities, Animals & Society studies, Indian Art, Animals in Culture, Consumption and Material Culture, Material Culture, Portugal (History), Portugal, Lisbon (Portugal), Arquitetura e Urbanismo, Cultura Material, Animals, History of Animals, Exotic animals, ivory trade, African elephants, Consumption Culture, Globalization and Cities, and african ivories
Jeffrey Chipps Smith| Kunstkammer: Early modern art and curiosity cabinets in the Holy Roman Empire. London, Reaktion Books, 2022. ISBN978-1-78914-612-7. 336 pp., 100 col. illus., 88 b. & w. illus. £35.... more
Jeffrey Chipps Smith| Kunstkammer: Early modern art and curiosity cabinets in the Holy Roman Empire. London, Reaktion Books, 2022. ISBN978-1-78914-612-7. 336 pp., 100 col. illus., 88 b. & w. illus. £35.
https://academic.oup.com/jhc/advance-article/doi/10.1093/jhc/fhae001/7560285?utm_source=authortollfreelink&utm_campaign=jhc&utm_medium=email&guestAccessKey=1de23db9-a1f6-4c11-a877-73962a671ddd
https://academic.oup.com/jhc/advance-article/doi/10.1093/jhc/fhae001/7560285?utm_source=authortollfreelink&utm_campaign=jhc&utm_medium=email&guestAccessKey=1de23db9-a1f6-4c11-a877-73962a671ddd
Research Interests:
Philip II of Spain and the Architecture of Empire | Laura Fernández González University Park: The Pennsylvania State | University Press, 2021 | Reviewed by: Annemarie Jordan Gschwend | Winchester University Press | Royal Studies Journal... more
Philip II of Spain and the Architecture of Empire | Laura Fernández González
University Park: The Pennsylvania State | University Press, 2021 |
Reviewed by: Annemarie Jordan Gschwend |
Winchester University Press |
Royal Studies Journal (RSJ), 10, no. 1 (2023), page 221
University Park: The Pennsylvania State | University Press, 2021 |
Reviewed by: Annemarie Jordan Gschwend |
Winchester University Press |
Royal Studies Journal (RSJ), 10, no. 1 (2023), page 221
Research Interests:
ANNEMARIE JORDAN GSCHWEND | Review of: Samuel Marceel (ed.), Renaissance children. Art and education at the Habsburg court (1480-1530), Lannoo Publishers [Tielt] 2021 Online Link:... more
ANNEMARIE JORDAN GSCHWEND |
Review of: Samuel Marceel (ed.), Renaissance children. Art and education at the Habsburg court (1480-1530), Lannoo Publishers [Tielt] 2021
Online Link:
https://oudholland.rkd.nl/index.php/reviews/82-review-of-renaissance-children-2021
Review of: Samuel Marceel (ed.), Renaissance children. Art and education at the Habsburg court (1480-1530), Lannoo Publishers [Tielt] 2021
Online Link:
https://oudholland.rkd.nl/index.php/reviews/82-review-of-renaissance-children-2021
Research Interests:
The ‘Pangolin Fan’: An Imperial Ivory Fan from Ceylon |
Hugo Miguel Crespo and Annemarie Jordan Gschwend |
231 pp. incl. over 100 col. ills.
(Jaime Eguiguren Art and Antiques, Buenos Aires, 2022)
ISBN 978–84–09–41680–6.
Hugo Miguel Crespo and Annemarie Jordan Gschwend |
231 pp. incl. over 100 col. ills.
(Jaime Eguiguren Art and Antiques, Buenos Aires, 2022)
ISBN 978–84–09–41680–6.
Research Interests:
Review of The Global City. On the streets of Renaissance Lisbon written by Theodore K. Rabb.
Times Literary Supplement, February 12, 2016
Times Literary Supplement, February 12, 2016
Research Interests: Urban Geography, Portuguese Studies, Material Culture Studies, Portuguese History, Urban History, and 17 moreUrban Planning, Portuguese Discoveries and Expansion, Consumption, Global Studies, Consumption Studies, Urban Studies, Urbanism, Consumption and Material Culture, Urban Design, Lisbon (Portugal), Arquitetura e Urbanismo, Urbanismo, Age of Discovery, Arquitectura y urbanismo, Consumption Culture, História Da Arquitetura E Do Urbanismo, and Urban Studies: Constantinople/Istanbul
This scholarly, well-illustrated book presents readers with new perspectives on the nascent Dutch Republic at the dawn of the seventeenth century, focusing on its quest for worldly goods and global commodities – pepper, spices, diamonds... more
This scholarly, well-illustrated book presents readers with new perspectives on the nascent Dutch Republic at the dawn of the seventeenth century, focusing on its quest for worldly goods and global commodities – pepper, spices, diamonds and pearls – as well as other luxuries imported from Asia. Claudia Swan’s masterful study explores the Dutch taste for consumption, and the means by which distant lands were reached and foreign goods accessed, first by seizing and plundering Portuguese and Spanish cargoes, then by engaging in war and conquest.
Research Interests:
García Pérez, Noelia, ed.
Mary of Hungary, Renaissance Patron and Collector: Gender, Art and Culture.
Études Renaissantes 31. Turnhout: Brepols, 2020. Pp. 232 + 32 ill., 5 tables. ISBN 978-2-503-58948-0 (paperback) €55.
Mary of Hungary, Renaissance Patron and Collector: Gender, Art and Culture.
Études Renaissantes 31. Turnhout: Brepols, 2020. Pp. 232 + 32 ill., 5 tables. ISBN 978-2-503-58948-0 (paperback) €55.
Research Interests:
| Exhibition Review| ‘La otra Corte: Mujeres de la Casa de Austria en los Monasterios Reales de las Descalzas y la Encarnación’ (Madrid, Palacio Real, December to January ). Catalogue by Fernando Checa Cremades (Patrimonio... more
| Exhibition Review|
‘La otra Corte: Mujeres de la Casa de Austria en los Monasterios Reales de las Descalzas y la Encarnación’ (Madrid, Palacio Real, December to January ). Catalogue by Fernando Checa Cremades (Patrimonio Nacional, Madrid, ), pp. incl. col. ills., £..
‘La otra Corte: Mujeres de la Casa de Austria en los Monasterios Reales de las Descalzas y la Encarnación’ (Madrid, Palacio Real, December to January ). Catalogue by Fernando Checa Cremades (Patrimonio Nacional, Madrid, ), pp. incl. col. ills., £..
Research Interests: Gender Studies, Gender History, Habsburg Studies, Patronage (History), Patronage and collecting, and 11 moreFemale Patronage, Convents, Female convents, Habsburg, Court Studies, Juana of Austria As Patron and Collector, Court Women in Habsburg Spain, Descalzas Reales Convent, Habsburg Women in the Renaissance, Juana of Austria devotional life, and Empress Maria of Austria
| BOOK REVIEW BY LARRY SILVER | Mary of Hungary, Renaissance Patron and Colle!or. Gender, Art and Culture By Noelia García Pérez, ed.... more
| BOOK REVIEW BY LARRY SILVER |
Mary of Hungary,
Renaissance Patron
and Colle!or. Gender,
Art and Culture
By Noelia García Pérez, ed.
https://hnanews.org/hnar/reviews/mary-of-hungary-renaissance-patron-and-collector-gender-art-and-culture/
Mary of Hungary,
Renaissance Patron
and Colle!or. Gender,
Art and Culture
By Noelia García Pérez, ed.
https://hnanews.org/hnar/reviews/mary-of-hungary-renaissance-patron-and-collector-gender-art-and-culture/
Research Interests:
Written by Carlos Sanchez. Visit his blog: quatrogatos.es
Research Interests:
A write up about Global Lisbon in Portugal's leading newspaper by Nicolau Ferreira
Research Interests: Cultural Studies, Renaissance Studies, Iberian Studies, Urbanism, Portugal (History), and 10 morePortugal, Lisbon (Portugal), Arquitetura e Urbanismo, Architecture and urbanism, Lisbon Story, História de Portugal, História Da Arquitetura E Do Urbanismo, História De Arte Em Portugal, Lisbon Court in the Renaissance, and Lisbon Urbanism and architecture - 16th century
Los Inventarios de Carlos V y la familia imperial/The Inventories of Charles V and the Imperial Family Fernando Checa Cremades (dir.), Bob C. van den Boogert, Friedrich Edelmayer, Dagmar Eichberger, Annemarie Jordan Gschwend, Jørgen... more
Los Inventarios de Carlos V y la familia imperial/The Inventories of Charles V and the Imperial Family
Fernando Checa Cremades (dir.), Bob C. van den Boogert, Friedrich Edelmayer, Dagmar Eichberger, Annemarie Jordan Gschwend, Jørgen Hein, Maria José Redondo Cantera, Miguel Ángel Zalama Rodriguez, Juan Luis González García (ed.), Los Inventarios de Carlos V y la familia imperial/The Inventories of Charles V and the Imperial Family . Madrid, Fernando Villaverde Ediciones, 2010. ISBN978-84-937083-1-3. Vol. ICarlos V; Juana I de Castilla, 1,197 pp.; vol. II, Isabel de Portugal, 1,125 pp.; vol. III, Margarita de Austria; Leonor de Austria; Isabel de Austria; Fernando I; María de Hungría; Catalina de Austria, 915 pp.
Fernando Checa Cremades (dir.), Bob C. van den Boogert, Friedrich Edelmayer, Dagmar Eichberger, Annemarie Jordan Gschwend, Jørgen Hein, Maria José Redondo Cantera, Miguel Ángel Zalama Rodriguez, Juan Luis González García (ed.), Los Inventarios de Carlos V y la familia imperial/The Inventories of Charles V and the Imperial Family . Madrid, Fernando Villaverde Ediciones, 2010. ISBN978-84-937083-1-3. Vol. ICarlos V; Juana I de Castilla, 1,197 pp.; vol. II, Isabel de Portugal, 1,125 pp.; vol. III, Margarita de Austria; Leonor de Austria; Isabel de Austria; Fernando I; María de Hungría; Catalina de Austria, 915 pp.
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Fernando Checa Cremades and his extensive team of transcribers and contributors are to be congratula‐ ted on this elegant three volume publication which presents the full text of sixty-three inventories. These documents record a... more
Fernando Checa Cremades and his extensive team of transcribers and contributors are to be congratula‐ ted on this elegant three volume publication which presents the full text of sixty-three inventories. These documents record a significant percentage of the worldly goods of Charles V and eight of other members of the extended Habsburg family. The significance of the imperial family who did much to shape 15th and 16th century European politics can be gauged on many levels from these inventories. For instance, the geographical reach of Charles V is evident from the list of locations where the documents are housed:
Exhibition Review Two Women Painters from the Late Renaissance BY ANNEMARIE JORDAN GSCHWEND A Tale of Two Women Painters. Sofonisba Anguissola and Lavinia Fontana (Museo del Prado, Madrid, October – February ). Catalogue:... more
Exhibition Review
Two Women Painters from the Late Renaissance
BY ANNEMARIE JORDAN GSCHWEND
A Tale of Two Women Painters. Sofonisba Anguissola and Lavinia Fontana (Museo del Prado, Madrid, October – February ). Catalogue: Leticia Ruiz Gómez (Museo Nacional del Prado, Madrid, ), pp. incl. col. + b. & w. ills, €..
Two Women Painters from the Late Renaissance
BY ANNEMARIE JORDAN GSCHWEND
A Tale of Two Women Painters. Sofonisba Anguissola and Lavinia Fontana (Museo del Prado, Madrid, October – February ). Catalogue: Leticia Ruiz Gómez (Museo Nacional del Prado, Madrid, ), pp. incl. col. + b. & w. ills, €..
Research Interests:
REVIEW Angelica Groom Exotic Animals in the Art and Culture of the Medici Court in Florence BRILL / SERIES: Rulers & Elites, Volume: 16 Publication Date: 22 October 2018 ISBN: 978-90-04-37113-2 DOI:... more
REVIEW
Angelica Groom
Exotic Animals in the Art and Culture of the Medici Court in Florence
BRILL / SERIES:
Rulers & Elites, Volume: 16
Publication Date: 22 October 2018
ISBN: 978-90-04-37113-2
DOI: https://doi.org/10.1163/9789004371132
Angelica Groom
Exotic Animals in the Art and Culture of the Medici Court in Florence
BRILL / SERIES:
Rulers & Elites, Volume: 16
Publication Date: 22 October 2018
ISBN: 978-90-04-37113-2
DOI: https://doi.org/10.1163/9789004371132
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AUGUST 2019 REVIEW BY STEPHANIE LEITCH
LINK: https://hnanews.org/hnar/reviews/women-the-art-of-power-three-women-from-the-house-of-habsburg/
LINK: https://hnanews.org/hnar/reviews/women-the-art-of-power-three-women-from-the-house-of-habsburg/
Research Interests:
Annemarie Jordan Gschwend, Chapter 3
The Emperor’s Exotic and New World Animals: Hans Khevenhüller and Habsburg Menageries in Vienna and Prague
Pages: 76–103
The Emperor’s Exotic and New World Animals: Hans Khevenhüller and Habsburg Menageries in Vienna and Prague
Pages: 76–103
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Written by Dr. Martin Biersack, LMU, Munich
Research Interests:
Interposed between the natural world in all its diversity and the edited form in which we encounter it in literature, imagery and the museum, lie the multiple practices of the naturalists in selecting, recording and preserving the... more
Interposed between the natural world in all its diversity and the edited form in which we encounter it in literature, imagery and the museum, lie the multiple practices of the naturalists in selecting, recording and preserving the specimens from which our world view is to be reconstituted. The factors that weigh at every stage are here dissected, analysed and set within a historical narrative that spans more than five centuries. During that era, every aspect evolved and changed, as engagement with nature moved from a speculative pursuit heavily influenced by classical scholarship to a systematic science, drawing on advanced theory and technology. Far from being neutrally objective, the process of representing nature is shown as fraught with constraint and compromise.
With a Foreword by Sir David Attenborough
Contributors are: Marie Addyman, Peter Barnard, Paul D. Brinkman, Ian Convery, Peter Davis, Felix Driver, Florike Egmond, Annemarie Jordan Gschwend, Geoff Hancock, Stephen Harris, Hanna Hodacs, Stuart Houston, Dominik Huenniger, Rob Huxley, Charlie Jarvis, Malgosia Nowak-Kemp, Shepard Krech III, Mark Lawley, Arthur Lucas, Marco Masseti, Geoff Moore, Pat Morris, Charles Nelson, Robert Peck, Helen Scales, Han F. Vermeulen, and Glyn Williams.
With a Foreword by Sir David Attenborough
Contributors are: Marie Addyman, Peter Barnard, Paul D. Brinkman, Ian Convery, Peter Davis, Felix Driver, Florike Egmond, Annemarie Jordan Gschwend, Geoff Hancock, Stephen Harris, Hanna Hodacs, Stuart Houston, Dominik Huenniger, Rob Huxley, Charlie Jarvis, Malgosia Nowak-Kemp, Shepard Krech III, Mark Lawley, Arthur Lucas, Marco Masseti, Geoff Moore, Pat Morris, Charles Nelson, Robert Peck, Helen Scales, Han F. Vermeulen, and Glyn Williams.
Research Interests:
CROMHOS. Cyber Review of Modern Historiography
VOL. 21 / 2017-2018
http://www.fupress.net/index.php/cromohs/article/view/24559/22114
VOL. 21 / 2017-2018
http://www.fupress.net/index.php/cromohs/article/view/24559/22114
Research Interests:
Research Interests: Globalization, Renaissance Studies, Renaissance, Renaissance Art, Global Studies, and 26 moreUrban Studies, Urbanism, Globalization And Postcolonial Studies, Renaissance literature, Collecting (Art), Collecting and Collections, Italian Renaissance Architecture, Portugal (History), Portugal, History of Collecting, Patronage and collecting, Lisbon (Portugal), Arquitetura e Urbanismo, Urbanismo, Renaissance architecture, History of Collecting and Antiquarianism, Lisbon Story, Urban Studies and Planning, Lisbon architecture and urbanism - XIX- XXth centuries, Court Studies, História de Portugal, Lisbon Earthquake, Princes and Court Studies, História Da Arquitetura E Do Urbanismo, Merchants and Merchant Colonies, and História De Arte Em Portugal
Echt tierisch!: Die Menagerie des F € ursten. Sabine Haag, ed. Exh. Cat. Innsbruck: Schloss Ambras. Vienna: Kunsthistorisches Museum Vienna, 2015 Beautifully illustrated and featuring painstaking new research, this exhibition catalogue... more
Echt tierisch!: Die Menagerie des F € ursten. Sabine Haag, ed.
Exh. Cat. Innsbruck: Schloss Ambras. Vienna: Kunsthistorisches Museum Vienna, 2015
Beautifully illustrated and featuring painstaking new research, this exhibition catalogue is a very welcome addition to the scholarship on Habsburg collectors, and broadly impacts our understanding of the significant roles played by exotic and domestic animals in early modern court culture. Featuring six short essays and catalogue entries for the objects featured in the 2015 exhibition by the same name, the catalogue brings together a wealth of visual and textual information, some hitherto unpublished. Beyond its significance for art historians who seek to contextualize depictions of animals, there is much to recommend for those whose research interests include collecting and display, voyages of exploration, natural history enterprises, and aspects of politics and diplomacy in the early modern era. As is highlighted by the catalogue essays, collecting animals was a priority for many early modern rulers, not just the princes (F € ursten) indicated by the exhibition title. Kings, queens, and emperors including Manuel I, king of Portugal (1469–1521); Catherine of Austria, queen of Portugal (1507–58); Maximillian II, Holy Roman emperor (1527–76); and Rudolf II, Holy Roman emperor (1552–1612); and their collections are all discussed. Special emphasis is given to Ferdinand II, archduke of Austria (1529–95), which is entirely appropriate given that the venue for the exhibition, Schloss Ambras, was his former residence—Ferdinand's menageries for the exotic and farms for the domestic are the subject of three of the essays and the majority of the catalogue entries. Detailing the many motivations of Habsburg rulers for maintaining menageries and aviaries is no less complex than the Habsburg genealogy that supported such enterprises. Emergent themes include animals and birds (alive and dead) as trophies and signs of prestige, tributes from vassals, and diplomatic gifts; and how envoys, ambassadors and merchants, traveled from Lisbon, Vienna, Prague, and Innsbruck to distant Asian, African, and American locations in pursuit of creatures who often served as intermediaries between courts and cultures. This is an early instance of a global market and exchange, and as the Habsburgs gathered together exotica (especially rhinoceroses, elephants, monkeys, camels, and big cats) they equally asserted the significance of their political dynasty. When the whole animal could not be obtained, a part (such as a rhinoceros horn or an ostrich egg) or a depiction (in print or paint) acted as a surrogate. Domestic animals (dogs, birds, goats, pigs, horses) were vital for companionship and the sustenance of the court, while game (deer, boars, rabbits) filled the reserves near royal residences, giving enthusiastic Habsburg hunters convenient grounds for sport. The catalogue includes objects that would have featured prominently at court as highly desired collectors' items: vessels, cups and goblets made of animal parts (such as
Exh. Cat. Innsbruck: Schloss Ambras. Vienna: Kunsthistorisches Museum Vienna, 2015
Beautifully illustrated and featuring painstaking new research, this exhibition catalogue is a very welcome addition to the scholarship on Habsburg collectors, and broadly impacts our understanding of the significant roles played by exotic and domestic animals in early modern court culture. Featuring six short essays and catalogue entries for the objects featured in the 2015 exhibition by the same name, the catalogue brings together a wealth of visual and textual information, some hitherto unpublished. Beyond its significance for art historians who seek to contextualize depictions of animals, there is much to recommend for those whose research interests include collecting and display, voyages of exploration, natural history enterprises, and aspects of politics and diplomacy in the early modern era. As is highlighted by the catalogue essays, collecting animals was a priority for many early modern rulers, not just the princes (F € ursten) indicated by the exhibition title. Kings, queens, and emperors including Manuel I, king of Portugal (1469–1521); Catherine of Austria, queen of Portugal (1507–58); Maximillian II, Holy Roman emperor (1527–76); and Rudolf II, Holy Roman emperor (1552–1612); and their collections are all discussed. Special emphasis is given to Ferdinand II, archduke of Austria (1529–95), which is entirely appropriate given that the venue for the exhibition, Schloss Ambras, was his former residence—Ferdinand's menageries for the exotic and farms for the domestic are the subject of three of the essays and the majority of the catalogue entries. Detailing the many motivations of Habsburg rulers for maintaining menageries and aviaries is no less complex than the Habsburg genealogy that supported such enterprises. Emergent themes include animals and birds (alive and dead) as trophies and signs of prestige, tributes from vassals, and diplomatic gifts; and how envoys, ambassadors and merchants, traveled from Lisbon, Vienna, Prague, and Innsbruck to distant Asian, African, and American locations in pursuit of creatures who often served as intermediaries between courts and cultures. This is an early instance of a global market and exchange, and as the Habsburgs gathered together exotica (especially rhinoceroses, elephants, monkeys, camels, and big cats) they equally asserted the significance of their political dynasty. When the whole animal could not be obtained, a part (such as a rhinoceros horn or an ostrich egg) or a depiction (in print or paint) acted as a surrogate. Domestic animals (dogs, birds, goats, pigs, horses) were vital for companionship and the sustenance of the court, while game (deer, boars, rabbits) filled the reserves near royal residences, giving enthusiastic Habsburg hunters convenient grounds for sport. The catalogue includes objects that would have featured prominently at court as highly desired collectors' items: vessels, cups and goblets made of animal parts (such as
Research Interests: History of Natural History, Courts, Habsburg Studies, Natural History, History of Collections, and 19 moreAnimals & Society studies, Animals in Literature, Animals in Culture, Nature, Menageries, Animals, Natural history collections, Vienna, History of Animals, Exotic animals, Natural History Museums, Nature Studies, Habsburg, Natural History Illustration, Renaissance Menageries, The Cultural and Diplomatic World of Hans Khevenhüller, Menageries in the Renaissance, Habsburg Gardens & Menageries, and Hans Khevenhüller
Renaissance Quarterly
Volume 70, Number 1 | Spring 2017
Volume 70, Number 1 | Spring 2017
Research Interests: Globalization, Early Modern History, Material Culture Studies, Global cities, Consumerism, and 13 moreGlobal Studies, Early Modern Europe, Urbanism, Cities and globalization/Global cities, Consumption and Material Culture, Material Culture, Portugal (History), Portugal, Cities, Lisbon (Portugal), Port cities, Renaissance architecture, and Historic cities
Beautifully illustrated and featuring painstaking new research, this exhibition catalogue is a very welcome addition to the scholarship on Habsburg collectors, and broadly impacts our understanding of the significant roles played by... more
Beautifully illustrated and featuring painstaking new research, this exhibition catalogue is a very welcome addition to the scholarship on Habsburg collectors, and broadly impacts our understanding of the significant roles played by exotic and domestic animals in early modern court culture. Featuring six short essays and catalogue entries for the objects featured in the 2015 exhibition by the same name, the catalogue brings together a wealth of visual and textual information, some hitherto unpublished. Beyond its significance for art historians who seek to contextualize depictions of animals, there is much to recommend for those whose research interests include collecting and display, voyages of exploration, natural history enterprises, and aspects of politics and diplomacy in the early modern era. As is highlighted by the catalogue essays, collecting animals was a priority for many early modern rulers, not just the princes (F € ursten) indicated by the exhibition title. Kings, queens, and emperors including Manuel I, king of Portugal (1469–1521); Catherine of Austria, queen of Portugal (1507–58); Maximillian II, Holy Roman emperor (1527–76); and Rudolf II, Holy Roman emperor (1552–1612); and their collections are all discussed. Special emphasis is given to Ferdinand II, archduke of Austria (1529–95), which is entirely appropriate given that the venue for the exhibition, Schloss Ambras, was his former residence—Ferdinand's menageries for the exotic and farms for the domestic are the subject of three of the essays and the majority of the catalogue entries. Detailing the many motivations of Habsburg rulers for maintaining menageries and aviaries is no less complex than the Habsburg genealogy that supported such enterprises. Emergent themes include animals and birds (alive and dead) as trophies and signs of prestige, tributes from vassals, and diplomatic gifts; and how envoys, ambassadors and merchants, traveled from Lisbon, Vienna, Prague, and Innsbruck to distant Asian, African, and American locations in pursuit of creatures who often served as intermediaries between courts and cultures. This is an early instance of a global market and exchange, and as the Habsburgs gathered together exotica (especially rhinoceroses, elephants, monkeys, camels, and big cats) they equally asserted the significance of their political dynasty. When the whole animal could not be obtained, a part (such as a rhinoceros horn or an ostrich egg) or a depiction (in print or paint) acted as a surrogate. Domestic animals (dogs, birds, goats, pigs, horses) were vital for companionship and the sustenance of the court, while game (deer, boars, rabbits) filled the reserves near royal residences, giving enthusiastic Habsburg hunters convenient grounds for sport. The catalogue includes objects that would have featured prominently at court as highly desired collectors' items: vessels, cups and goblets made of animal parts (such as
Research Interests: Material Culture Studies, Exotic Species, Habsburg Studies, Gardens, Early Modern Material Culture, and 22 moreCollecting (Art), Animals & Society studies, Collecting and Collections, Animals in Culture, Consumption and Material Culture, Material Culture, Menageries, Material Culture and Consumerism, History of Collecting, Patronage and collecting, Animals, Collectors and Collecting, Exoticism, Horses, Cultural Transfers, Exotic animals, Exotica, Botanical Gardens, Animales Exoticos, Renaissance Gardens, Renaissance Menageries, and Bezoar goat
The book originates in the recent discovery of two oil paintings depicting the Rua Nova, the main commercial street in sixteenth-century Lisbon. The fascinating story of their accidental identification in 2009, and of their earlier... more
The book originates in the recent discovery of two oil paintings depicting the Rua Nova, the main commercial street in sixteenth-century Lisbon. The fascinating story of their accidental identification in 2009, and of their earlier acquisition by pre-Raphaelite painter Dante Gabriel Rossetti at an antiquarian bookshop in Victorian London, is revealed in the preface and the epilogue.
Research Interests: Portuguese Studies, Portuguese History, Urban History, Portuguese Discoveries and Expansion, Urbanism, and 13 moreGlobal History, Empire, Portugal (History), Portugal, History of European Expansion, Lisbon (Portugal), Age of Discovery, History of European Overseas Expansion, Cidade de Lisboa, Lisbon Story, Global Art History, História de Portugal, and História De Arte Em Portugal
Research Interests: Globalization, Portuguese Studies, Portuguese History, Renaissance Studies, Global cities, and 13 moreIberian Studies, Urban Studies, Urbanism, Cities and globalization/Global cities, Portugal (History), Portugal, Lisbon (Portugal), Cultural Globalization, Port cities, Arquitetura e Urbanismo, Urbanismo, Medieval Cities and Urbanism, and História Da Arquitetura E Do Urbanismo
Review of «A. Jordan, Retrato de Corte em Portugal. O legado de António Moro (1552-1572)», Lisbon, 1994», Archivo Español de Arte, 275, 1996, pp. 355-356.
Research Interests: Cultural History, Cultural Studies, Portraits, Renaissance Studies, Renaissance, and 22 morePortraiture, Visual and Cultural Studies, Material Culture, Charles V, Dynastic Politics, Renaissance Portraiture, Catherine of Austria, Philip II of Spain, Emperor Charles V, Alonso Sanchez Coello, Anthonis Mor, Francisco De Holanda, The Court of Philip II, Habsburg Court Portraits and Painters, The Portuguese Court In the Renaissance, Images Construction Portuguese Court, Portraits Galleries, Catherine of Austria, queen of Portugal, Habsburg Court in the Renaissance, Jorge de la Rua / Jooris van der Straeten, Manuel Denis, and Dynastic Portrait Galleries
Research Interests: Gender Studies, Austria (European History), Early Modern History, Gender History, Habsburg Studies, and 27 moreGender, Early Modern Europe, Queenship (Medieval History), Patronage (History), Courts and Elites (History), Spain (History), Court history, History of the Spanish-Habsburg Netherlands, Spain, Early modern Spain, Women and Gender Studies, Austrian History, Queenship in Medieval and Early Modern Europe, Patronage and collecting, Royal court, Female Patronage, Austria, Patronage, Austrian Studies, Queenship, Habsburg, Female Courts, Habsburg Spain, Carlos II (1665-1700), Court Women in Habsburg Spain, Habsburg Women in the Renaissance, and Royal Women
«Dona Catarina amadureceu transformando-se numa
rainha astuta, estadista e mulher política por
direito próprio, qualidades reconhecidas pelo
marido, João III, que cedo lhe conferiu toda a sua
confiança e uma enorme autoridade»
rainha astuta, estadista e mulher política por
direito próprio, qualidades reconhecidas pelo
marido, João III, que cedo lhe conferiu toda a sua
confiança e uma enorme autoridade»
Research Interests: Gender Studies, Gender History, Material Culture Studies, Courts, Habsburg Studies, and 14 moreCourts and Elites (History), Consumption and Material Culture, Spain (History), Court history, Material Culture, Portugal (History), Spain, Early modern Spain, Portugal, Women and Gender Studies, Queenship in Medieval and Early Modern Europe, Queenship, Court Studies, and História de Portugal
Nuncius, 31, 2016, pp. 237-239
Research Interests: Renaissance Studies, Habsburg Studies, Gardens, Garden History, Animals in Culture, and 16 moreMedieval Gardens, Menageries, Botanic Gardens, Exotic animals, Especies Exóticas, Habsburg, Habsburg Monarchy, Exotica, Botanical Gardens, Renaissance Gardens, History of Landscape Architecture and Gardens, Renaissance Menageries, Habsburg Gardens & Menageries, Lisbon Court in the Renaissance, Emperor Maximilian II, and Süleyman the Elephant
World of Interiors. April 2016
Research Interests: Globalization, Material Culture Studies, Renaissance Studies, Urban History, Renaissance, and 18 moreGlobal cities, Global Studies, Urban Studies, Urbanism, Global History, Cities and globalization/Global cities, Material Culture, Portugal (History), Portugal, Lisbon (Portugal), Cultural Globalization, Arquitetura e Urbanismo, Architecture and urbanism, Urbanismo, Medieval Lisbon, Arquitectura y urbanismo, Lisbon Story, and Lisbon Earthquake
Review of The Global City: on the streets of Renaissance Lisbon edited by A. Jordan Gschwend and K. J. P. Lowe
Paul Holberton publishing, London, 2015
Paul Holberton publishing, London, 2015
Research Interests: Portuguese Studies, Material Culture Studies, Portuguese History, Material culture of religion, Iberian Studies, and 9 moreGlobal Studies, Globalization And Postcolonial Studies, Early Modern Material Culture, History of the Portuguese Empire, Consumption and Material Culture, Material Culture, Lisbon (Portugal), History of Portugal, and Early Modern European Courts
Review: The Global City. On the Streets of Renaissance Lisbon
Research Interests: Portuguese Studies, Material Culture Studies, Portuguese History, Iberian Studies, Early Modern Material Culture, and 13 moreHistory of the Portuguese Empire, Consumption and Material Culture, Material Culture, Portugal (History), Portugal, Material Culture and Consumerism, Lisbon (Portugal), Medieval Lisbon, Lisbon Story, Lisbon Reconstruction, Lisbon, History of Lisbon, and 16th - 17th History of Portugal
ABSTRACT
Research Interests:
Research Interests:
This martial portrait of the young Prince Philip, later Philip III of Spain and Philip II of Portugal (r. 1598-1621), belongs to a series of portraits commissioned by his father from leading painters at his court in Madrid. Philip II... more
This martial portrait of the young Prince Philip, later Philip III of Spain and Philip II of Portugal (r. 1598-1621), belongs to a series of portraits commissioned by his father from leading painters at his court in Madrid. Philip II recruited Alonso Sánchez Coello (1531-1588), Juan Pantoja de la Cruz (1553-1608), and the lesser-known Flemish artist Justus Tiel (d. 1595) to execute representative images of his only surviving son born in 1578. The number of images, originals and workshop copies attest to Philip II’s desire to promote his adolescent son at European courts, sending these portraits abroad as diplomatic gifts.
Research Interests:
Annemarie Jordan Gschwend |
Recreating a Lost Street in Renaissance Lisbon. The Rua Nova dos Mercadores”
Recreating a Lost Street in Renaissance Lisbon. The Rua Nova dos Mercadores”
Research Interests:
Hans Khevenhüller: Ambassador and Art Agent in the Service of the Habsburgs Organizer: Annemarie Jordan Centro de Humanidades, Lisbon and Switzerland Chair: Thomas DaCosta Kaufmann Princeton University Panel Respondent: Annemarie... more
Hans Khevenhüller: Ambassador and Art Agent in the Service of the Habsburgs
Organizer: Annemarie Jordan Centro de Humanidades, Lisbon and Switzerland Chair: Thomas DaCosta Kaufmann Princeton University
Panel Respondent: Annemarie Jordan Centro de Humanidades, Lisbon and Switzerland
Organizer: Annemarie Jordan Centro de Humanidades, Lisbon and Switzerland Chair: Thomas DaCosta Kaufmann Princeton University
Panel Respondent: Annemarie Jordan Centro de Humanidades, Lisbon and Switzerland
Research Interests:
THE "MARVEL OF LISBON" | A CELEBRITY RHINOCEROS IN LISBON & MADRID IN THE LATE SIXTEENTH CENTURY |
Research Interests:
THE "MARVEL OF LISBON" |
A CELEBRITY RHINOCEROS IN LISBON & MADRID IN THE LATE SIXTEENTH CENTURY
ART & SCIENCE IN THE PORTUGUESE RENAISSANCE. HOMMAGE TO HELENA AVELAR
A CELEBRITY RHINOCEROS IN LISBON & MADRID IN THE LATE SIXTEENTH CENTURY
ART & SCIENCE IN THE PORTUGUESE RENAISSANCE. HOMMAGE TO HELENA AVELAR
Research Interests:
on portraiture. theory, practice and fiction. from francisco de holanda to susan sontag NEW DATES – 18, 19 and 20 January 2022 | Faculty of Fine-Arts, University of Lisbon | Grande Auditório In person and online event - Due to recent... more
on portraiture. theory, practice and fiction. from francisco de holanda to susan sontag
NEW DATES – 18, 19 and 20 January 2022 | Faculty of Fine-Arts, University of Lisbon | Grande Auditório
In person and online event - Due to recent developments in the Covid-19 situation, this event will mostly be held online
INTRODUCTION AND PRINCIPLE OBJECTIVES OF THIS CONGRESS
This colloquium intends to discuss the theory and practice of artistic, historical, anthropological, social and political experience on the topic of portraiture, as well as the fictional dimension contained within it. Located at the intersection of several disciplinary fields, the discussion(s) and papers will address the portrait as a concept, theme, process, object (monument and document) and device, in its multiple developments and in its successive conceptual, technological and contextual updates.
More than defining a temporal framework, the subtitle – From Francisco de Holanda to Susan Sontag – underscores the dynamic porosity on the researched topic in the fields of art and literature, as well as, in its mutual reversibility.
Francisco de Holanda, humanist and 16th-century Portuguese artist, is the author of Do Tirar pelo Natural [On Portraiture], the first treatise dedicated to portraiture in early modern Europe, which he concluded in 1549, in the decade following his return from a trip to Italy undertaken in 1538 to 1540, as member of the embassy of Ambassador D. Pedro de Mascarenhas. One objective for Holanda was to meet Michelangelo Buonarroti, in addition to observing and drawing fortresses and the most outstanding works of art across Italy. Upon his return, Holanda undertook writing Da Pintura Antiga [On Ancient Painting], concluded on October 13 (St. Lucas Day) 1548, as it is written at the end of Book II, followed by his second treatise, Do Tirar polo Natural [On Portraiture]. These two works were prepared for publication and were even translated into Spanish in 1563, by his friend, the Portuguese painter Manuel Denis. These treatises, written almost simultaneously, would only see publication, in Portuguese and Spanish, only in the 19th century. At the end of the Do Tirar polo Natural [On Portraiture], Holanda states that the text was completed on January 3rd, 1549, only a few months after the completion of the two Books of Da Pintura Antiga [On Ancient Painting]. In fulfilment of John B. Bury’s ground-breaking research, a bilingual edition of this portrait treatise, published by Paul Holberton Publishing in London, will be presented during this Congress.
Indeed, the two great pillars of Francisco de Holanda’s theory of art – the imitation of himself, nature and antiquity on one hand, and idea, on the other – have, precisely, as a point of departure, the artist’s creative process which Holanda discusses in his first two treatises. The importance of Do Tirar polo Natural [On Portraiture] for the theory of art, which Holanda explains and abundantly illustrates in his two books in On Ancient Painting, as well as in his drawings and illuminated albums, especially in As Antigualhas [On the Antique], makes Holanda’s need to write a portrait treatise fully justified. As an autonomous work, Do Tirar polo Natural [On Portraiture], complements Da Pintura Antiga [On Ancient Painting]. This treatise’s structure, in the form of dialogues, follows the model used in Book II of Diálogos em Roma [Dialogues in Rome], but here, instead of many interlocutors, is reduced to conversations between two protagonists, Brás Pereira and Feramando, the disciple and master, as well as the alter ego of Holanda. The themes and issues defined in Do Tirar polo Natural [On Portraiture], extend, deepen and, above all, specify in detail questions regarding portraiture; themes related to the representation of the human figure which Holanda took up in Chapters 38 to 41 in Book I of Da Pintura Antiga. These chapters lack the decisive contributions, which throughout the eleven, small dialogues of Do Tirar polo Natural [On Portraiture], Holanda describes as precepts for a painter to “portray” or “paint from life” the “persona” of a sitter. In Do Tirar, Holanda distinguishes the portrait as distinctive from other representations of the human figure.
In The Volcano Lover, Susan Sontag begins with documentation related to three historical figures from the 18th century, expanding them into a fictional extension where they appear as characters or doubles; emerging as figures stabilized in the credibility of portraits, thus questioning their presence throughout the history of art and the history of images. These figures are the diplomat, collector and volcanologist William Hamilton, his wife Emma Hamilton, lover of Admiral Nelson and the muse of the painter George Romney and Admiral Nelson. The portraits directly refer to those of William Hamilton, made by Joshua Reynolds, and those of Emma Hamilton, made by George Romney and Élisabeth Vigée-Lebrun. The questions asked regard the genesis of the sensitive body, in the example of the statue of Condillac, and the metamorphosis of the statue in the myth of Pygmalion; the metamorphosis of beings in the morphological accidents of the earth and in natural objects that retain their name and history; the ideal portrait; the impossibility of describing the beauty of a face or a body, delegated to the rhetorical artifice of metaphor; the portrait as a theme and as a model; the genre of statues: action and stillness, narcissism and modesty; effigies: symbolic death; cameos: miniaturization of the portrait, living picture: representation staged inside a box or in a place surrounded by the frames of the paintings; the body in pose: support and object of the representation of a representation; the body as the embodiment of the work; the ephemerality of the body and the perpetuity of the portrait; the figure, the portrait and the recognition that erases or illuminates the name. And the ruin of it all, because ruin is the inevitable destiny of human bodies and their representations, some and others relegated to the future of our time.
NEW DATES – 18, 19 and 20 January 2022 | Faculty of Fine-Arts, University of Lisbon | Grande Auditório
In person and online event - Due to recent developments in the Covid-19 situation, this event will mostly be held online
INTRODUCTION AND PRINCIPLE OBJECTIVES OF THIS CONGRESS
This colloquium intends to discuss the theory and practice of artistic, historical, anthropological, social and political experience on the topic of portraiture, as well as the fictional dimension contained within it. Located at the intersection of several disciplinary fields, the discussion(s) and papers will address the portrait as a concept, theme, process, object (monument and document) and device, in its multiple developments and in its successive conceptual, technological and contextual updates.
More than defining a temporal framework, the subtitle – From Francisco de Holanda to Susan Sontag – underscores the dynamic porosity on the researched topic in the fields of art and literature, as well as, in its mutual reversibility.
Francisco de Holanda, humanist and 16th-century Portuguese artist, is the author of Do Tirar pelo Natural [On Portraiture], the first treatise dedicated to portraiture in early modern Europe, which he concluded in 1549, in the decade following his return from a trip to Italy undertaken in 1538 to 1540, as member of the embassy of Ambassador D. Pedro de Mascarenhas. One objective for Holanda was to meet Michelangelo Buonarroti, in addition to observing and drawing fortresses and the most outstanding works of art across Italy. Upon his return, Holanda undertook writing Da Pintura Antiga [On Ancient Painting], concluded on October 13 (St. Lucas Day) 1548, as it is written at the end of Book II, followed by his second treatise, Do Tirar polo Natural [On Portraiture]. These two works were prepared for publication and were even translated into Spanish in 1563, by his friend, the Portuguese painter Manuel Denis. These treatises, written almost simultaneously, would only see publication, in Portuguese and Spanish, only in the 19th century. At the end of the Do Tirar polo Natural [On Portraiture], Holanda states that the text was completed on January 3rd, 1549, only a few months after the completion of the two Books of Da Pintura Antiga [On Ancient Painting]. In fulfilment of John B. Bury’s ground-breaking research, a bilingual edition of this portrait treatise, published by Paul Holberton Publishing in London, will be presented during this Congress.
Indeed, the two great pillars of Francisco de Holanda’s theory of art – the imitation of himself, nature and antiquity on one hand, and idea, on the other – have, precisely, as a point of departure, the artist’s creative process which Holanda discusses in his first two treatises. The importance of Do Tirar polo Natural [On Portraiture] for the theory of art, which Holanda explains and abundantly illustrates in his two books in On Ancient Painting, as well as in his drawings and illuminated albums, especially in As Antigualhas [On the Antique], makes Holanda’s need to write a portrait treatise fully justified. As an autonomous work, Do Tirar polo Natural [On Portraiture], complements Da Pintura Antiga [On Ancient Painting]. This treatise’s structure, in the form of dialogues, follows the model used in Book II of Diálogos em Roma [Dialogues in Rome], but here, instead of many interlocutors, is reduced to conversations between two protagonists, Brás Pereira and Feramando, the disciple and master, as well as the alter ego of Holanda. The themes and issues defined in Do Tirar polo Natural [On Portraiture], extend, deepen and, above all, specify in detail questions regarding portraiture; themes related to the representation of the human figure which Holanda took up in Chapters 38 to 41 in Book I of Da Pintura Antiga. These chapters lack the decisive contributions, which throughout the eleven, small dialogues of Do Tirar polo Natural [On Portraiture], Holanda describes as precepts for a painter to “portray” or “paint from life” the “persona” of a sitter. In Do Tirar, Holanda distinguishes the portrait as distinctive from other representations of the human figure.
In The Volcano Lover, Susan Sontag begins with documentation related to three historical figures from the 18th century, expanding them into a fictional extension where they appear as characters or doubles; emerging as figures stabilized in the credibility of portraits, thus questioning their presence throughout the history of art and the history of images. These figures are the diplomat, collector and volcanologist William Hamilton, his wife Emma Hamilton, lover of Admiral Nelson and the muse of the painter George Romney and Admiral Nelson. The portraits directly refer to those of William Hamilton, made by Joshua Reynolds, and those of Emma Hamilton, made by George Romney and Élisabeth Vigée-Lebrun. The questions asked regard the genesis of the sensitive body, in the example of the statue of Condillac, and the metamorphosis of the statue in the myth of Pygmalion; the metamorphosis of beings in the morphological accidents of the earth and in natural objects that retain their name and history; the ideal portrait; the impossibility of describing the beauty of a face or a body, delegated to the rhetorical artifice of metaphor; the portrait as a theme and as a model; the genre of statues: action and stillness, narcissism and modesty; effigies: symbolic death; cameos: miniaturization of the portrait, living picture: representation staged inside a box or in a place surrounded by the frames of the paintings; the body in pose: support and object of the representation of a representation; the body as the embodiment of the work; the ephemerality of the body and the perpetuity of the portrait; the figure, the portrait and the recognition that erases or illuminates the name. And the ruin of it all, because ruin is the inevitable destiny of human bodies and their representations, some and others relegated to the future of our time.
Research Interests: European Studies, Portraits, Early Modern History, Medieval Portraiture, Portraiture, and 10 moreSelf Portraiture, Photography & Portraiture, Greek and Roman Portraiture, Early modern portraiture, 16th Century Portraiture, Portraiture as Qualitative Methodology, Renaissance Portraiture, Roman Portraiture, Portraiture and the Problematic of Representation, and Photography and Identity Through Portraiture
Online-Ringvorlesung: “Why Have There Been No Great Women Artists?” Ein Perspektivwechsel nach 50 Jahren Ab 20. Oktober 2021 immer mittwochs, 12-14 Uhr c.t. Veranstaltet von Prof. Dr. Birgit Ulrike Münch (Universität Bonn) und Prof. Dr.... more
Online-Ringvorlesung:
“Why Have There Been No Great Women Artists?” Ein Perspektivwechsel nach 50 Jahren
Ab 20. Oktober 2021 immer mittwochs, 12-14 Uhr c.t. Veranstaltet von Prof. Dr. Birgit Ulrike Münch (Universität Bonn) und Prof. Dr. Christoph Wagner (Universität Regensburg)
Online-Ringvorlesung: “Why Have There Been No Great Women Artists?” Ein Perspektivwechsel nach 50 Jahren
1971 veröffentliche Linda Nochlin ihren programmatischen Aufsatz, der als Beginn einer feministischen Kunstgeschichtsforschung gilt. Zur Beantwortung ihrer Frage „Why Have There Been No Great Women Artists?“ analysiert Nochlin die institutionellen und systemischen Konstrukte, die von Männern gebildet und geprägt worden sind.
Noch immer haben Künstlerinnen ihren Platz nicht in gleicher Weise in einer Kunstgeschichtsschreibung gefunden wie ihre männlichen Kollegen. Von diesen wurden sie bestenfalls als Muse, Ehegattin oder Modell verehrt oder abschätzig als „Malweiber” tituliert. Die spezifischen Produktionsformen, künstlerischen Konzepte und Strategien von Künstlerinnen fanden nur zögerlich Beachtung und Anerkennung.
50 Jahre nach Nochlins Aufsatz werden in der Ringvorlesung die Narrative und systemischen Strukturen in der Kunstgeschichtsschreibung untersucht sowie exemplarische Künstlerinnen und ihre Position in der Kunstgeschichtsschreibung kritisch analysiert.
“Why Have There Been No Great Women Artists?” Ein Perspektivwechsel nach 50 Jahren
Ab 20. Oktober 2021 immer mittwochs, 12-14 Uhr c.t. Veranstaltet von Prof. Dr. Birgit Ulrike Münch (Universität Bonn) und Prof. Dr. Christoph Wagner (Universität Regensburg)
Online-Ringvorlesung: “Why Have There Been No Great Women Artists?” Ein Perspektivwechsel nach 50 Jahren
1971 veröffentliche Linda Nochlin ihren programmatischen Aufsatz, der als Beginn einer feministischen Kunstgeschichtsforschung gilt. Zur Beantwortung ihrer Frage „Why Have There Been No Great Women Artists?“ analysiert Nochlin die institutionellen und systemischen Konstrukte, die von Männern gebildet und geprägt worden sind.
Noch immer haben Künstlerinnen ihren Platz nicht in gleicher Weise in einer Kunstgeschichtsschreibung gefunden wie ihre männlichen Kollegen. Von diesen wurden sie bestenfalls als Muse, Ehegattin oder Modell verehrt oder abschätzig als „Malweiber” tituliert. Die spezifischen Produktionsformen, künstlerischen Konzepte und Strategien von Künstlerinnen fanden nur zögerlich Beachtung und Anerkennung.
50 Jahre nach Nochlins Aufsatz werden in der Ringvorlesung die Narrative und systemischen Strukturen in der Kunstgeschichtsschreibung untersucht sowie exemplarische Künstlerinnen und ihre Position in der Kunstgeschichtsschreibung kritisch analysiert.
Research Interests:
INTERNATIONAL CONFERENCE
SEÑORAS DEL PODER. DAMAS DE LA IGLESIA
Valladolid, 24, 25 & 26 November, 2021
SEÑORAS DEL PODER. DAMAS DE LA IGLESIA
Valladolid, 24, 25 & 26 November, 2021
Research Interests: Gender Studies, Women's History, Gender History, Habsburg Studies, Portraiture, and 10 moreHistory of Women's Studies, Portugal, Women and Gender Studies, Queenship in Medieval and Early Modern Europe, Portraiture and the Problematic of Representation, D. Manuel I of Portugal, Anthonis Mor, Renaissance Portraits, História De Arte Em Portugal, and Royal Princesses
Women in Arts, Architecture and Literature Heritage, Legacy and Digital Perspectives In the last few decades the study on women in arts has largely increased both in term of scholars involved in research and investigation and in... more
Women in Arts, Architecture and Literature Heritage, Legacy and Digital Perspectives
In the last few decades the study on women in arts has largely increased both in term of scholars involved in research and investigation and in reception of the outcomes especially acknowledged by museums which are dedicating part of their mission to organizing exhibitions and/or acquiring works of women. One of the most important role in disseminating the topic in the world of scholars has been played by the feminist movement that has been fostering women studies in art history since early '70s. Very rare, though, are the occasions to share and understand the state of the art. If we exclude the Feminist Art History Conference, organized by the American University in Washington, DC-which celebrated this year the 7 th biannual meeting-there are no other prominent conferences to exchange the output of research.
In the last few decades the study on women in arts has largely increased both in term of scholars involved in research and investigation and in reception of the outcomes especially acknowledged by museums which are dedicating part of their mission to organizing exhibitions and/or acquiring works of women. One of the most important role in disseminating the topic in the world of scholars has been played by the feminist movement that has been fostering women studies in art history since early '70s. Very rare, though, are the occasions to share and understand the state of the art. If we exclude the Feminist Art History Conference, organized by the American University in Washington, DC-which celebrated this year the 7 th biannual meeting-there are no other prominent conferences to exchange the output of research.
Research Interests:
In 1521 Infanta Maria of Portugal, Duchess of Viseu, the daughter of King Manuel I of Portugal and the Habsburg Archduchess, Leonor of Austria was born in the Lisbon royal palace, the Paço da Ribeira. Regarded as the richest princess in... more
In 1521 Infanta Maria of Portugal, Duchess of Viseu, the daughter of King Manuel I of Portugal and the Habsburg Archduchess, Leonor of Austria was born in the Lisbon royal palace, the Paço da Ribeira.
Regarded as the richest princess in Renaissance Europe, Infanta Maria, was better known as a patron of the arts and erudite humanist, fluent in Greek and Latin. She owned an extensive library under the direction of her Latina, Luisa Sigeia (Sigea), where she displayed a gallery of Uomini Famosi in the form of miniatures, medals and plaquettes. Maria patronized leading writers (Luís de Camões) and painters (Antonio and Francisco de Holanda). International portraitists such as the Valois court artist, Antoine Trouvéon, and the Habsburg painter, Anthonis Mor, took outstanding portrayals of her. Lasting images of a remarkable princess.
This conference commemorates Infanta Maria's 500th anniversary of her birth, at the same celebrating her life, interests, passions and her cultural engagement at the Lisbon court, with an exhibition and international symposium with the participants of leading specialists and scholars.
This colloquium with be semi-presencial.
Regarded as the richest princess in Renaissance Europe, Infanta Maria, was better known as a patron of the arts and erudite humanist, fluent in Greek and Latin. She owned an extensive library under the direction of her Latina, Luisa Sigeia (Sigea), where she displayed a gallery of Uomini Famosi in the form of miniatures, medals and plaquettes. Maria patronized leading writers (Luís de Camões) and painters (Antonio and Francisco de Holanda). International portraitists such as the Valois court artist, Antoine Trouvéon, and the Habsburg painter, Anthonis Mor, took outstanding portrayals of her. Lasting images of a remarkable princess.
This conference commemorates Infanta Maria's 500th anniversary of her birth, at the same celebrating her life, interests, passions and her cultural engagement at the Lisbon court, with an exhibition and international symposium with the participants of leading specialists and scholars.
This colloquium with be semi-presencial.
Research Interests: Gender Studies, Renaissance Studies, Renaissance Art, Portraiture, Collecting and Collections, and 9 morePortugal, Women and Gender Studies, History of Collecting, Patronage and collecting, Lisbon (Portugal), History of Collecting and Antiquarianism, Anthonis Mor, Women's and Gender Studies, and Renaissance Portraits
Artistic Studies Research Centre, Faculty of Fine Arts, University of Lisbon, April 26 - 28, 2021 Deadline: Nov 30, 2020 On Portraiture. Theory, Practice and Fiction. From Francisco de Holanda to Susan Sontag CIEBA – Artistic Studies... more
Artistic Studies Research Centre, Faculty of Fine Arts, University of Lisbon, April 26 - 28, 2021
Deadline: Nov 30, 2020
On Portraiture. Theory, Practice and Fiction. From Francisco de Holanda to Susan Sontag
CIEBA – Artistic Studies Research Centre, Faculty of Fine Arts, University of Lisbon
26 - 28 April 2021 - Faculty of Fine-Arts, University of Lisbon
Deadline: Nov 30, 2020
On Portraiture. Theory, Practice and Fiction. From Francisco de Holanda to Susan Sontag
CIEBA – Artistic Studies Research Centre, Faculty of Fine Arts, University of Lisbon
26 - 28 April 2021 - Faculty of Fine-Arts, University of Lisbon
Research Interests:
Lady in a Fur Wrap and Related Portraits
Stirling Maxwell Collection, Glasgow
Project Symposium
20-22 February 2019
Stirling Maxwell Collection, Glasgow
Project Symposium
20-22 February 2019
Research Interests:
Palácio da Ajuda | Ajuda Palace, Lisbon
10-11 May 2018
10-11 May 2018
Research Interests: Social Sciences, Material Culture Studies, Social Networking, Social and Cultural Anthropology, Courts, and 21 morePolitical Elites, History of Elites, Early Modern Material Culture, Decorative Arts, Courts and Elites (History), Consumption and Material Culture, Material Culture, Material Culture and Consumerism, Ceremony, Ritual and Performance, Elites and Society, Urban Elites, Elites, Sociology of elites, History of Dining, 17th and 18th century European Decorative Arts and Design, Tableware, Protocol and etiquette, Politics of Dining, Dining, Ceremonial and Symbolic Representations of Sovereignty In Early Modern Europe, and Royal Tables
Inscripciones: del 29 de enero al 5 de marzo de 2018 Envío de Comunicaciones: hasta el 25 de febrero de 2018 Teléfono: 868 88 8290 · Correo Electrónico: artepoderygenero@um.es http://www.um.es/web/jornadas-artepoderygenero
Research Interests:
To ease the loneliness of their five year old grandson, Prince Carlos of Spain, King John III of Portugal and his wife, Catherine of Austria, sent him an elephant as a playmate. The young bull born in 1539, most likely in captivity in... more
To ease the loneliness of their five year old grandson, Prince Carlos of Spain, King John III of Portugal and his wife, Catherine of Austria, sent him an elephant as a playmate. The young bull born in 1539, most likely in captivity in the royal elephant stables of the King of Kotte, Bhuvaneku Bahu, in Ceylon, was sent as a diplomatic gift to reconfirm a political alliance made with the Portuguese monarchs in 1542. Shortly after October 22, 1549, a special entourage comprising of two of John III’s equerries, two Indian mahouts (nairs) and a gentleman of the court, left Lisbon to accompany this pachyderm, on foot, to Spain, where the young prince resided in the small town of Aranda, arriving there a few weeks later.
Research Interests:
Exotica - Portugals Entdeckungen im Spiegel fürstlicher Kunst und Wunderkammern der Renaissance Exotica - Portugals Entdeckungen im Spiegel fürstlicher Kunst und Wunderkammern der Renaissance. Sabine Haag und H. Trnek (Hrsg.) Jahrbuch... more
Exotica - Portugals Entdeckungen im Spiegel fürstlicher Kunst und Wunderkammern der Renaissance
Exotica - Portugals Entdeckungen im Spiegel fürstlicher Kunst und Wunderkammern der Renaissance. Sabine Haag und H. Trnek (Hrsg.) Jahrbuch des Kunsthistorischen Museums Wien, Band 3. X,310 Seiten, 155 Farb-, 5 sw.- Abbildungen
Das - Jahrbuch des Kunsthistorischen Museums Wien ist eines der ältesten kunsthistorischen Periodika von internationalem Rang. Sinn und Zielsetzung der Publikation wurden bereits 1876 festgelegt, Inhalte und Erscheinungsrythmus definiert: Ein neues Museum präsentiert die Ergebnisse seiner Sammlungs- und Forschungstätigkeit in einem neuen wissenschaftlichen Organ, in dem die bedeutendsten in- und ausländischen Kunsthistoriker, Historiker, Archäologen, Numismatiker und Wissenschaftler verwandter Fachrichtungen publizieren, so daß die Folge der einzelnen Bände einen geschlossenen Überblick und die Beurteilung der Entwicklung, der Perspektiven und Veränderlichkeiten der Wissenschaftsgeschichte ab dem späten 19. Jahrhundert erlaubt.
Exotica - Portugals Entdeckungen im Spiegel fürstlicher Kunst und Wunderkammern der Renaissance. Sabine Haag und H. Trnek (Hrsg.) Jahrbuch des Kunsthistorischen Museums Wien, Band 3. X,310 Seiten, 155 Farb-, 5 sw.- Abbildungen
Das - Jahrbuch des Kunsthistorischen Museums Wien ist eines der ältesten kunsthistorischen Periodika von internationalem Rang. Sinn und Zielsetzung der Publikation wurden bereits 1876 festgelegt, Inhalte und Erscheinungsrythmus definiert: Ein neues Museum präsentiert die Ergebnisse seiner Sammlungs- und Forschungstätigkeit in einem neuen wissenschaftlichen Organ, in dem die bedeutendsten in- und ausländischen Kunsthistoriker, Historiker, Archäologen, Numismatiker und Wissenschaftler verwandter Fachrichtungen publizieren, so daß die Folge der einzelnen Bände einen geschlossenen Überblick und die Beurteilung der Entwicklung, der Perspektiven und Veränderlichkeiten der Wissenschaftsgeschichte ab dem späten 19. Jahrhundert erlaubt.
Research Interests:
The Habsburgs: Images and Portraits II, Renaissance Society of America, Annual Meeting, Miami, Florida, 22-24 March 2007. Jooris van der Straeten: Habsburg Court Portraitist in Portugal, Spain and France. New Notes and Attributions... more
The Habsburgs: Images and Portraits II, Renaissance Society of America, Annual Meeting, Miami, Florida, 22-24 March 2007.
Jooris van der Straeten: Habsburg Court Portraitist in Portugal, Spain and France.
New Notes and Attributions
Jooris van der Straeten, born in Ghent, carved out an international career which spanned several decades (from 1552 to 1574), and several European courts (Portugal, Spain and France). He was fluent in Portuguese, Spanish and French, transforming himself into a versatile courtier, well adapted in Habsburg Spain as he was in Valois France. While other Habsburg court painters, Anthonis Mor and Alonso Sánchez Coello, worked primarily for male courtiers and the king, Philip II of Spain, van der Straeten strategically carved out a niche for himself, working primarily as a portraitist for queens, commissioned to paint his female patrons (Catherine of Austria, Isabel of Valois, Catherine de’ Medici, Louise of Lorraine), their royal woman and children. Aside from court portraits, his oeuvre includes religious works: an altarpiece with the Ascension of the Virgin is still in sitú in the Church of St. Nicholas in Plasencia (Valladolid). Straeten arrived in Lisbon circa 1552, possibly in the retinue of Anthonis Mor, who was sent to Portugal by the regent Mary of Hungary to paint the Portuguese royal family. According to Carel van Mander (1604), “Georges de Gand,” had been a pupil of Frans Floris (1517-1570) in Antwerp, where Straeten conceivably met Mor, whose Habsburg portrait style was so influential upon his contemporaries. Straeten’s portraiture combine Floris’s synthesis of Italian innovations with Mor’s northern precision and love of detail. As a painter active at three Renaissance courts, Straeten promoted a portrait style firmly grounded in Habsburg court ideology and dynastic politics.
This paper will re-evaluate Straeten’s contributions, highlighted by the discovery of new archival documents and rediscovered portraits in Spain, Portugal, France, England, the Czech Republic and Hungary.
Jooris van der Straeten: Habsburg Court Portraitist in Portugal, Spain and France.
New Notes and Attributions
Jooris van der Straeten, born in Ghent, carved out an international career which spanned several decades (from 1552 to 1574), and several European courts (Portugal, Spain and France). He was fluent in Portuguese, Spanish and French, transforming himself into a versatile courtier, well adapted in Habsburg Spain as he was in Valois France. While other Habsburg court painters, Anthonis Mor and Alonso Sánchez Coello, worked primarily for male courtiers and the king, Philip II of Spain, van der Straeten strategically carved out a niche for himself, working primarily as a portraitist for queens, commissioned to paint his female patrons (Catherine of Austria, Isabel of Valois, Catherine de’ Medici, Louise of Lorraine), their royal woman and children. Aside from court portraits, his oeuvre includes religious works: an altarpiece with the Ascension of the Virgin is still in sitú in the Church of St. Nicholas in Plasencia (Valladolid). Straeten arrived in Lisbon circa 1552, possibly in the retinue of Anthonis Mor, who was sent to Portugal by the regent Mary of Hungary to paint the Portuguese royal family. According to Carel van Mander (1604), “Georges de Gand,” had been a pupil of Frans Floris (1517-1570) in Antwerp, where Straeten conceivably met Mor, whose Habsburg portrait style was so influential upon his contemporaries. Straeten’s portraiture combine Floris’s synthesis of Italian innovations with Mor’s northern precision and love of detail. As a painter active at three Renaissance courts, Straeten promoted a portrait style firmly grounded in Habsburg court ideology and dynastic politics.
This paper will re-evaluate Straeten’s contributions, highlighted by the discovery of new archival documents and rediscovered portraits in Spain, Portugal, France, England, the Czech Republic and Hungary.
Research Interests: Portraits, Habsburg Studies, Portraiture, Renaissance Portraiture, The Portraits of Children at the Spanish Court In the Seventeenth Century: The Infanta Margarita and the Young King Carlos II” In Bulletin for Spanish and Portuguese Historical Studies, and 11 moreAnthonis Mor, DWARFS AS SEVENTEENTH-CENTURY CYNICS ATTHE COURT OF PHILIP IV OF SPAIN: A STUDY OF VELÁZQUEZ’ PORTRAITS OF PALACE DWARFS, Court Portraiture, Portrait In the Renaissance,, Habsburg Court Portraits and Painters, The Portuguese Court In the Renaissance, Court Women in Habsburg Spain, Habsburg Court in the Renaissance, Lisbon Court in the Renaissance, Jorge de la Rua / Jooris van der Straeten, and Spanish court portraiture in the Renaissance
“The Queen’s Painter: Jooris van der Straeten and Catherine de Medici,” Portrayals of the Late Valois, Bi-annual Meeting, New College Conference on Medieval and Renaissance Studies, Sarasota, Florida, 6-8 March 2008 The Queen’s Painter:... more
“The Queen’s Painter: Jooris van der Straeten and Catherine de Medici,” Portrayals of the Late Valois, Bi-annual Meeting, New College Conference on Medieval and Renaissance Studies, Sarasota, Florida, 6-8 March 2008
The Queen’s Painter: Jooris van der Straeten and Catherine de Medici
1572 marks the year François Clouet died and the year the Habsburg court painter, Jooris van der Straeten arrived from Spain with portraits he had painted in Madrid of Catherine de Medici’s grand daughters, Isabella Clara Eugenia and Catalina Michaela. Straeten remained in Paris until his death in 1578, establishing a productive and profitable studio with Flemish assistants from Ghent and Antwerp. He rapidly became peintre de la reine et valet de chambre of the queens, Elisabeth of Austria, wife of Charles IX, and Louise de Lorraine, wife of Henri III, as well as, enjoying the patronage of the queen mother, Catherine.
Was van der Straeten’s arrival at the Valois court coincidental? His principal patron in Spain, Catherine de Medici’s daughter, Isabel of Valois, for whom Straeten had worked for eight years, had died prematurely in 1568. Further portrait commissions and a more permanent post at Philip II’s court were not forthcoming, perhaps due to the preeminence of the king’s Portuguese portraitist, Alonso Sánchez Coello. Since 1560 Straeten painted Isabel of Valois and her daughters at different stages of their childhood and growth, suggesting his move to France may have been negotiated beforehand by Catherine de Medici. In 1571, she was seeking proficient painters to satisfy her need for high-quality portraits of her son, Hercule-François, Duke of Alençon, whom she hoped to marry to Queen Elizabeth I of England. Straeten appropriately filled a vacuum left by the recent death of Clouet.
Jooris van der Straeten, born in Ghent, carved out an international career which spanned several decades (from 1552 to 1578), and several European courts (Portugal, Spain and France). He was fluent in Portuguese, Spanish and French, transforming himself into a versatile courtier, well adapted in Habsburg Iberia, as he was in Valois France. Van der Straeten strategically made a niche for himself, working primarily as a portraitist for queens, commissioned to paint his female patrons, their royal woman and children.
The objective of this paper is to re-assess the career of this little-known Flemish portraitist. Straeten obtained lucrative positions as portraitist, miniaturist and draughtsman, proving himself to be well-adapted in artistic and court circles in Antwerp, Lisbon, Madrid and Paris. Straeten brought to France a portrait style, which became influential upon his French contemporaries: his portraits firmly grounded by Habsburg court ideology and dynastic politics. Catherine de Medici, as a portrait connoisseur, appreciated Straeten’s talents and realized his potential in conceiving state portraits on a large scale, a compositional format rarely employed by François Clouet and his circle before this date.
Straeten’s career in France will be reviewed, along with his court portraits, portrait drawings and miniatures. While closer attention will be paid to the artistic circles he moved in Paris, where established a close relationship (personal and professional) with the English miniaturist, Nicholas Hilliard.
This paper will look at portraits newly attributed by A. Jordan Gschwend to Jooris van der Straeten: the portrait of François, Duke of Alençon at the National Gallery (Washington D. C.) and the double portrait of the Infantas Isabella Clara Eugenia and Catalina Micaela in the Queen's Gallery at Buckingham Palace, which was one of the last portraits Straeten painted before departing from Spain to work at the Valois court for Catherine de' Medici.
The Queen’s Painter: Jooris van der Straeten and Catherine de Medici
1572 marks the year François Clouet died and the year the Habsburg court painter, Jooris van der Straeten arrived from Spain with portraits he had painted in Madrid of Catherine de Medici’s grand daughters, Isabella Clara Eugenia and Catalina Michaela. Straeten remained in Paris until his death in 1578, establishing a productive and profitable studio with Flemish assistants from Ghent and Antwerp. He rapidly became peintre de la reine et valet de chambre of the queens, Elisabeth of Austria, wife of Charles IX, and Louise de Lorraine, wife of Henri III, as well as, enjoying the patronage of the queen mother, Catherine.
Was van der Straeten’s arrival at the Valois court coincidental? His principal patron in Spain, Catherine de Medici’s daughter, Isabel of Valois, for whom Straeten had worked for eight years, had died prematurely in 1568. Further portrait commissions and a more permanent post at Philip II’s court were not forthcoming, perhaps due to the preeminence of the king’s Portuguese portraitist, Alonso Sánchez Coello. Since 1560 Straeten painted Isabel of Valois and her daughters at different stages of their childhood and growth, suggesting his move to France may have been negotiated beforehand by Catherine de Medici. In 1571, she was seeking proficient painters to satisfy her need for high-quality portraits of her son, Hercule-François, Duke of Alençon, whom she hoped to marry to Queen Elizabeth I of England. Straeten appropriately filled a vacuum left by the recent death of Clouet.
Jooris van der Straeten, born in Ghent, carved out an international career which spanned several decades (from 1552 to 1578), and several European courts (Portugal, Spain and France). He was fluent in Portuguese, Spanish and French, transforming himself into a versatile courtier, well adapted in Habsburg Iberia, as he was in Valois France. Van der Straeten strategically made a niche for himself, working primarily as a portraitist for queens, commissioned to paint his female patrons, their royal woman and children.
The objective of this paper is to re-assess the career of this little-known Flemish portraitist. Straeten obtained lucrative positions as portraitist, miniaturist and draughtsman, proving himself to be well-adapted in artistic and court circles in Antwerp, Lisbon, Madrid and Paris. Straeten brought to France a portrait style, which became influential upon his French contemporaries: his portraits firmly grounded by Habsburg court ideology and dynastic politics. Catherine de Medici, as a portrait connoisseur, appreciated Straeten’s talents and realized his potential in conceiving state portraits on a large scale, a compositional format rarely employed by François Clouet and his circle before this date.
Straeten’s career in France will be reviewed, along with his court portraits, portrait drawings and miniatures. While closer attention will be paid to the artistic circles he moved in Paris, where established a close relationship (personal and professional) with the English miniaturist, Nicholas Hilliard.
This paper will look at portraits newly attributed by A. Jordan Gschwend to Jooris van der Straeten: the portrait of François, Duke of Alençon at the National Gallery (Washington D. C.) and the double portrait of the Infantas Isabella Clara Eugenia and Catalina Micaela in the Queen's Gallery at Buckingham Palace, which was one of the last portraits Straeten painted before departing from Spain to work at the Valois court for Catherine de' Medici.
Research Interests: Habsburg Studies, Portraiture, Courts and Elites (History), Court history, History of the Spanish-Habsburg Netherlands, and 5 moreCourt Studies, The Portraits of Children at the Spanish Court In the Seventeenth Century: The Infanta Margarita and the Young King Carlos II” In Bulletin for Spanish and Portuguese Historical Studies, Habsburg Court Portraits and Painters, Court Studies in France, and Spanish court portraiture in the Renaissance
“Newly Identified Painters at the French Court,” Bridging the Divide? Habsburg Women as Agents in the Entourage of Charles V and Francis I, Renaissance Society of America and The Society of Renaissance Studies, United Kingdom, Joint... more
“Newly Identified Painters at the French Court,” Bridging the Divide?
Habsburg Women as Agents in the Entourage of Charles V and Francis I, Renaissance Society of America and The Society of Renaissance Studies, United Kingdom, Joint Annual Meeting, Cambridge, England, 7-9 April 2005.
Habsburg Women as Agents in the Entourage of Charles V and Francis I, Renaissance Society of America and The Society of Renaissance Studies, United Kingdom, Joint Annual Meeting, Cambridge, England, 7-9 April 2005.
Research Interests:
Jornadas "Arte, Poder y Género". El patronazgo de María de Hungría en la Europa del Renacimiento Content twitter facebook I JORNADAS ARTE, PODER Y GÉNERO EL PATRONAZGO DE MARÍA DE HUNGRÍA EN LA EUROPA DEL RENACIMIENTO Dates: 11th,... more
Jornadas "Arte, Poder y Género". El patronazgo de María de Hungría en la Europa del Renacimiento
Content
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I JORNADAS ARTE, PODER Y GÉNERO
EL PATRONAZGO DE MARÍA DE HUNGRÍA EN LA EUROPA DEL RENACIMIENTO
Dates: 11th, 12th and 13th of May 2017
Conferences Venue: Hemiciclo de la Facultad de Letras. Universidad de Murcia
Content
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I JORNADAS ARTE, PODER Y GÉNERO
EL PATRONAZGO DE MARÍA DE HUNGRÍA EN LA EUROPA DEL RENACIMIENTO
Dates: 11th, 12th and 13th of May 2017
Conferences Venue: Hemiciclo de la Facultad de Letras. Universidad de Murcia
Research Interests: Gender Studies, Renaissance Studies, Habsburg Studies, History of The Netherlands, Queenship (Medieval History), and 22 morePatronage (History), Collecting (Art), Collecting and Collections, History of the Spanish-Habsburg Netherlands, Patronage (Medieval Studies), Spain, Early modern Spain, Women and Gender Studies, History of Collecting, Queenship in Medieval and Early Modern Europe, Patronage and collecting, Early Modern Collecting, Collectors and Collecting, History of Collecting and Antiquarianism, Burgundian Netherlands, Netherlands, Female Patronage, The Netherlands, Political patronage, Patronage, History of Hungary and the Habsburg Monarchy, and Regents
Wer sich mit der Geschichte des Hofes beschäftigt, nimmt sie am Rande wahr, die Tiere am Hof, vor allem Pferde, Hunde, Falken und Flöhe, doch nicht nur sie, sondern auch weitere Nutztiere, Nahrungstiere, Jagdtiere, Reit- und Fahrtiere... more
Wer sich mit der Geschichte des Hofes beschäftigt, nimmt sie am Rande wahr, die Tiere am Hof, vor allem Pferde, Hunde, Falken und Flöhe, doch nicht nur sie, sondern auch weitere Nutztiere, Nahrungstiere, Jagdtiere, Reit- und Fahrtiere sowie exotische Schautiere. Das Tier bevölkerte zudem die symbolische Ordnung von Hof und Höflingen, nicht zuletzt als Bild für die Sozialität des Hofes und nicht nur in der Formel "Peuple caméléon, peuple singe du maître" La Fontaines. Das zunehmende Interesse an der Geschichte von Tieren lädt dazu ein, in einer interdisziplinären Perspektive nach Tieren am Hof zu fragen
English:
Whoever does research on courts encounters, if only peripherally, animals: from horses to hounds, falcons to fleas. Animals at court included animals for food production and consumption; for transport; for the hunt; for equestrian sports; for defence; for companionship; or simply for exhibition as exotica. Animals had symbolic functions too, as indicators of power and rank for princes and courtiers (in crests and coats of arms, for example the double-headed eagle of Austria), and as representations of life at court (as in La Fontaine’s phrase Peuple cameleon, people singe du maitre). A growing curiosity about the history of animals invites further study and an interdisciplinary approach to animals at court.
http://www.fnz.geschichte.uni-muenchen.de/aktuelles/vorank/animals-at-court/index.html
English:
Whoever does research on courts encounters, if only peripherally, animals: from horses to hounds, falcons to fleas. Animals at court included animals for food production and consumption; for transport; for the hunt; for equestrian sports; for defence; for companionship; or simply for exhibition as exotica. Animals had symbolic functions too, as indicators of power and rank for princes and courtiers (in crests and coats of arms, for example the double-headed eagle of Austria), and as representations of life at court (as in La Fontaine’s phrase Peuple cameleon, people singe du maitre). A growing curiosity about the history of animals invites further study and an interdisciplinary approach to animals at court.
http://www.fnz.geschichte.uni-muenchen.de/aktuelles/vorank/animals-at-court/index.html
Research Interests: Diplomatic History, Renaissance Studies, Courts, Habsburg Studies, Social behavior in animals, and 26 moreDiplomacy, Animals & Society studies, Collecting and Collections, Animals in Culture, History of the Spanish-Habsburg Netherlands, Cultural Diplomacy, Menageries, History of Collecting, Patronage and collecting, Animals, Early Modern Collecting, Collectors and Collecting, Pets, Exotic animals, Pets and Animals, Ménageries, Court Studies, Exotics Pets, Princes and Court Studies, Medieval Menageries, Renaissance Menageries, The Cultural and Diplomatic World of Hans Khevenhüller, Menageries in the Renaissance, Habsburg Gardens & Menageries, Hans Khevenhüller, and Renaissance Courts of Spain and Portugal
Annemarie Jordan Gschwend
Paper
Juana of Austria, Princess of Portugal and Regent of Spain: collecting and patronage at the court of Philip II of Spain
Paper
Juana of Austria, Princess of Portugal and Regent of Spain: collecting and patronage at the court of Philip II of Spain
Research Interests: Gender Studies, Renaissance Studies, Renaissance, Habsburg Studies, Gender, and 15 morePatronage (History), Women and Gender Studies, Patronage and collecting, Patrimonio Cultural, Female Patronage, Political patronage, Patronage, Patronage and Clientage, Habsburg, Philip II of Spain, Patrimonio Nacional, Juana of Austria As Patron and Collector, The Court of Philip II, Court Women in Habsburg Spain, and Habsburg Women in the Renaissance
TAGUNG
17. bis 20. März 2015
17. bis 20. März 2015
Research Interests:
Colloque international
Vendredi 27 et samedi 28 février 2015
MONASTÈRE ROYAL DE BROU
BOURG-EN-BRESSE (AIN)
Vendredi 27 et samedi 28 février 2015
MONASTÈRE ROYAL DE BROU
BOURG-EN-BRESSE (AIN)
Research Interests:
Research Interests:
Recently identified by the editors as the Rua Nova dos Mercadores, the principal commercial and financial street in Renaissance Lisbon, two sixteenth-century paintings, acquired by Dante Gabriel Rossetti in 1866, form the starting point... more
Recently identified by the editors as the Rua Nova dos Mercadores, the principal commercial and financial street in Renaissance Lisbon, two sixteenth-century paintings, acquired by Dante Gabriel Rossetti in 1866, form the starting point for this portrait of a global city in the early modern period. Focusing on unpublished objects, and incorporating newly discovered documents and inventories that allow novel interpretations of the Rua Nova and the goods for sale on it, these essays offer a compelling and original study of a metropolis whose reach once spanned four continents.
Research Interests: Victorian Studies, Portuguese Studies, Portuguese History, Global cities, Iberian Studies, and 20 moreHistory of Slavery, Global Studies, Medieval Iberian History, Urbanism, Victorian cultural studies, Cities and globalization/Global cities, History of the Portuguese Empire, Pre-Raphaelite Painting, Rossetti, Dante Gabriel, Portugal, The London art market, Lisbon (Portugal), Architecture and urbanism, 19th-century Arts and Hand-craftsmanship movement; William Morris, Edward Burne-Jones, Dante Gabriel Rossetti, Middle Passage, Atlantic World Slavery, African Diaspora, Slavery and Medicine, Black Women's History, Violence Studies, Caribbean History, Arquitectura y urbanismo, Dante Gabriel Rossetti, História de Portugal, Pre Raphaelite Brotherhood, and História Da Arquitetura E Do Urbanismo
EXHIBITION
FRAUEN MACHT & KUNST: SCHLOSS AMBRAS, INNSBRUCK
June 15 - October 7, 2018
FRAUEN MACHT & KUNST: SCHLOSS AMBRAS, INNSBRUCK
June 15 - October 7, 2018
Research Interests: Gender Studies, Gender, History of The Netherlands, History of Hungary, Hungarian Studies, and 16 moreCollecting (Art), Early Modern Hungarian History, Collecting and Collections, Medieval Hungary, Portugal (History), Portugal, Women and Gender Studies, History of Collecting, Patronage and collecting, Hungary, Collectors and Collecting, History of Collecting and Antiquarianism, Burgundian Netherlands, Netherlands, The Netherlands, and History of Hungary and the Habsburg Monarchy
Frauen
Kunst und Macht
DREI FRAUEN AUS DEM HAUSE HABSBURG
14. JUNI BIS 7. OKTOBER 2018
Kunst und Macht
DREI FRAUEN AUS DEM HAUSE HABSBURG
14. JUNI BIS 7. OKTOBER 2018
Research Interests: Gender Studies, Austria (European History), Habsburg Studies, Gender, History of The Netherlands, and 27 moreHistory of Collections, Collecting (Music), Patronage (History), Collecting (Art), Collecting and Collections, Medieval Flanders, History of the Spanish-Habsburg Netherlands, 15th Century Burgundy, Portugal (History), Portugal, History of Collecting, Austrian History, Patronage and collecting, Early Modern Collecting, Collectors and Collecting, History of Collecting and Antiquarianism, Burgundian Netherlands, Collecting, Netherlands, Female Patronage, The Netherlands, Political patronage, Austria, Patronage, Culture at the court of Valois Burgundy, Art Collecting, and Collecting and Collections History of Collecting
The large-scale special exhibition in summer 2018 at Ambras Castle Innsbruck focuses on three remarkable Renaissance women, rulers and collectors of the House of Habsburg engaged in the arts: Margaret of Austria, Mary of Hungary, and... more
The large-scale special exhibition in summer 2018 at Ambras
Castle Innsbruck focuses on three remarkable Renaissance
women, rulers and collectors of the House of Habsburg
engaged in the arts: Margaret of Austria, Mary of Hungary,
and Catherine of Austria. For the first time in an exhibition,
not only by the Kunsthistorisches Museum but generally, a
comparative analysis of courtly female patronage will be
undertaken.
Castle Innsbruck focuses on three remarkable Renaissance
women, rulers and collectors of the House of Habsburg
engaged in the arts: Margaret of Austria, Mary of Hungary,
and Catherine of Austria. For the first time in an exhibition,
not only by the Kunsthistorisches Museum but generally, a
comparative analysis of courtly female patronage will be
undertaken.
The Art of Power. Habsburg Women in the Renaissance Margaret of Austria, Mary of Hungary and Catherine of Austria Guest curated by Dagmar Eichberger and Annemarie Jordan Gschwend with a scholarly exhibition catalogue The large-scale... more
The Art of Power. Habsburg Women in the Renaissance
Margaret of Austria, Mary of Hungary and Catherine of Austria
Guest curated by Dagmar Eichberger and Annemarie Jordan Gschwend
with a scholarly exhibition catalogue
The large-scale special exhibition in summer 2018 at Ambras
Castle Innsbruck focuses on three remarkable Renaissance
women, rulers and collectors of the House of Habsburg
engaged in the arts: Margaret of Austria, Mary of Hungary,
and Catherine of Austria. For the first time in an exhibition,
not only by the Kunsthistorisches Museum but generally, a
comparative analysis of courtly female patronage will be
undertaken.
Margaret of Austria, Mary of Hungary and Catherine of Austria
Guest curated by Dagmar Eichberger and Annemarie Jordan Gschwend
with a scholarly exhibition catalogue
The large-scale special exhibition in summer 2018 at Ambras
Castle Innsbruck focuses on three remarkable Renaissance
women, rulers and collectors of the House of Habsburg
engaged in the arts: Margaret of Austria, Mary of Hungary,
and Catherine of Austria. For the first time in an exhibition,
not only by the Kunsthistorisches Museum but generally, a
comparative analysis of courtly female patronage will be
undertaken.
Research Interests: Gender Studies, Early Modern History, Habsburg Studies, Gender, Early Modern Europe, and 26 moreHistory of The Netherlands, Queenship (Medieval History), Collecting (Art), Collecting and Collections, History of the Spanish-Habsburg Netherlands, Portugal (History), Portugal, Women and Gender Studies, History of Collecting, Queenship in Medieval and Early Modern Europe, Patronage and collecting, Lisbon (Portugal), Early Modern Collecting, Early Modern Court Culture, Collectors and Collecting, History of Collecting and Antiquarianism, Burgundian Netherlands, Netherlands, The Netherlands, Habsburg, Court Studies, Habsburg Monarchy, History of Hungary and the Habsburg Monarchy, Collecting and Collections History of Collecting, Regents, and História De Arte Em Portugal
This exhibition opened May 17, 2017 in Porto at the Museu Nacional Soares dos Reis
On view to the public until the end of August 2017
Link: https://www.facebook.com/MuseuNacionalSoaresReis
On view to the public until the end of August 2017
Link: https://www.facebook.com/MuseuNacionalSoaresReis
Museu Nacional de Arte Antiga, Lisbon
February 24 - April 9, 2017
February 24 - April 9, 2017
Research Interests: Asian Studies, Japanese Studies, Southeast Asian Studies, Portuguese Studies, Japanese Language And Culture, and 34 moreMaterial Culture Studies, Portuguese History, South Asian Studies, Global cities, Japanese History, Consumption, Japanese Art, Japanese, South Asian History, Consumption Studies, China, Cities and globalization/Global cities, China studies, Japanese Culture, Animals in Culture, Consumption and Material Culture, Southeast Asian history, Material Culture, Lisbon (Portugal), Animals, Export Lacquer, Asian Lacquer, Urushi, Furniture Engineering, Exotic animals, Lisbon Story, European and Asian Lacquer, Asian Lacquer, Asian Art, Consumption Culture, Lisbon Earthquake, History of Ceylon, East Asian Lacquer, Globalization and Cities, Lacquer Analyses, and Ceylon
A história desta exposição começa em 1866, num dia cinzento de abril, quando o pintor e poeta pré-rafaelita, Dante Gabriel Rossetti, sai de sua casa em Chelsea, Londres, para avaliar um quadro que havia visto numa pequena loja de... more
A história desta exposição começa em 1866, num dia cinzento de abril, quando o pintor e poeta pré-rafaelita, Dante Gabriel Rossetti, sai de sua casa em Chelsea, Londres, para avaliar um quadro que havia visto numa pequena loja de antiguidades. O mundo da arte britânico havia despertado para a pintura espanhola e os colecionadores procuravam trabalhos de grandes mestres, como El Greco, Velázquez e Goya. Mesmo não reconhecendo a cidade representada no quadro, Rossetti não deixou de adivinhar a sua origem ibérica.
Passados 150 anos, as historiadoras Annemarie Jordan Gschwend e Kate Lowe identificaram a pintura comprada por Rossetti (dividida em duas, ainda no século XIX) como sendo uma vista da Rua Nova dos Mercadores, destruída pelo Terramoto de 1755.Ou seja, uma representação da principal artéria de comércio na Lisboa do século XVI, repleta de mercadores, saltimbancos, músicos, vendedores ambulantes, cavaleiros, joias, sedas, especiarias, animais exóticos e outras maravilhas importadas de África, do Brasil, da Ásia.
Reconstituir o coração da cidade mais global da Europa do Renascimento é o objetivo desta exposição.
COMISSÁRIAS
Annemarie Jordan Gschwend
Kate Lowe
Inauguração
23 fevereiro: 18h30
Passados 150 anos, as historiadoras Annemarie Jordan Gschwend e Kate Lowe identificaram a pintura comprada por Rossetti (dividida em duas, ainda no século XIX) como sendo uma vista da Rua Nova dos Mercadores, destruída pelo Terramoto de 1755.Ou seja, uma representação da principal artéria de comércio na Lisboa do século XVI, repleta de mercadores, saltimbancos, músicos, vendedores ambulantes, cavaleiros, joias, sedas, especiarias, animais exóticos e outras maravilhas importadas de África, do Brasil, da Ásia.
Reconstituir o coração da cidade mais global da Europa do Renascimento é o objetivo desta exposição.
COMISSÁRIAS
Annemarie Jordan Gschwend
Kate Lowe
Inauguração
23 fevereiro: 18h30
Research Interests: African Studies, Asian Studies, Japanese Studies, Southeast Asian Studies, Globalization, and 22 moreChinese Studies, Urban History, South Asian Studies, African Diaspora Studies, African History, Global cities, Urban Planning, Southeast Asia, Urban Studies, Urbanism, Global History, Cities and globalization/Global cities, Animals in Culture, Chinese history (History), Portugal (History), Portugal, Menageries, Lisbon (Portugal), Animals, Exotic animals, Global Art History, and Renaissance Menageries
Eine Sonderausstellung auf Schloss Ambras Innsbruck zeigt die Menagerien und Volieren der Habsburger Höfe. Veronika Sandbichler, die Direktorin des Schlosses, erklärt die Bedeutung dieser Ausstellung.
Research Interests: Renaissance Studies, Renaissance, Habsburg Studies, Gardens, Animals in Culture, and 15 moreRenaissance culture in Austria and Italy, Portugal, Menageries, Lisbon (Portugal), Vienna, Exotic animals, Portugal court, História de Portugal, Botanical Gardens, Pet and Exotic Animals, Renaissance Menageries, Menageries in the Renaissance, Emperor Maximilian II, Süleyman the Elephant, and Renaissance Austria
Research Interests:
English Text
Research Interests:
At the start of the Golden Age, Dutch merchants used their business acumen to establish lucrative trade agreements with Asia. This trade saw all sorts of exotic treasures, such as porcelain, lacquer ware, ebony, ivory and silk, arriving... more
At the start of the Golden Age, Dutch merchants used their business acumen to establish lucrative trade agreements with Asia. This trade saw all sorts of exotic treasures, such as porcelain, lacquer ware, ebony, ivory and silk, arriving in the Dutch Republic, where no one had ever seen such design and materials before. Asia in Amsterdam shares the sensation that these luxury items caused, while also presenting the history behind this first global market. When Dutch ships sailed the entire globe, when young men risked their lives to become rich in Batavia, and when the phrase Made in China meant something else altogether. Amsterdam played a central role in the story: the capital city became the marketplace for Asian luxury goods. And not just for the Republic, but for all of Europe.
The Peabody Essex Museum in Salem (Massachusetts, USA) has one of the most beautiful Asian export art collections in the world and is the Rijksmuseum's partner for this exhibition.
The Peabody Essex Museum in Salem (Massachusetts, USA) has one of the most beautiful Asian export art collections in the world and is the Rijksmuseum's partner for this exhibition.
Research Interests:
Collecting and Display, London, July 2016
The Art Market: Collectors and Agents: Then and Now
The Art Market: Collectors and Agents: Then and Now
Research Interests:
The ‘Pangolin Fan’: A Rediscovered Imperial Ivory Fan from Ceylon Annemarie Jordan Gschwend, Senior Research Scholar & Curator, Centro de Humanidades, Zurich & Lisbon Hugo Miguel Crespo, Researcher, Centre for History, University of... more
The ‘Pangolin Fan’: A Rediscovered Imperial Ivory Fan from Ceylon
Annemarie Jordan Gschwend, Senior Research Scholar & Curator, Centro de Humanidades, Zurich & Lisbon Hugo Miguel Crespo, Researcher, Centre for History, University of Lisbon
Annemarie Jordan Gschwend, Senior Research Scholar & Curator, Centro de Humanidades, Zurich & Lisbon Hugo Miguel Crespo, Researcher, Centre for History, University of Lisbon
Research Interests: Southeast Asian Studies, Southeast Asia, Sri Lanka, History of Collections, Collecting and Collections, and 9 moreSoutheast Asian Politics, History of Collecting, Patronage and collecting, Collectors and Collecting, History of Collecting and Antiquarianism, Asian Art, Buddhism in Sri Lanka, History of Ceylon, and Portuguese Ceylon
PORTUGUESE STUDIES REVIEW VOLUME 30 • NUMBER 1 • 2022 ABSTRACT Anthonis Mor’s career at the imperial Habsburg court in Brussels began in 1549 when Antoine Perrenot de Granvelle introduced him to Mary of Hungary, Regent of the... more
PORTUGUESE STUDIES REVIEW
VOLUME 30 • NUMBER 1 • 2022
ABSTRACT
Anthonis Mor’s career at the imperial Habsburg court in Brussels began in 1549 when Antoine Perrenot de Granvelle introduced him to Mary of Hungary, Regent of the Netherlands and her sister Leonor of Austria, Dowager Queen of Portugal and France. In 1551 Mor was chosen by hese ladies to undertake a delicate mission, sending him to the Lisbon court to paint Leonor’s daughter, Infanta Maria. This paper looks at the visual devices that Mor deployed to depict this Portuguese princess as the quintessential Habsburg bride. Recently discovered correspondence in archives in Lisbon, Madrid, and Vienna reveals the ways in which Infanta Maria was politically marketed in Lisbon and at the Habsburg courts in Brussels and Madrid. Her half-brother Infante Luís implemented political and visual strategies to contextualize her as a paragon of beauty and intellect, while poignant predictions spread by the astrologer Domingo Peres falsely claimed she would become the Queen of Spain.
VOLUME 30 • NUMBER 1 • 2022
ABSTRACT
Anthonis Mor’s career at the imperial Habsburg court in Brussels began in 1549 when Antoine Perrenot de Granvelle introduced him to Mary of Hungary, Regent of the Netherlands and her sister Leonor of Austria, Dowager Queen of Portugal and France. In 1551 Mor was chosen by hese ladies to undertake a delicate mission, sending him to the Lisbon court to paint Leonor’s daughter, Infanta Maria. This paper looks at the visual devices that Mor deployed to depict this Portuguese princess as the quintessential Habsburg bride. Recently discovered correspondence in archives in Lisbon, Madrid, and Vienna reveals the ways in which Infanta Maria was politically marketed in Lisbon and at the Habsburg courts in Brussels and Madrid. Her half-brother Infante Luís implemented political and visual strategies to contextualize her as a paragon of beauty and intellect, while poignant predictions spread by the astrologer Domingo Peres falsely claimed she would become the Queen of Spain.
Research Interests: Gender Studies, Portuguese Studies, Habsburg Studies, Portugal (History), Women and Gender Studies, and 7 moreQueenship in Medieval and Early Modern Europe, Habsburg, Renaissance Portraiture, História de Portugal, Anthonis Mor, Habsburg Court Portraits and Painters, and Lisbon Court in the Renaissance
Hans Khevenhüller was imperial ambassador in Spain from 1574 to 1606, where he assumed the role of art dealer for his Habsburg patrons Maximilian II., Ferdinand II. and Rudolf II. Khevenhüller played a major role in the development of... more
Hans Khevenhüller was imperial ambassador in Spain from 1574 to 1606, where he assumed the role of art dealer for his Habsburg patrons Maximilian II., Ferdinand II. and Rudolf II. Khevenhüller played a major role in the development of Kunstkammers, menageries and gardens in Vienna, Prague, Graz, Innsbruck and Munich. His thirty-three year residency in Iberia transformed Habsburg collecting in the late sixteenth century. A true Renaissance man with cultivated tastes and a discerning eye, Khevenhüller was responsible for the acquisition of wild and domestic animals, exotica, luxury goods, and jewelry: seeds, flowers and plants from Portuguese Asia and the Americas, which he shipped under very difficult circumstances from Madrid to Central Europe. His vast network of merchants in Lisbon, Seville and Goa was invaluable, and he cultivated reliable informants in Iberia, the Americas and Asia, taking advantage of Fugger agents, Konrad Rott in Lisbon and Ferdinand Cron, who resided for 37 years in Portuguese India. Cron was Khevenhüller’s link between Goa, Japan, South China, Lisbon and Madrid.
Research Interests: Habsburg Studies, Diplomacy, Patronage (History), History of the Portuguese Empire, Collecting and Collections, and 24 moreSpain (History), History of the Spanish-Habsburg Netherlands, Cultural Diplomacy, Early modern Spain, Austrian History, History of Commodities in a Global Perspective, Patronage and collecting, Patronage of Arts and Education, Prague, Ambassadors, Rudolphine Prague, Patronage and Clientage, Habsburg, Art in the Portuguese and Spanish Empires, Philip II of Spain, Court of Rudolf II, Rudolf II, Habsburg Empire, History of Ceylon, Colonial Art and Portuguese and Spanish Empires, The Court of Philip II, The Cultural and Diplomatic World of Hans Khevenhüller, King Philip II of Spain, and Hans Khevenhüller
The Court Historian, 3:1, pp. 16-23
NEWS FROM COURT CITIES
VIII. Lisbon: Between Spices and Diamonds, 1500 to 1755
NEWS FROM COURT CITIES
VIII. Lisbon: Between Spices and Diamonds, 1500 to 1755
Research Interests:
SCHLOSS AMBRAS, SUMMER EXHIBITION, 2018
Research Interests:
Vestir a la española Congreso internacional. 1, 2 y 3 de octubre. Madrid, Museo del Traje, Real Monasterio de El Escorial y Casa de Velázquez Influencia de la moda española en el retrato cortesano europeo del siglo XVI Annemarie Jordan... more
Vestir a la española
Congreso internacional. 1, 2 y 3 de octubre. Madrid, Museo del Traje, Real Monasterio de El Escorial y Casa de Velázquez
Influencia de la moda española en el retrato cortesano europeo del siglo XVI
Annemarie Jordan Investigadora
Leonor de Austria (1498-1558), hermana mayor de Carlos V, se casó por razones dinásticas y políticas con Francisco I de Francia en 1526. Durante su entrada oficial en Bayona en 1530, vistió un traje español y se comportó «como una princesa consciente de su linaje». Estaba muy orgullosa de su herencia austriaca, y su preferencia por el traje español y portugués era una estrategia deliberada para mantener su propia identidad en una corte francesa a veces hostil. Al principio de su reinado, Leonor encargó unos retratos al flamenco Joos van Cleve en los que aparecía como una reina Habsburgo de Francia. Después de 1537, cuando accedió a adoptar el traje francés a petición de Francisco I, decidió acudir a los pintores franceses Corneille de Lyon, Léonard Limosin y Antoine Trouvéon para que le hicieran nuevos retratos como reina «francesa».
Cuarenta años más tarde, en 1570, la sobrina nieta de Leonor, Isabel de Austria (1554-1592) se casó con Carlos IX. Desde el comienzo de su reinado, Isabel optó por no presentarse como una princesa de la Casa de Austria, sino que tomó como modelo a la reina madre, Catalina de Medici. La llegada de Isabel a Francia coincidió con la de Jooris van der Straeten, que tras sus servicios en las cortes de España y Portugal había ido a trabajar para la suegra de la española. Straeten se convirtió además en el pintor de la reina, codificando su imagen oficial a través de grandes retratos ceremoniales, adoptando un tipo de pintura muy apreciada en la Casa de Habsburgo pero nueva en Francia, donde imperaba el estilo de François Clouet.
Esta ponencia presentará las semejanzas y las diferencias entre las estrategias que adoptaron Leonor e Isabel de Austria para proyectar su imagen, tanto en el vestir como en la política, a través de sus pintores favoritos de la corte de los Valois.
Congreso internacional. 1, 2 y 3 de octubre. Madrid, Museo del Traje, Real Monasterio de El Escorial y Casa de Velázquez
Influencia de la moda española en el retrato cortesano europeo del siglo XVI
Annemarie Jordan Investigadora
Leonor de Austria (1498-1558), hermana mayor de Carlos V, se casó por razones dinásticas y políticas con Francisco I de Francia en 1526. Durante su entrada oficial en Bayona en 1530, vistió un traje español y se comportó «como una princesa consciente de su linaje». Estaba muy orgullosa de su herencia austriaca, y su preferencia por el traje español y portugués era una estrategia deliberada para mantener su propia identidad en una corte francesa a veces hostil. Al principio de su reinado, Leonor encargó unos retratos al flamenco Joos van Cleve en los que aparecía como una reina Habsburgo de Francia. Después de 1537, cuando accedió a adoptar el traje francés a petición de Francisco I, decidió acudir a los pintores franceses Corneille de Lyon, Léonard Limosin y Antoine Trouvéon para que le hicieran nuevos retratos como reina «francesa».
Cuarenta años más tarde, en 1570, la sobrina nieta de Leonor, Isabel de Austria (1554-1592) se casó con Carlos IX. Desde el comienzo de su reinado, Isabel optó por no presentarse como una princesa de la Casa de Austria, sino que tomó como modelo a la reina madre, Catalina de Medici. La llegada de Isabel a Francia coincidió con la de Jooris van der Straeten, que tras sus servicios en las cortes de España y Portugal había ido a trabajar para la suegra de la española. Straeten se convirtió además en el pintor de la reina, codificando su imagen oficial a través de grandes retratos ceremoniales, adoptando un tipo de pintura muy apreciada en la Casa de Habsburgo pero nueva en Francia, donde imperaba el estilo de François Clouet.
Esta ponencia presentará las semejanzas y las diferencias entre las estrategias que adoptaron Leonor e Isabel de Austria para proyectar su imagen, tanto en el vestir como en la política, a través de sus pintores favoritos de la corte de los Valois.
Research Interests:
Research Interests:
Juana of Austria founded the Descalzas Reales convent in Madrid in 1559. Close to her own private quarters, outside of the convent's closure, Juana created a small room for important reliquaries acquired by her as gifts from Central... more
Juana of Austria founded the Descalzas Reales convent in Madrid in 1559. Close to her own private quarters, outside of the convent's closure, Juana created a small room for important reliquaries acquired by her as gifts from Central Europe, given to her by her family: Maria of Austria, Ana of Austria and Rudolf II of Prague, which she later bequeathed the convent. This "relicario" was located in the same chamber where she was born, and according to her biographer, Juan de Carillo, (Relación historica de la Real Fundación del Monasterio de las Descalzas, 1616), the ceiling was lined with mirrors to give the sense of expansive space. The walls had cases which contained reliquaries made of rock crystal, in order that the play of light would underscore the brilliance of those set in gemstones, gold and silver. Below the mirrored ceiling, hung a painting of a dove representing the Holy Ghost. This room functioned both as a Kunst and Wunderkammer, set within a religious context, housing miraculous relics, regarded as "marvels" of a divine nature. The daily routine and life of the Descalzas Reales revolved around the veneration and adoration of these relics, especially during Holy Week.
Research Interests:
Essay on the newly discovered portrait of Juan of Austria as a young prince at the Spanish court painted by Alonso Sânchez Coello in 1559 or 1560 in Toledo.
Research Interests:
Research Interests:
Published by Annemarie Jordan in Jahrbuch der Kunsthistorischen Sammlungen in Wien, vol. 87 (1991), pp. 121-126. This article details the archival documents found in Torre do Tombo archive in Lisbon, and which document for the first... more
Published by Annemarie Jordan in
Jahrbuch der Kunsthistorischen Sammlungen in Wien, vol. 87 (1991), pp. 121-126.
This article details the archival documents found in Torre do Tombo archive in Lisbon, and which document for the first time the purchase of a rare Indian rock crystal elephant Queen Catherine of Portugal bought in Lisbon. She later gave this special object to her niece, Juana of Austria, who in turn gifted it to her nephew Rudolf II of Prague. It is a rare Kunstkammer object from this queen's famed collection to have survived and is today one of the highlights of the newy renovated Kunstkammer in the Kunsthistorisches Museum in Vienna.
Jahrbuch der Kunsthistorischen Sammlungen in Wien, vol. 87 (1991), pp. 121-126.
This article details the archival documents found in Torre do Tombo archive in Lisbon, and which document for the first time the purchase of a rare Indian rock crystal elephant Queen Catherine of Portugal bought in Lisbon. She later gave this special object to her niece, Juana of Austria, who in turn gifted it to her nephew Rudolf II of Prague. It is a rare Kunstkammer object from this queen's famed collection to have survived and is today one of the highlights of the newy renovated Kunstkammer in the Kunsthistorisches Museum in Vienna.
Research Interests: Portuguese Studies, Portuguese History, Renaissance Studies, Habsburg Studies, History of Collections, and 13 moreCollecting and Collections, Jewellery, History of Collecting, Kunstkammer, Jewelery history, Gems and Jewels, Early Collections and Kunstkammer, Renaissance Jewellry, Habsburg art collections, Wunderkammern/Kunstkammern/Naturalienkammern, Rock-crystal, Jewels in the Renaissance, and Catherine of Austria, queen of Portugal
In 1525 Catherine of Austria came to Portugal armed with Flemish tapestries, illuminated manuscripts,family jewels, and a lavish wardrobe, the requisite dowry of a Castilian princess destined to be queen. These personal goods that formed... more
In 1525 Catherine of Austria came to Portugal armed with Flemish tapestries, illuminated manuscripts,family jewels, and a lavish wardrobe, the requisite dowry of a Castilian princess destined to be queen. These personal goods that formed the nucleus of her collection evolved into one that later clearly defineed her social and political position, reflecting a particular hierarchy and symbolism. As a foreign-born queen, Catherine used her possessions to create her own identity at the Portuguese court. Shortly after her arrival sometime between 1525 and 1528, Catherine began collecting imported wares, luxury goods, Chinese silk and porcelain, gems, and jewelry from India and the Far East, available to her through agents stationed in Goa, Malacca and Macau. She created a system that allowed her to purchase directly overseas and key hubs of the Portuguese trade network.
Research Interests: Asian Studies, Southeast Asian Studies, Early Modern History, Maritime History, South Asian Studies, and 20 moreHistory of Collections, Early Modern Women, Patronage (History), Collecting and Collections, Portugal (History), Portugal, History of Collecting, Queenship in Medieval and Early Modern Europe, Patronage and collecting, Lisbon (Portugal), Early Modern Women´s and Gender History, Collectors and Collecting, Maritime Studies, Female Patronage, Political patronage, Patronage, Queenship, Women in the Renaissance and Early Modern Europe, História de Portugal, and História De Arte Em Portugal
A version of a paper presented in 2005 to the annual conference of the Renaissance Society of America, in Cambridge, Massachusetts. Painter Antoine Trouvéon was sent by Leonor of Austria to paint her daughter in Lisbon in 1542. Leonor of... more
A version of a paper presented in 2005 to the annual conference of the Renaissance Society of America, in Cambridge, Massachusetts. Painter Antoine Trouvéon was sent by Leonor of Austria to paint her daughter in Lisbon in 1542. Leonor of Austria, the eldest sister and a favorite of Emperor Charles V, was Queen of Portugal and of France. A document dated 1543 shows Trouvéon calling himself painter to the queen. He arrived in Portugal in January 1542 as part of a special diplomatic mission to secure the marriage of Leonor's daughter, Maria of Portugal, with the dauphin Henri. Trouvéon spent at least eight months in Portugal. Any oil portraits he may have painted of Maria have not survived. However, two drawings of Maria, here attributed to him, are in the Musée Condé; these were previously attributed to Portuguese painter Gregório Lopes, though letters by Luis de Sarmiento contradict this.
Research Interests: French History, French Studies, Renaissance Studies, Renaissance Art, Portraiture, and 20 morePatronage (History), Portugal (History), Francisco de Hollanda, Portugal, Patronage and collecting, Catherine de Medici, Culture at the court of Valois Burgundy, French and Burgundian Court Art, Renaissance Portraiture, Cour De France, Renaissance Portraits, Portrait De La Renaissance En France, Portrait En Flandres Au XVe-XVIe Siècle, Valois Paris, Valois court during the reign of François I, Francois Clouet, Valois queens, Leonor of Austria, queen of France, Court Studies in France, and Portrait en France au XVIe siecle
Revue de l'Art, no. 159, 2008, pp. 11-19
Research Interests: Renaissance Studies, Habsburg Studies, Portraiture, Patronage (History), Early Modern France, and 12 morePortugal (History), Queenship in Medieval and Early Modern Europe, Patronage and collecting, François Ier, Renaissance France, 16th Century French Art, Early Modern Portugal, Portrait De La Renaissance En France, Francois Clouet, French Queens, Lisbon Court in the Renaissance, and 16th century French Painting
Around 1500, Nuremberg merchants began to market all over Europe brass thimbles produced in this city by specialized artisans. Nuremberg thimbles quickly became THE export commodity. Germans merchants based in Lisbon, used Lisbon, its... more
Around 1500, Nuremberg merchants began to market all over Europe brass thimbles produced in this city by specialized artisans. Nuremberg thimbles quickly became THE export commodity.
Germans merchants based in Lisbon, used Lisbon, its shipping routes and trade networks to export Nuremberg thimbles to Portuguese Asia and further abroad in the Far East, as the 1533 shipwreck of the Bom Jesus nau off the Skeleton Coast in Namibia confirms. Dozens of Nuremberg thimbles were found in the excavations.
This article examines Nuremberg brass thimbles exported to Ceylon in the 16th century, and how craftsmen at the royal court of Kotte transformed European models into exclusive luxury goods made of gold and set with precious stones.
The article focuses on one such rare Ceylonese thimble to have survived - a hybrid commodity linking east and west.
Germans merchants based in Lisbon, used Lisbon, its shipping routes and trade networks to export Nuremberg thimbles to Portuguese Asia and further abroad in the Far East, as the 1533 shipwreck of the Bom Jesus nau off the Skeleton Coast in Namibia confirms. Dozens of Nuremberg thimbles were found in the excavations.
This article examines Nuremberg brass thimbles exported to Ceylon in the 16th century, and how craftsmen at the royal court of Kotte transformed European models into exclusive luxury goods made of gold and set with precious stones.
The article focuses on one such rare Ceylonese thimble to have survived - a hybrid commodity linking east and west.
Research Interests: Globalization, Globalisation and cultural change, Portuguese Studies, Globalisation and "global cultural flows", Collecting (Art), and 17 moreCollecting and Collections, Portugal (History), Portugal, History of Collecting, History of Commodities in a Global Perspective, Patronage and collecting, History of Collecting and Antiquarianism, Commodities, Silk Roads, cross-cultural contacts btw. East and West, História de Portugal, History of Collectionism, Artistic exchange between the East and the West, History of Ceylon, Globalization and International Trade, Ceylon, Globalisation, and Asian Portuguese Empire
"A Crystal Elephant from the Kunstkammer of Catherine of Austria," Jahrbuch der Kunsthistorischen Sammlungen in Wien, 87, 1991, pp. 121-126.
Research Interests: Gender Studies, Portuguese Studies, Material Culture Studies, Portuguese History, Habsburg Studies, and 13 moreEarly Modern Material Culture, Decorative Arts, Patronage (History), Collecting (Art), Indian Art, Consumption and Material Culture, Material Culture, History of Collecting, Queenship in Medieval and Early Modern Europe, Patronage and collecting, Indian Archaeology and History of Art, History of Collecting and Antiquarianism, and Patronage
An essay on the portrait miniatures painted by Francisco De Holanda in 1564-1565 at the Lisbon court, analysed by Annemarie Jordan Gschwend. These miniatures were previously and incorrectly misattributed by different scholars to the... more
An essay on the portrait miniatures painted by Francisco De Holanda in 1564-1565 at the Lisbon court, analysed by Annemarie Jordan Gschwend. These miniatures were previously and incorrectly misattributed by different scholars to the Portuguese painters Manuel Denis and Cristovão De Morais. Based on new evidence, Francisco de Holanda has been identified as the painter, commissioned by Catherine of Austria, Queen of Portugal, to paint the Portuguese royal family.
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NEW BOOK ON THE FARNESE COLLECTIONS EDITED BY SIMONE VERDE
Il volume è in relazione con la mostra I Farnese. Architettura, Arte, Potere allestita a Parma presso il Complesso Monumentale della Pilotta dal 18 marzo al 31 luglio 2022. Una raccolta di saggi che rilegge nell’ottica della global history l’appassionante vicenda di una famiglia di grande potere, con forti legami con la corte pontificia, con quella degli Asburgo e dei reali del Portogallo, che fu protagonista dell’età moderna – tra Cinquecento e Settecento – un’epoca di profondi cambiamenti politici e culturali e di tumultuose espansioni geografiche.
Tredici testi di importanti studiosi italiani e internazionali quali Salvatore Settis, Serge Gruzinski e David Abulafia, caratterizzati da un’indagine storica che, a differenza di quella tradizionale focalizzata sullo studio degli stati nazionali (prevalentemente occidentali), decentra lo sguardo e lo estende alla relazione che i Farnese hanno intrecciato con le culture, l’arte, le vicende sociali e politiche ‘globali’. Un’analisi che connette la storia della dinastia con quella di un mondo in evoluzione e sposta il baricentro da Parma e da Roma, ben oltre il Mediterraneo.
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NEW BOOK ON THE FARNESE COLLECTIONS EDITED BY SIMONE VERDE
Il volume è in relazione con la mostra I Farnese. Architettura, Arte, Potere allestita a Parma presso il Complesso Monumentale della Pilotta dal 18 marzo al 31 luglio 2022. Una raccolta di saggi che rilegge nell’ottica della global history l’appassionante vicenda di una famiglia di grande potere, con forti legami con la corte pontificia, con quella degli Asburgo e dei reali del Portogallo, che fu protagonista dell’età moderna – tra Cinquecento e Settecento – un’epoca di profondi cambiamenti politici e culturali e di tumultuose espansioni geografiche.
Tredici testi di importanti studiosi italiani e internazionali quali Salvatore Settis, Serge Gruzinski e David Abulafia, caratterizzati da un’indagine storica che, a differenza di quella tradizionale focalizzata sullo studio degli stati nazionali (prevalentemente occidentali), decentra lo sguardo e lo estende alla relazione che i Farnese hanno intrecciato con le culture, l’arte, le vicende sociali e politiche ‘globali’. Un’analisi che connette la storia della dinastia con quella di un mondo in evoluzione e sposta il baricentro da Parma e da Roma, ben oltre il Mediterraneo.
Research Interests:
This essay explores a recently discovered terracotta bust of Christ made by Jacopo Sansovino, which was given to one of Emperor Charles V's sister as a nuptial present before 1521. The author explores which sister may have received this... more
This essay explores a recently discovered terracotta bust of Christ made by Jacopo Sansovino, which was given to one of Emperor Charles V's sister as a nuptial present before 1521. The author explores which sister may have received this extraordinary bust made in Rome at the height of Pope Julius II's pontificate.
Published in:
Andrew Butterfield, Editor
The Alana Collection Newark, Delaware, USA
Highlights of Italian Sculpture from the Fifteenth and Sixteenth Centuries
Cantz, Germany, 2021
Published in:
Andrew Butterfield, Editor
The Alana Collection Newark, Delaware, USA
Highlights of Italian Sculpture from the Fifteenth and Sixteenth Centuries
Cantz, Germany, 2021
Research Interests:
This essay looks at power fashion and dress at the Lisbon court in the mid-sixteen century and the pursuit of Catherine of Austria, Queen of Portugal, for Italian luxury textiles in Florence, Lucca and Venice. TEXTILE AND FASHION -... more
This essay looks at power fashion and dress at the Lisbon court in the mid-sixteen century and the pursuit of Catherine of Austria, Queen of Portugal, for Italian luxury textiles in Florence, Lucca and Venice.
TEXTILE AND FASHION - VENICE ETC.
RINTRACCIARE STUDIARE DIVULGARE
Per Doretta Davanzo Poli
(Palermo University Press, 2023)
a cura di Paola Venturelli
TEXTILE AND FASHION - VENICE ETC.
RINTRACCIARE STUDIARE DIVULGARE
Per Doretta Davanzo Poli
(Palermo University Press, 2023)
a cura di Paola Venturelli
Research Interests:
This paper focuses on the decoration of the Alcazar palace in Madrid during the reign of Philip II of Spain, concentrating on the king's portrait collection and other pictorial cycles deployed to decorate principal reception rooms and the... more
This paper focuses on the decoration of the Alcazar palace in Madrid during the reign of Philip II of Spain, concentrating on the king's portrait collection and other pictorial cycles deployed to decorate principal reception rooms and the queen's quarters.
Also discussed is the portrait of Infante Carlos by Sofonisba Anguissola, created for the heir and prince before his untimely death in 1568. Several copies and relics of this portrait of the prince wearing a lynx fur coat (bohemia) were made by Alonso Sánchez Coello and his workshop. One version today in the former royal palace in Sintra was identified by the author as a work after Sofonisba Anguissola and produced in Sánchez Coello's workshop, is published here for the first time.
Also discussed is the portrait of Infante Carlos by Sofonisba Anguissola, created for the heir and prince before his untimely death in 1568. Several copies and relics of this portrait of the prince wearing a lynx fur coat (bohemia) were made by Alonso Sánchez Coello and his workshop. One version today in the former royal palace in Sintra was identified by the author as a work after Sofonisba Anguissola and produced in Sánchez Coello's workshop, is published here for the first time.
Research Interests: Portraits, Early Modern History, Renaissance Studies, Habsburg Studies, Portraiture, and 18 morePatronage (History), Early Modern Architecture, Spain (History), Spain, Early modern Spain, Patronage and collecting, Sofonisba Anguissola, 16th and 17th-century Spanish art and architecture, late medieval and early modern history of European nobility and courts, Patronage, Palace, Castles and Palaces of the 16th to 18th century in Central and Southeastern Europe, Habsburg, Renaissance Portraiture, Philip II of Spain, Alonso Sanchez Coello, Royal Palaces, and Spanish court portraiture in the Renaissance
Edited by Herbert Karner, Ingrid Ciulisová and Bernardo J. García García
Research Interests:
Black Africans in Renaissance Europe Thomas Foster Earle, K. J. P. Lowe Cambridge University Press, 26 May 2005 Summary This book, first published in 2005, opens up the much neglected area of the black African presence in Western Europe... more
Black Africans in Renaissance Europe
Thomas Foster Earle, K. J. P. Lowe
Cambridge University Press, 26 May 2005
Summary
This book, first published in 2005, opens up the much neglected area of the black African presence in Western Europe during the Renaissance. Covering history, literature, art history and anthropology, it investigates a whole range of black African experience and representation across Renaissance Europe, from various types of slavery to black musicians and dancers, from real and symbolic Africans at court to the view of the Catholic Church, and from writers of African descent to black African 'criminality'. The main purpose of the collection is to show the variety and complexity of black African life in fifteenth- and sixteenth-century Europe, and how it was affected by firmly held preconceptions relating to the African continent and its inhabitants. Of enormous importance for both European and American history, this book mixes empirical material and theoretical approaches, and addresses such issues as stereotypes, changing black African identity, and cultural representation in art and literature.
Thomas Foster Earle, K. J. P. Lowe
Cambridge University Press, 26 May 2005
Summary
This book, first published in 2005, opens up the much neglected area of the black African presence in Western Europe during the Renaissance. Covering history, literature, art history and anthropology, it investigates a whole range of black African experience and representation across Renaissance Europe, from various types of slavery to black musicians and dancers, from real and symbolic Africans at court to the view of the Catholic Church, and from writers of African descent to black African 'criminality'. The main purpose of the collection is to show the variety and complexity of black African life in fifteenth- and sixteenth-century Europe, and how it was affected by firmly held preconceptions relating to the African continent and its inhabitants. Of enormous importance for both European and American history, this book mixes empirical material and theoretical approaches, and addresses such issues as stereotypes, changing black African identity, and cultural representation in art and literature.
Research Interests: African Studies, Black/African Diaspora, African Diaspora Studies, African History, History of West Africa, and 10 moreAfrica, Slavery, West Africa, History of Slavery, Portugal (History), Africana Studies, Portugal, Lisbon (Portugal), African history, African culture, African politics, African education, Afrocentrism, African-Centred Education, Black Psychology, Black Sociology, Black Family Research, Black Men, Black Youth, African Consciousness, Black Consciousness, Race and Racism, and Black Visual Culture
The first publication in English which takes a closer look at dining, etiquette and ceremonial of royal and princely tables in Portugal from 1500 to 1700. Also spotlighted are documents and inventories related to dining and eating in this... more
The first publication in English which takes a closer look at dining, etiquette and ceremonial of royal and princely tables in Portugal from 1500 to 1700. Also spotlighted are documents and inventories related to dining and eating in this period, including the transcription of an accounts book of the household and kitchen of Catherine of Austria
Essays by Annemarie Jordan Gschwend, Hugo Miguel Crespo, Sasha Assis Lima and Letizia Arbeteta Mira
Essays by Annemarie Jordan Gschwend, Hugo Miguel Crespo, Sasha Assis Lima and Letizia Arbeteta Mira
Research Interests: Renaissance Studies, Renaissance, Courts, Renaissance Art, Habsburg Studies, and 17 morePortugal (History), Portugal, Histoire du cérémonial, Lisbon (Portugal), Etiquette, History of Dining, Court Studies, Protocol and etiquette, História de Portugal, Catherine of Austria, Princes and Court Studies, Politics of Dining, Ceremonial and Symbolic Representations of Sovereignty In Early Modern Europe, Renaissance Cooking and Food, História De Arte Em Portugal, Royal Courts, and Catherine of Austria, queen of Portugal
ANNEMARIE JORDAN GSCHWEND LES PEINTRES DE LA REINE : ANTOINE TROUVÉON ET ANTHONIS MOR AU SERVICE D’ÉLÉONORE D’AUTRICHE, REINE DE PORTUGAL PUIS REINE DE FRANCE ABSTRACT | RÉSUMÉ Éléonore d’Autriche, la soeur aînée de Charles Quint,... more
ANNEMARIE JORDAN GSCHWEND
LES PEINTRES DE LA REINE : ANTOINE TROUVÉON ET ANTHONIS MOR
AU SERVICE D’ÉLÉONORE D’AUTRICHE, REINE DE PORTUGAL PUIS REINE DE FRANCE
ABSTRACT | RÉSUMÉ
Éléonore d’Autriche, la soeur aînée de Charles Quint, grandit à la cour de Mechelen (Malines), où peintres et galeries de portraits jouaient un rôle important. Adolescente, Éléonore vécut entourée par la collection de portraits réunie pas sa tante Marguerite d’Autriche, régente des
Pays-Bas. Nous examinons ici l’influence de Marguerite sur Éléonore, la future reine de Portugal puis de France, mécène de deux portraitistes : Antoine Trouvéon, engagé à la cour des Valois, et Anthonis Mor, actif à Bruxelles. Éléonore envoya les deux artistes à la cour de Lisbonne en tant qu’émissaires spéciaux afin d’exécuter des portraits de sa fille Marie de
Portugal. L’infante portugaise était renommée pour sa beauté, son intelligence et sa vertu.
Éléonore espéra d’abord l’unir à la cour des Valois et ensuite à sa famille Habsbourg. Sonobjectif était un mariage dynastique digne du rang de Marie. Exécutés en vue de deux missions
secrètes distinctes, ces portraits constituent un témoignage extraordinaire de deux projets d’union qui ne se réalisèrent jamais.
LES PEINTRES DE LA REINE : ANTOINE TROUVÉON ET ANTHONIS MOR
AU SERVICE D’ÉLÉONORE D’AUTRICHE, REINE DE PORTUGAL PUIS REINE DE FRANCE
ABSTRACT | RÉSUMÉ
Éléonore d’Autriche, la soeur aînée de Charles Quint, grandit à la cour de Mechelen (Malines), où peintres et galeries de portraits jouaient un rôle important. Adolescente, Éléonore vécut entourée par la collection de portraits réunie pas sa tante Marguerite d’Autriche, régente des
Pays-Bas. Nous examinons ici l’influence de Marguerite sur Éléonore, la future reine de Portugal puis de France, mécène de deux portraitistes : Antoine Trouvéon, engagé à la cour des Valois, et Anthonis Mor, actif à Bruxelles. Éléonore envoya les deux artistes à la cour de Lisbonne en tant qu’émissaires spéciaux afin d’exécuter des portraits de sa fille Marie de
Portugal. L’infante portugaise était renommée pour sa beauté, son intelligence et sa vertu.
Éléonore espéra d’abord l’unir à la cour des Valois et ensuite à sa famille Habsbourg. Sonobjectif était un mariage dynastique digne du rang de Marie. Exécutés en vue de deux missions
secrètes distinctes, ces portraits constituent un témoignage extraordinaire de deux projets d’union qui ne se réalisèrent jamais.
Research Interests:
AMIR MOHTASHEMI Amir Mohtashemi is a dealer and leading specialist in Indian and Islamic art. His experience in this field spans over 25 years and today his advice is sought by private collectors and museums worldwide. Amir Mohtashemi... more
AMIR MOHTASHEMI
Amir Mohtashemi is a dealer and leading specialist in Indian and Islamic art. His experience in this field spans over 25 years and today his advice is sought by private collectors and museums worldwide.
Amir Mohtashemi Ltd is located on Kensington Church Street in London and showcases Indian and Islamic works of art with a particular interest in cross-cultural material. The gallery exhibits a range of items including paintings and miniatures, ceramics, metalwork, furniture, textiles and arms and armour. Amir strives to acquire important, rare and interesting objects which have a credible provenance.
Each year the gallery participates in prestigious art fairs namely TEFAF Maastricht, Masterpiece London and Asian Art in London.
The gallery has sold works to major museums including: Asian Civilisations Museum (Singapore), The British Library (London), Indian Heritage Centre (Singapore), Islamic Arts Museum Malaysia (Kuala Lumpur), Ismaili Council for Canada (Toronto), Kiran Nader Museum of Art (New Delhi), Louvre (Abu Dhabi), The Metropolitan Museum of Art (New York), Musée Guimet (Paris), Musée du quai Branly (Paris), Museo de Arte de Lima, Museum of Fine Arts Boston, Museum of Fine Arts Houston, Newark Museum (New Jersey), and the Sadberk Hanim Muzesi (Istanbul).
Amir Mohtashemi is a dealer and leading specialist in Indian and Islamic art. His experience in this field spans over 25 years and today his advice is sought by private collectors and museums worldwide.
Amir Mohtashemi Ltd is located on Kensington Church Street in London and showcases Indian and Islamic works of art with a particular interest in cross-cultural material. The gallery exhibits a range of items including paintings and miniatures, ceramics, metalwork, furniture, textiles and arms and armour. Amir strives to acquire important, rare and interesting objects which have a credible provenance.
Each year the gallery participates in prestigious art fairs namely TEFAF Maastricht, Masterpiece London and Asian Art in London.
The gallery has sold works to major museums including: Asian Civilisations Museum (Singapore), The British Library (London), Indian Heritage Centre (Singapore), Islamic Arts Museum Malaysia (Kuala Lumpur), Ismaili Council for Canada (Toronto), Kiran Nader Museum of Art (New Delhi), Louvre (Abu Dhabi), The Metropolitan Museum of Art (New York), Musée Guimet (Paris), Musée du quai Branly (Paris), Museo de Arte de Lima, Museum of Fine Arts Boston, Museum of Fine Arts Houston, Newark Museum (New Jersey), and the Sadberk Hanim Muzesi (Istanbul).
Research Interests:
Essays and Catalogue Entries by Annemarie Jordan Gschwend ‘Comprar o Mundo. Consumo e Comércio na Lisboa do Renascimento. Shopping for Global Goods. Consumption and Trade in Renaissance Lisbon’, in Comprar o Mundo. Consumo e Comércio na... more
Essays and Catalogue Entries by Annemarie Jordan Gschwend
‘Comprar o Mundo. Consumo e Comércio na Lisboa do Renascimento.
Shopping for Global Goods. Consumption and Trade in Renaissance Lisbon’, in Comprar o Mundo. Consumo e Comércio na Lisboa do Renascimento. Shopping for Global Goods. Consumption and Trade in Renaissance Lisbon, edited by Hugo Miguel Crespo, Lisbon: AR|PAB, 2020, pp. 14-18
‘Comprar gemas de todo o mundo em Lisboa. Em busca de diamantes indianos, gemas asiáticas, pérolas de Ormuz e esmeraldas peruanas.
Shopping for Global Gems in Lisbon. The Quest for Indian diamonds, Asian Gemstones, Pearls from Hormuz and Peruvian Emeralds’ in Comprar o Mundo. Consumo e Comércio na Lisboa do Renascimento. Shopping for Global Goods. Consumption and Trade in Renaissance Lisbon, edited by Hugo Miguel Crespo, Lisbon: AR|PAB, 2020, pp. 20-31
Annemarie Jordan Gschwend and Hugo Miguel Crespo
‘Gillis Claeissens (attributed), Portrait of a Gentleman’, in Comprar o Mundo. Consumo e Comércio na Lisboa do Renascimento. Shopping for Global Goods. Consumption and Trade in Renaissance Lisbon, edited by Hugo Miguel Crespo, Lisbon: AR|PAB, 2020, cat. 2, pp. 38-39
Annemarie Jordan Gschwend
‘Rolán de Moys. Juana de Aragón y Pernstein as an Infant’ in Comprar o Mundo. Consumo e Comércio na Lisboa do Renascimento. Shopping for Global Goods. Consumption and Trade in Renaissance Lisbon, edited by Hugo Miguel Crespo, Lisbon: AR|PAB, 2020, cat. 3, pp. 50-57
‘Comprar o Mundo. Consumo e Comércio na Lisboa do Renascimento.
Shopping for Global Goods. Consumption and Trade in Renaissance Lisbon’, in Comprar o Mundo. Consumo e Comércio na Lisboa do Renascimento. Shopping for Global Goods. Consumption and Trade in Renaissance Lisbon, edited by Hugo Miguel Crespo, Lisbon: AR|PAB, 2020, pp. 14-18
‘Comprar gemas de todo o mundo em Lisboa. Em busca de diamantes indianos, gemas asiáticas, pérolas de Ormuz e esmeraldas peruanas.
Shopping for Global Gems in Lisbon. The Quest for Indian diamonds, Asian Gemstones, Pearls from Hormuz and Peruvian Emeralds’ in Comprar o Mundo. Consumo e Comércio na Lisboa do Renascimento. Shopping for Global Goods. Consumption and Trade in Renaissance Lisbon, edited by Hugo Miguel Crespo, Lisbon: AR|PAB, 2020, pp. 20-31
Annemarie Jordan Gschwend and Hugo Miguel Crespo
‘Gillis Claeissens (attributed), Portrait of a Gentleman’, in Comprar o Mundo. Consumo e Comércio na Lisboa do Renascimento. Shopping for Global Goods. Consumption and Trade in Renaissance Lisbon, edited by Hugo Miguel Crespo, Lisbon: AR|PAB, 2020, cat. 2, pp. 38-39
Annemarie Jordan Gschwend
‘Rolán de Moys. Juana de Aragón y Pernstein as an Infant’ in Comprar o Mundo. Consumo e Comércio na Lisboa do Renascimento. Shopping for Global Goods. Consumption and Trade in Renaissance Lisbon, edited by Hugo Miguel Crespo, Lisbon: AR|PAB, 2020, cat. 3, pp. 50-57
Research Interests:
‘Wencesslawen Gamniczer, burger und Goltschmidt zu Nürnberg. Wenzel Gamniczer (Jamnitzer), cidadão burguês e ourives de Nuremberga. Wencesslawen Gamniczer, burger und Goltschmidt zu Nürnberg. Wenzel Gamniczer (Jamnitzer), burgher and... more
‘Wencesslawen Gamniczer, burger und Goltschmidt zu Nürnberg. Wenzel Gamniczer (Jamnitzer), cidadão burguês e ourives de Nuremberga.
Wencesslawen Gamniczer, burger und Goltschmidt zu Nürnberg. Wenzel Gamniczer (Jamnitzer), burgher and goldsmith in Nuremberg’ in
As Flores de Jamnitzer. A fundição pelo natural no Renascimento
Jamnitzer’s Flowers. Life casting in the Renaissance, edited by Hugo Miguel Crespo, Lisbon, AR|PAB, 2020, pp. 14-33
Wencesslawen Gamniczer, burger und Goltschmidt zu Nürnberg. Wenzel Gamniczer (Jamnitzer), burgher and goldsmith in Nuremberg’ in
As Flores de Jamnitzer. A fundição pelo natural no Renascimento
Jamnitzer’s Flowers. Life casting in the Renaissance, edited by Hugo Miguel Crespo, Lisbon, AR|PAB, 2020, pp. 14-33
Research Interests:
Noelia García Pérez, Editor 32 p., 18 b/w ill. + 32 colour ill., 5 b/w tables, 210 x 270 mm, 2020 ISBN: 978-2-503-58948-0 Languages: English Paperback The publication is in production. (09/2020) Retail price: EUR 55,00 excl. tax This... more
Noelia García Pérez, Editor
32 p., 18 b/w ill. + 32 colour ill., 5 b/w tables, 210 x 270 mm, 2020
ISBN: 978-2-503-58948-0
Languages: English
Paperback
The publication is in production. (09/2020)
Retail price: EUR 55,00 excl. tax
This collection of essays examines diverse facets of the cultural patronage and collecting of Mary of Hungary.
Mary of Hungary’s extensive artistic patronage and the collections she formed of an array of artworks, objects and books were by no means an isolated phenomenon within the Habsburg dynasty. On the contrary, the Regent of the Netherlands and loyal adviser to her brother, the Holy Roman Emperor Charles V, emulated the examples of the Habsburg women who preceded her, and in turn provided an exemplar for those that came after. She continued the traditions, trends and practices her ancestors and peers had established, which had been initiated by female members of the Trastámara dynasty, most notably Isabel of Castile This collection of essays examines the cultural patronage of Mary of Hungary in the light of her multiple identities: a humanist-trained patron of the arts; a Habsburg princess closely implicated in the visual construction and projection of Charles V's political identity across the alliances and divisions of early modern Europe; and a female regent bound by the imperial, dynastic and political ideologies cultivated by the sixteenth-century Habsburg monarchs.
Beyond forming one of the most important art collections of the European Renaissance and playing a prominent role in the patronage of the artists she received under her protection, Mary used art to construct an image of herself that undeniably contributed to the consolidation and dissemination of both her political legitimacy and that of her dynasty among the courts of Europe.
32 p., 18 b/w ill. + 32 colour ill., 5 b/w tables, 210 x 270 mm, 2020
ISBN: 978-2-503-58948-0
Languages: English
Paperback
The publication is in production. (09/2020)
Retail price: EUR 55,00 excl. tax
This collection of essays examines diverse facets of the cultural patronage and collecting of Mary of Hungary.
Mary of Hungary’s extensive artistic patronage and the collections she formed of an array of artworks, objects and books were by no means an isolated phenomenon within the Habsburg dynasty. On the contrary, the Regent of the Netherlands and loyal adviser to her brother, the Holy Roman Emperor Charles V, emulated the examples of the Habsburg women who preceded her, and in turn provided an exemplar for those that came after. She continued the traditions, trends and practices her ancestors and peers had established, which had been initiated by female members of the Trastámara dynasty, most notably Isabel of Castile This collection of essays examines the cultural patronage of Mary of Hungary in the light of her multiple identities: a humanist-trained patron of the arts; a Habsburg princess closely implicated in the visual construction and projection of Charles V's political identity across the alliances and divisions of early modern Europe; and a female regent bound by the imperial, dynastic and political ideologies cultivated by the sixteenth-century Habsburg monarchs.
Beyond forming one of the most important art collections of the European Renaissance and playing a prominent role in the patronage of the artists she received under her protection, Mary used art to construct an image of herself that undeniably contributed to the consolidation and dissemination of both her political legitimacy and that of her dynasty among the courts of Europe.
Research Interests:
PRE-ORDER Representing Women’s Political Identity in the Early Modern Iberian World Edited by Jeremy Roe, Jean Andrews By exploring textual, visual and material culture, this volume presents a range of new research into the... more
PRE-ORDER
Representing Women’s Political Identity in the Early Modern Iberian World
Edited by Jeremy Roe, Jean Andrews
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.
TABLE OF CONTENTS
Introduction by Jeremy Roe and Jean Andrews
Part I: The politics of non-elite devotional identities in textual, visual and material culture
1. Three willful characters in search for God: visionary action and political identity in seventeenth-century Portuguese women mystics
Joana Serrado
2. From spectatorship to sponsorship: female participation in the festivals of colonial Potosí
Lisa Voigt
3. The mirror-shield of Sor Juana Inéz de la Cruz
Diane H. Bodart
4. Female agency and the sculptural object in Agostinho de Santa Maria’s hagiography of Filipa Ferreira (?–1626), the Augustinian Soror Filipa da Trindade
Carla Alferes Pinto
5. Josefa de Ayala e Cabreira’s St Catherine of Alexandria altarpiece and female empowerment
Jean Andrews
Part II: Spaces and spectacles of the female courtier
6. The monastery I have built in this city of Madrid: mapping Juana of Austria’s royal spaces in the Descalzas Reales convent
Annemarie Jordan Gschwend
7. Ladies-in-waiting at the Spanish Habsburg palaces and convents, the Alcázar and the Descalzas Reales (1570–1603): spaces and representations of identity and agency
Vanessa de Cruz Medina
8. Ana de Mendoza y de la Cerda, Princess of Éboli: image, myth, and person
Trevor J. Dadson
9. The Relação do torneio que fizeram as damas da Rainha Nossa Senhora, a noite do Baptisado do Sr Infante D. Pedro…: identification and the spectacle of court culture
Jeremy Roe
10. The use, significance and projection of artistic objects in the life and exequies of the VI Duchess of Aveiro
Gema Rivas Gómez Calcerrada
Part III: Rethinking regal iconography: the materiality and ideology of symbolism
11. The Queen Consort in Castile and Portugal: María of Aragon (b. 1403–d. 1445), Queen of Castile and Leonor of Aragon (b. 1405/1408–d. 1445), Queen of Portugal
Ana Maria S.A. Rodrigues
12. Mariana de Austria: the ideal bride and saviour of the Habsburg Monarchy
Inmaculada Rodríguez Moya
13. Dresses, portraits and spaces: female identities at the Royal Alcázar (1621–1665)
Laura Oliván Santaliestra
Representing Women’s Political Identity in the Early Modern Iberian World
Edited by Jeremy Roe, Jean Andrews
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.
TABLE OF CONTENTS
Introduction by Jeremy Roe and Jean Andrews
Part I: The politics of non-elite devotional identities in textual, visual and material culture
1. Three willful characters in search for God: visionary action and political identity in seventeenth-century Portuguese women mystics
Joana Serrado
2. From spectatorship to sponsorship: female participation in the festivals of colonial Potosí
Lisa Voigt
3. The mirror-shield of Sor Juana Inéz de la Cruz
Diane H. Bodart
4. Female agency and the sculptural object in Agostinho de Santa Maria’s hagiography of Filipa Ferreira (?–1626), the Augustinian Soror Filipa da Trindade
Carla Alferes Pinto
5. Josefa de Ayala e Cabreira’s St Catherine of Alexandria altarpiece and female empowerment
Jean Andrews
Part II: Spaces and spectacles of the female courtier
6. The monastery I have built in this city of Madrid: mapping Juana of Austria’s royal spaces in the Descalzas Reales convent
Annemarie Jordan Gschwend
7. Ladies-in-waiting at the Spanish Habsburg palaces and convents, the Alcázar and the Descalzas Reales (1570–1603): spaces and representations of identity and agency
Vanessa de Cruz Medina
8. Ana de Mendoza y de la Cerda, Princess of Éboli: image, myth, and person
Trevor J. Dadson
9. The Relação do torneio que fizeram as damas da Rainha Nossa Senhora, a noite do Baptisado do Sr Infante D. Pedro…: identification and the spectacle of court culture
Jeremy Roe
10. The use, significance and projection of artistic objects in the life and exequies of the VI Duchess of Aveiro
Gema Rivas Gómez Calcerrada
Part III: Rethinking regal iconography: the materiality and ideology of symbolism
11. The Queen Consort in Castile and Portugal: María of Aragon (b. 1403–d. 1445), Queen of Castile and Leonor of Aragon (b. 1405/1408–d. 1445), Queen of Portugal
Ana Maria S.A. Rodrigues
12. Mariana de Austria: the ideal bride and saviour of the Habsburg Monarchy
Inmaculada Rodríguez Moya
13. Dresses, portraits and spaces: female identities at the Royal Alcázar (1621–1665)
Laura Oliván Santaliestra
Research Interests:
Research Interests:
This paper focuses on the little known activities of Leonor of Austria, the eldest sister of Emperor Charles V, as Queen of Portugal and France
Research Interests:
MARIA DI PORTOGALLO SPOSA DI ALESSANDRO FARNESE a cura di Giuseppe Bertini Parma, 1999 This essay explores the Portuguese royal chapel located in the Paço da Ribeira palace in mid-16h century Lisbon. Under scrutiny: religious ceremonial,... more
MARIA DI PORTOGALLO SPOSA DI ALESSANDRO FARNESE a cura di
Giuseppe Bertini
Parma, 1999
This essay explores the Portuguese royal chapel located in the Paço da Ribeira palace in mid-16h century Lisbon. Under scrutiny: religious ceremonial, music and devotion at the Portuguese royal court. Also discussed is the interior decoration of the royal chapel during the reign of John III and Catherine of Austria. The author has sourced many unpublished documents and royal inventories.
Giuseppe Bertini
Parma, 1999
This essay explores the Portuguese royal chapel located in the Paço da Ribeira palace in mid-16h century Lisbon. Under scrutiny: religious ceremonial, music and devotion at the Portuguese royal court. Also discussed is the interior decoration of the royal chapel during the reign of John III and Catherine of Austria. The author has sourced many unpublished documents and royal inventories.
Research Interests:
La monarquia de Felipe II a debate, ed. Luis Ribot. Sociedad Estatal para la Conmemoraciön de los Centenarios de Felipe II y Carlos V, Madrid, 2000 This essay explores the patronage and collections of Juana and Maria of Austria, not only... more
La monarquia de Felipe II a debate, ed. Luis Ribot. Sociedad Estatal para la Conmemoraciön de los Centenarios
de Felipe II y Carlos V, Madrid, 2000
This essay explores the patronage and collections of Juana and Maria of Austria, not only at their respective courts in Spain and Austria, but also during their residencies at the Descalzas Reales Convent in Madrid. This convent founded in 1555, was built by Juana after 1557. The author sourced many unpublished documents and inventories from archives in Spain and in Portugal. A number of documents located in Lisbon, proves for the first time that the renowned court architect, Juan de Herrera, designed Juana of Austria's funerary chapel in the Descalzas convent. Pompeo Leone, court sculptor, was commissioned to executed Juana's funerary statue.
de Felipe II y Carlos V, Madrid, 2000
This essay explores the patronage and collections of Juana and Maria of Austria, not only at their respective courts in Spain and Austria, but also during their residencies at the Descalzas Reales Convent in Madrid. This convent founded in 1555, was built by Juana after 1557. The author sourced many unpublished documents and inventories from archives in Spain and in Portugal. A number of documents located in Lisbon, proves for the first time that the renowned court architect, Juan de Herrera, designed Juana of Austria's funerary chapel in the Descalzas convent. Pompeo Leone, court sculptor, was commissioned to executed Juana's funerary statue.
Research Interests: Habsburg Studies, Patronage (History), Collecting (Art), Collecting and Collections, Spain (History), and 23 moreSpain, Charles V, Early modern Spain, History of Collecting, Patronage and collecting, Early Modern Collecting, Collectors and Collecting, Madrid, Female Patronage, Political patronage, Convents, Patronage, Historia de Madrid, Female convents, Jacopo da Trezzo, Philip II of Spain, Descalzas Reales, Juana of Austria As Patron and Collector, The Court of Philip II, Juan de Herrera, Descalzas Reales Convent, Early modern convents, and Pomepo Leone
Los Triunfos de Aracne. Tapices flamencos de los Austrias en el Renacimiento, Fernando Checa Cremades y Bernardo J. García García (eds.), Madrid: Fundación Carlos de Amberes, 2011, 480 pp., ISBN 978-84-87369-68-1, 30 €
Research Interests: Gender Studies, Material Culture Studies, Habsburg Studies, Spanish History, History Portuguese and Spanish, and 12 moreEarly Modern Women, Collecting and Collections, Consumption and Material Culture, Material Culture, Collecting and Display, Women and Gender Studies, History of Collecting, Patronage and collecting, Early Modern Women´s and Gender History, Flemish Tapestries, Habsburg Courts, and Royal Princesses
Queen of the Seas and Overseas Dining at the Table of Catherine of Austria, Queen of Portugal. Mesas Reais Europeias. Encomendas e Ofertas/Royal and Princely Tables of Europe. Comissions and Gifts/Tables Royales en Europe. Commandes et... more
Queen of the Seas and Overseas Dining at the Table of Catherine of Austria, Queen of Portugal. Mesas Reais Europeias. Encomendas e Ofertas/Royal and Princely Tables of Europe. Comissions and Gifts/Tables Royales en Europe. Commandes et Cadeaux. Edited by Leonor d’ Orey. Lisbon: Instituto Português de Museus, 1999, p. 14-43.
Research Interests: Early Modern History, Material Culture Studies, Consumption, Consumption Studies, Early Modern Europe, and 11 moreHistory Of Food Consumption, Consumption and Material Culture, Material Culture, Queenship in Medieval and Early Modern Europe, Early Modern Court Culture, Etiquette, History of Dining, Consumption Culture, Protocol and etiquette, Politics of Dining, and Ceremonial and Symbolic Representations of Sovereignty In Early Modern Europe
Pietas Austriaca at the Lisbon Court The Monumental Chapel and Funerary Tombs built by Catherine of Austria in the San Jerónimos Complex in Belém According to Vasari, the queen of Portugal., Catherine of Austria, had originally... more
Pietas Austriaca at the Lisbon Court
The Monumental Chapel and Funerary Tombs built by Catherine of Austria in the San Jerónimos Complex in Belém
According to Vasari, the queen of Portugal., Catherine of Austria, had originally commissioned in 1565 an altarpiece from the renowned Venetian painter, Titian, for this royal chapel which never reached Portugal. This paper investigates the entire history of this monumental chapel in Belém.
The Monumental Chapel and Funerary Tombs built by Catherine of Austria in the San Jerónimos Complex in Belém
According to Vasari, the queen of Portugal., Catherine of Austria, had originally commissioned in 1565 an altarpiece from the renowned Venetian painter, Titian, for this royal chapel which never reached Portugal. This paper investigates the entire history of this monumental chapel in Belém.
Research Interests: Architecture, Renaissance Studies, Habsburg Studies, Architecture in Italian Renaissance and Baroque Art, History of the Spanish-Habsburg Netherlands, and 12 morePortugal (History), Portugal, Renaissance architecture, Funerary Chapels, Habsburg, Iberian art and architecture, Architecture and Public Spaces, History of Architecture, Funerary Monuments, Royal Chapels, Pietas Austriaca, and Catherine of Austria, queen of Portugal
En la Corte del Rey de España. Liber Amicorum en homenaje a Carlos Gómez-Centurión Jiménez (1958-2011). Rafael Valladares, Feliciano Barrios, Juan A. Sánchez Belén (eds.) Investigadores del Instituto Universitario “La Corte en Europa”... more
En la Corte del Rey de España. Liber Amicorum en homenaje a Carlos Gómez-Centurión Jiménez (1958-2011).
Rafael Valladares, Feliciano Barrios, Juan A. Sánchez Belén (eds.)
Investigadores del Instituto Universitario “La Corte en Europa” participan en esta obra homenaje a Carlos Gómez Centurión.
Sinopsis
En las últimas décadas la historiografía sobre la Corte ha experimentado en Europa un desarrollo espectacular. La obra de Carlos Gómez-Centurión Jiménez se vinculó desde muy pronto a este renacer de los estudios palatinos en la Edad Moderna con un enfoque siempre innovador acorde con su personalidad. Por ello, los autores reunidos en este libro rinden homenaje a su figura y su legado, tomando como hilo conductor de sus trabajos la pasión y la originalidad investigadoras de las que Gómez-Centurión hizo gala a la hora de tratar asuntos como las etiquetas cortesanas, la hacienda de las Casas Reales o las mascotas regias. Tras cada uno de estos argumentos recala siempre el problema de la majestad y del poder, de su gestión material y de su representación simbólica. Su obra, pues, ha inspirado este libro que pretende recordar a un historiador que perteneció a su generación tanto como permanecerá en las futuras.
Rafael Valladares, Feliciano Barrios, Juan A. Sánchez Belén (eds.), En la Corte del Rey de España. Liber Amicorum en homenaje a Carlos Gómez-Centurión Jiménez (1958-2011), Ediciones Polifemo, Madrid, 2016.
Rafael Valladares, Feliciano Barrios, Juan A. Sánchez Belén (eds.)
Investigadores del Instituto Universitario “La Corte en Europa” participan en esta obra homenaje a Carlos Gómez Centurión.
Sinopsis
En las últimas décadas la historiografía sobre la Corte ha experimentado en Europa un desarrollo espectacular. La obra de Carlos Gómez-Centurión Jiménez se vinculó desde muy pronto a este renacer de los estudios palatinos en la Edad Moderna con un enfoque siempre innovador acorde con su personalidad. Por ello, los autores reunidos en este libro rinden homenaje a su figura y su legado, tomando como hilo conductor de sus trabajos la pasión y la originalidad investigadoras de las que Gómez-Centurión hizo gala a la hora de tratar asuntos como las etiquetas cortesanas, la hacienda de las Casas Reales o las mascotas regias. Tras cada uno de estos argumentos recala siempre el problema de la majestad y del poder, de su gestión material y de su representación simbólica. Su obra, pues, ha inspirado este libro que pretende recordar a un historiador que perteneció a su generación tanto como permanecerá en las futuras.
Rafael Valladares, Feliciano Barrios, Juan A. Sánchez Belén (eds.), En la Corte del Rey de España. Liber Amicorum en homenaje a Carlos Gómez-Centurión Jiménez (1958-2011), Ediciones Polifemo, Madrid, 2016.
Research Interests: Habsburg Studies, Diplomacy, Global History, Collecting and Collections, Animals in Culture, and 11 moreCultural Diplomacy, Menageries, History of Collecting, Patronage and collecting, Animals, Vienna, Exotic animals, Habsburg, Renaissance Menageries, The Cultural and Diplomatic World of Hans Khevenhüller, and Emperor Maximilian II
The Princess and the Portraitist. The Encounter of Infanta Maria of Portugal and Anthonis Mor in 1552 | Annemarie Jordan Gschwend |... more
The Princess and the Portraitist. The Encounter of Infanta Maria
of Portugal and Anthonis Mor in 1552 | Annemarie Jordan Gschwend |
https://www.iberoamericana-vervuert.es/FichaLibro.aspx?P1=212453&ISBN=9788491923237&TITULO=Entre%20la%20pol%C3%ADtica%20y%20las%20artes.%20Señoras%20del%20poder%20/$cMiguel%20Ángel%20Zalama%20(dir.);%20Mar%C3%ADa%20Concepción%20Porras%20Gil%20(coord.)
of Portugal and Anthonis Mor in 1552 | Annemarie Jordan Gschwend |
https://www.iberoamericana-vervuert.es/FichaLibro.aspx?P1=212453&ISBN=9788491923237&TITULO=Entre%20la%20pol%C3%ADtica%20y%20las%20artes.%20Señoras%20del%20poder%20/$cMiguel%20Ángel%20Zalama%20(dir.);%20Mar%C3%ADa%20Concepción%20Porras%20Gil%20(coord.)
Research Interests:
Parma: crocevia di cultura in Europa Atti del convegno |
Conference Papers |
ROTARY
Distretto 2072
Emilia Romagna - Repubblica di San Marino
Governatore 2021-2022 Stefano Spagna Musso
ISBN: 978-88-906447-3-3
Conference Papers |
ROTARY
Distretto 2072
Emilia Romagna - Repubblica di San Marino
Governatore 2021-2022 Stefano Spagna Musso
ISBN: 978-88-906447-3-3
Research Interests:
Archduke Ferdinand II of Austria. A Second-Born Son in Renaissance Europe Edited by: Sylva DOBALOVÁ is Researcher at the Institute of Art History, Czech Academy of Sciences Jaroslava HAUSENBLASOVÁ is Assistant Professor at the Institute... more
Archduke Ferdinand II of Austria. A Second-Born Son in Renaissance Europe
Edited by:
Sylva DOBALOVÁ
is Researcher at the Institute of Art History, Czech Academy of Sciences
Jaroslava HAUSENBLASOVÁ
is Assistant Professor at the Institute of Czech History, Faculty of Arts of Charles University of Prague
ISBN 978-3-7001-8501-7
Print Edition
ISBN 978-3-7001-8972-5
Online Edition
Veröffentlichungen zur Kunstgeschichte 21
Sitzungsberichte der phil.-hist. Klasse 909
2021, 568 Seiten, zahlr. sw-und Farbabb., 22,5x15cm, broschiert, englisch
€ 98,00
Edited by:
Sylva DOBALOVÁ
is Researcher at the Institute of Art History, Czech Academy of Sciences
Jaroslava HAUSENBLASOVÁ
is Assistant Professor at the Institute of Czech History, Faculty of Arts of Charles University of Prague
ISBN 978-3-7001-8501-7
Print Edition
ISBN 978-3-7001-8972-5
Online Edition
Veröffentlichungen zur Kunstgeschichte 21
Sitzungsberichte der phil.-hist. Klasse 909
2021, 568 Seiten, zahlr. sw-und Farbabb., 22,5x15cm, broschiert, englisch
€ 98,00
Research Interests:
Renaissance Craftsmen and Humanistic Scholars Circulation of Knowledge between Portugal and Germany Series: passagem Thomas Horst, Marília dos Santos Lopes and Henrique Leitão The study of the relations between Portugal and the... more
Renaissance Craftsmen and Humanistic Scholars
Circulation of Knowledge between Portugal and Germany
Series: passagem
Thomas Horst, Marília dos Santos Lopes and Henrique Leitão
The study of the relations between Portugal and the German-speaking countries in the 15th and 16th centuries is an intriguing topic that has attracted the interest of scholars for some decades. In recent years evidence accumulated has shown that there was still much to be known and even some large areas were still unexplored. In order to better grasp the nature of what was a complex historical phenomenon, an interdisciplinary approach to the topic turned out to be necessary by deepening the understanding of what is usually termed the circulation of knowledge. The present book shows how knowledge travels with people, with artifacts, along commercial lines, and is created and transformed by the intervention of individuals from various educational and social strata.
Circulation of Knowledge between Portugal and Germany
Series: passagem
Thomas Horst, Marília dos Santos Lopes and Henrique Leitão
The study of the relations between Portugal and the German-speaking countries in the 15th and 16th centuries is an intriguing topic that has attracted the interest of scholars for some decades. In recent years evidence accumulated has shown that there was still much to be known and even some large areas were still unexplored. In order to better grasp the nature of what was a complex historical phenomenon, an interdisciplinary approach to the topic turned out to be necessary by deepening the understanding of what is usually termed the circulation of knowledge. The present book shows how knowledge travels with people, with artifacts, along commercial lines, and is created and transformed by the intervention of individuals from various educational and social strata.
Research Interests: Cultural History, Diplomatic History, Cultural Studies, Cultural Heritage, Habsburg Studies, and 13 moreCultural Transfer Studies, Diplomacy, Collecting (Art), Collecting and Collections, Cultural Diplomacy, History of Collecting, Agency, Patronage and collecting, Bavarian History, Early Modern Collecting, Collectors and Collecting, History of Collecting and Antiquarianism, and Wittelsbach
This essay analyses and reconstructs the decoration of the Alcazar palace during the reign of Philip II of Spain, by concentrating on his portrait collection deployed to hang in principal reception rooms and the queen's quarters of this... more
This essay analyses and reconstructs the decoration of the Alcazar palace during the reign of Philip II of Spain, by concentrating on his portrait collection deployed to hang in principal reception rooms and the queen's quarters of this palace.
Also taken into account are important Flemish tapestry cycles and art works, tapestries, paintings and portraits Philip II brought back to Spain, taken from the Lisbon royal palace after his residency there between 1580 and 1583.
Equally taken into consideration in this paper, is an unknown portrait of the Infante Carlos executed before his untimely death in 1568 by Sofonsiba Anguissola. 5 replicas of this portrait showing the prince wearing a lynx jacket (known as a bohemia) were made by Alonso Sánchez Coello and his workshop as gifts presented by Carlos to favourite courtiers. The author identities for the first time a Sánchez Coello replica of Infante Carlos hanging today in the former royal palace in Sintra, which until 1998 had remained unattributed and the sitter unknown.
Also taken into account are important Flemish tapestry cycles and art works, tapestries, paintings and portraits Philip II brought back to Spain, taken from the Lisbon royal palace after his residency there between 1580 and 1583.
Equally taken into consideration in this paper, is an unknown portrait of the Infante Carlos executed before his untimely death in 1568 by Sofonsiba Anguissola. 5 replicas of this portrait showing the prince wearing a lynx jacket (known as a bohemia) were made by Alonso Sánchez Coello and his workshop as gifts presented by Carlos to favourite courtiers. The author identities for the first time a Sánchez Coello replica of Infante Carlos hanging today in the former royal palace in Sintra, which until 1998 had remained unattributed and the sitter unknown.
Research Interests: Renaissance Studies, Habsburg Studies, Patronage (History), Early Modern Architecture, Spain (History), and 17 moreSpain, Early modern Spain, Patronage and collecting, Sofonisba Anguissola, 16th and 17th-century Spanish art and architecture, Political patronage, Patronage, Castles and Palaces of the 16th to 18th century in Central and Southeastern Europe, Patronage and Clientage, Habsburg, Palaces, Renaissance Palaces, Philip II of Spain, Alonso Sanchez Coello, Habsburg patronage, Spanish court portraiture in the Renaissance, and Spanish palaces
MA THESIS GEORGE WASHINGTON UNIVERSITY This thesis centers on the Lisbon Royal Palace, the Paço da Ribeira, from 1505-1580, and reconstructs its interiors based upon unpublished archival documents and royal inventories found in the... more
MA THESIS
GEORGE WASHINGTON UNIVERSITY
This thesis centers on the Lisbon Royal Palace, the Paço da Ribeira, from 1505-1580, and reconstructs its interiors based upon unpublished archival documents and royal inventories found in the Torre do Tombo archive in Lisbon.
GEORGE WASHINGTON UNIVERSITY
This thesis centers on the Lisbon Royal Palace, the Paço da Ribeira, from 1505-1580, and reconstructs its interiors based upon unpublished archival documents and royal inventories found in the Torre do Tombo archive in Lisbon.
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ABSTRACT This study is an investigation and interpretation of the Kunstkammer and collection of Catherine of Austria (1507-1578), youngest sister of Charles V and Queen of Portugal. Neglected by Portuguese historians and art historians... more
ABSTRACT
This study is an investigation and interpretation of the Kunstkammer and collection of Catherine of Austria (1507-1578), youngest sister of Charles V and Queen of Portugal. Neglected by Portuguese historians and art historians alike, a wealth of unpublished material (correspondence, inventories, household records, payment accounts and receipts) in the Archivo Nacional da Torre do Tombo in Lisbon have revealed that the Portuguese Queen owned the largest collection of exotica and oriental ware in Europe, during the first half of the sixteenth century, and was an active patron. The mechanics of the Queen's household and court within the context of ceremonial and etiquette, and its relation to her collection, collecting activities and practices are examined, as are the artists, goldsmiths, craftsmen and artisans patronized at the Lisbon court. Transcriptions and translations of six royal inventories and a catalogue of over 400 related documents (with annotated notes) from 1525 to 1570 are provided in the appendices, including a glossary of sixteenth century terms.
A preliminary reconstruction of the contents of the Queen's collection housed in the Lisbon palace, and its expenditures is made. Catherine's collecting practices bridged two traditions: the medieval treasury (Schatzkammer) and the cabinet of curiosities (Wunderkammer). Her goal, highly personal and eclectic, was not to collect in an encyclopaedic fashion. Aside from costly objects, a portrait and tapestry collection was assembled, prefiguring the portrait galleries in sixteenth-century Spanish royal residences. Catherine's collection became a personal reflection of her status as Queen, while its importance lay in its administration and organization, unique among her contemporaries.
Questions of common patterns of patronage and collecting among Habsburg queens, regents and princesses in the sixteenth century are raised, and in what manner Catherine of Austria's collection fits into this context, that of collecting in sixteenth-century Portugal and other contemporary Renaissance princely collections. The analysis of Catherine's documentation provides facts about these patterns and offers more about collecting practices from the mid- to late sixteenth century.
This study is an investigation and interpretation of the Kunstkammer and collection of Catherine of Austria (1507-1578), youngest sister of Charles V and Queen of Portugal. Neglected by Portuguese historians and art historians alike, a wealth of unpublished material (correspondence, inventories, household records, payment accounts and receipts) in the Archivo Nacional da Torre do Tombo in Lisbon have revealed that the Portuguese Queen owned the largest collection of exotica and oriental ware in Europe, during the first half of the sixteenth century, and was an active patron. The mechanics of the Queen's household and court within the context of ceremonial and etiquette, and its relation to her collection, collecting activities and practices are examined, as are the artists, goldsmiths, craftsmen and artisans patronized at the Lisbon court. Transcriptions and translations of six royal inventories and a catalogue of over 400 related documents (with annotated notes) from 1525 to 1570 are provided in the appendices, including a glossary of sixteenth century terms.
A preliminary reconstruction of the contents of the Queen's collection housed in the Lisbon palace, and its expenditures is made. Catherine's collecting practices bridged two traditions: the medieval treasury (Schatzkammer) and the cabinet of curiosities (Wunderkammer). Her goal, highly personal and eclectic, was not to collect in an encyclopaedic fashion. Aside from costly objects, a portrait and tapestry collection was assembled, prefiguring the portrait galleries in sixteenth-century Spanish royal residences. Catherine's collection became a personal reflection of her status as Queen, while its importance lay in its administration and organization, unique among her contemporaries.
Questions of common patterns of patronage and collecting among Habsburg queens, regents and princesses in the sixteenth century are raised, and in what manner Catherine of Austria's collection fits into this context, that of collecting in sixteenth-century Portugal and other contemporary Renaissance princely collections. The analysis of Catherine's documentation provides facts about these patterns and offers more about collecting practices from the mid- to late sixteenth century.
Research Interests: Portuguese Studies, History of Collections, Collecting and Collections, History of Collecting, Kunstkammer, and 7 moreInventories, Portuguese Royal Household, European Royal Households, Catherine of Austria, Early Collections and Kunstkammer, Wunderkammern/Kunstkammern/Naturalienkammern, and Catherine of Austria, queen of Portugal
Guest Lecture with Powerpoint December 12, 2022 |
KUNST UND DIPLOMATIE IN DER FRÜHEN NEUZEIT | Vorlesung der Abteilung Neuzeit, HS 2022 |
Universität Bern
KUNST UND DIPLOMATIE IN DER FRÜHEN NEUZEIT | Vorlesung der Abteilung Neuzeit, HS 2022 |
Universität Bern
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Lecture | UAM Madrid | 22 October 2019 |
Annemarie Jordan Gschwend |
Recreating a Lost Street in Renaissance Lisbon
Annemarie Jordan Gschwend |
Recreating a Lost Street in Renaissance Lisbon
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Acceso de usuarios registrados. Acceso de usuarios registrados Usuario Contraseña. ...
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The study of armor, garnitures, helmets, and shields is a field largely ignored by art historians, researched primarily by specialists and curators of arms and armor collections. The recent exhibitions, Heroic Armor of the Renaissance... more
The study of armor, garnitures, helmets, and shields is a field largely ignored by art historians, researched primarily by specialists and curators of arms and armor collections. The recent exhibitions, Heroic Armor of the Renaissance (1998) and Parures triomphales ...
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Research Interests: Art and The Renaissance
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En la Corte del Rey de España. Liber Amicorum en homenaje a Carlos Gómez-Centurión Jiménez (1958-2011). Rafael Valladares, Feliciano Barrios, Juan A. Sánchez Belén (eds.) Investigadores del Instituto Universitario “La Corte en Europa”... more
En la Corte del Rey de España. Liber Amicorum en homenaje a Carlos Gómez-Centurión Jiménez (1958-2011). Rafael Valladares, Feliciano Barrios, Juan A. Sánchez Belén (eds.) Investigadores del Instituto Universitario “La Corte en Europa” participan en esta obra homenaje a Carlos Gómez Centurión. Sinopsis En las últimas décadas la historiografía sobre la Corte ha experimentado en Europa un desarrollo espectacular. La obra de Carlos Gómez-Centurión Jiménez se vinculó desde muy pronto a este renacer de los estudios palatinos en la Edad Moderna con un enfoque siempre innovador acorde con su personalidad. Por ello, los autores reunidos en este libro rinden homenaje a su figura y su legado, tomando como hilo conductor de sus trabajos la pasión y la originalidad investigadoras de las que Gómez-Centurión hizo gala a la hora de tratar asuntos como las etiquetas cortesanas, la hacienda de las Casas Reales o las mascotas regias. Tras cada uno de estos argumentos recala siempre el problema de la majestad y del poder, de su gestión material y de su representación simbólica. Su obra, pues, ha inspirado este libro que pretende recordar a un historiador que perteneció a su generación tanto como permanecerá en las futuras. Rafael Valladares, Feliciano Barrios, Juan A. Sánchez Belén (eds.), En la Corte del Rey de España. Liber Amicorum en homenaje a Carlos Gómez-Centurión Jiménez (1958-2011), Ediciones Polifemo, Madrid, 2016.
Research Interests: Ancient History, Art, Habsburg Studies, Diplomacy, Global History, and 13 moreCollecting and Collections, Animals in Culture, Cultural Diplomacy, Menageries, History of Collecting, Patronage and collecting, Animals, Vienna, Exotic animals, Habsburg, Renaissance Menageries, The Cultural and Diplomatic World of Hans Khevenhüller, and Emperor Maximilian II
... Las dos águilas del emperador Carlos V. Las colecciones y el mecenazgo de Juana y María de Austria en la corte de Felipe II. Autores: Annemarie Jordan Gschwend; Localización: La monarquia de Felipe II a debate. / coord. ...
Research Interests: Humanities, Habsburg Studies, Collecting and Collections, Charles V, Early modern Spain, and 15 moreHistory of Collecting, Early Modern Collecting, Collectors and Collecting, Madrid, Female Patronage, Convents, Patronage, Historia de Madrid, Female convents, Jacopo da Trezzo, Descalzas Reales, Juana of Austria As Patron and Collector, Juan de Herrera, Descalzas Reales Convent, and Early modern convents
... Autores: Annemarie Jordan Gschwend; Localización: Juana I de Castilla, 1504-1555: de su reclusión de Tordesillas al olvido de la historia : I Simposio Internacional sobre la Reina Juana I de Castilla, Tordesillas (Valladolid), 23 y 24... more
... Autores: Annemarie Jordan Gschwend; Localización: Juana I de Castilla, 1504-1555: de su reclusión de Tordesillas al olvido de la historia : I Simposio Internacional sobre la Reina Juana I de Castilla, Tordesillas (Valladolid), 23 y 24 de noviembre de 2005 / coord. ...
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... Los retratos de Juana de Austria posteriores a 1554: la imagen de una Princesa de Portugal, una Regente de España y una jesuita. Autores: Annemarie Jordan Gschwend; Localización: Reales Sitios: Revista del Patrimonio Nacional, ISSN... more
... Los retratos de Juana de Austria posteriores a 1554: la imagen de una Princesa de Portugal, una Regente de España y una jesuita. Autores: Annemarie Jordan Gschwend; Localización: Reales Sitios: Revista del Patrimonio Nacional, ISSN 0486-0993, Nº 151, 2002 , págs. ...
Research Interests: Humanities and Art
A version of a paper presented in 2005 to the annual conference of the Renaissance Society of America, in Cambridge, Massachusetts. Painter Antoine Trouveon was sent by Leonor of Austria to paint her daughter in Lisbon in 1542. Leonor of... more
A version of a paper presented in 2005 to the annual conference of the Renaissance Society of America, in Cambridge, Massachusetts. Painter Antoine Trouveon was sent by Leonor of Austria to paint her daughter in Lisbon in 1542. Leonor of Austria, the eldest sister and a favorite of Emperor Charles V, was Queen of Portugal and of France. A document dated 1543 shows Trouveon calling himself painter to the queen. He arrived in Portugal in January 1542 as part of a special diplomatic mission to secure the marriage of Leonor's daughter, Maria of Portugal, with the dauphin Henri. Trouveon spent at least eight months in Portugal. Any oil portraits he may have painted of Maria have not survived. However, two drawings of Maria, here attributed to him, are in the Musee Conde; these were previously attributed to Portuguese painter Gregorio Lopes, though letters by Luis de Sarmiento contradict this.
Research Interests: Art History, Art, Portuguese, Renaissance Studies, Painting, and 14 moreHabsburg Studies, Portraiture, Patronage (History), Early Modern France, Queenship in Medieval and Early Modern Europe, Patronage and collecting, François Ier, Renaissance France, Portugal History, Early Modern Portugal, Portrait De La Renaissance En France, Francois Clouet, French Queens, and Lisbon Court in the Renaissance
Portugal und das Heilige Römische Reich (16.–18. Jahrhundert). Portugale e o Sacro Império (séculos XVI–XVIII). Edited by Alexandro Curvelo and Madalena Simões. (Studien zur Geschichte und Kultur der iberischen und ibero-amerikanischen Länder, 15.) Pp. 304 incl. 39 ills. Munich: Aschendorff, 2011...more
N court was so completely altered by the Age of Discoveries as that of Portugal. Vasco da Gama's historic journey around the Cape of Good Hope in 1498 proved to be the catalyst in the founding of an overseas empire that extended from... more
N court was so completely altered by the Age of Discoveries as that of Portugal. Vasco da Gama's historic journey around the Cape of Good Hope in 1498 proved to be the catalyst in the founding of an overseas empire that extended from Brazil to the Far East. As a result, the city of Lisbon was suddenly transformed into a metropolis of international fame. In 1505 Manuel I, who reigned from 1495 to 1521, made the decisive move to transfer the royal residence from the medieval palace of Alca~ova, situated on the site of a former Moslem fortress high above the city, down to the waterfront bordering on the Tagus river. The ribeira became the hub of Lisbon where shipyards, customs and warehouses (the Casas da India and Guine) for international trade were established. The entire area was redesigned to accommodate a square, known as the Terreiro do Pafo, with new administrative offices from which the empire was governed and which adjoined Manuel's new royal palace, the Pafo da Ribeira. It was a move deliberately intended to enhance the reputation both of Lisbon and of the Portuguese crown. This waterfront plaza was framed on the western side by the royal palace built on a north-south axis, the focus for maritime activities, and the secular and religious ceremonies of the crown and government. Adjacent to the palace and square was Lisbon's emporium, the lower streets (Baixa), where overseas goods were sold. The Tagus river, with its governmental and commercial complex in the heart of Lisbon, thereby became the centre of the Portuguese world. Portuguese monarchs were inspired by military triumphs in India and the Far East to emulate ancient imperial ideologies that promoted them as rulers of a new Roman empire in Lisbon, Portugal's new Rome (Nova Ronla), flourished as the capital of a global empire that stretched to Goa, her Indian counterpart. In this context, the Lisbon palace, with its fortified tower that jutted out into the Tagus river, symbolised the power and prestige of Portuguese monarchs. Lisbon, as queen of the seas, was transformed by Manuel I into a regal symbol of a new era. It was repeatedly illustrated in contemporary manuscript illuminations and panoramic paintings and engravings as the royal city par excellence, an image that embedded itself in the Portuguese psyche. Contemporary panegyrics and treatises eulogise Lisbon as the jewel of all cities, in order to glorify Portugal's rise to world power. The humanist and scholar, Damiao da GOlS (1502-1574) euphorically relates in his Urbis olisiponis descriptio (Evora 1554), translated by R. Machado, Lisboa dos quinhentos-descripfiio de Lisboa (Lisbon 1937), how the Tagus reigned over the world. Francisco de Holanda's Da Fabrica que falece a Cidade de Lisboa (Lisbon 1571), published in facsimile by J. Segurado, Francisco d' Ollanda. Da sua vida e obras (Lisbon 1970), reminded Manuel I's great-grandson, Sebastian (ruled 1562-1578), of the antiquity and nobility
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Research Interests: Gender Studies, Gender History, Habsburg Studies, Portraiture, Portugal, and 8 moreWomen and Gender Studies, Queenship in Medieval and Early Modern Europe, Portraiture and the Problematic of Representation, D. Manuel I of Portugal, Anthonis Mor, Renaissance Portraits, História De Arte Em Portugal, and Royal Princesses
There is a plethora of historical scholarship regarding the Medici rulers and their role in promoting Florence as the cultural center of the Renaissance and the epitome of unparalleled cultural achievement. Art historians have greatly... more
There is a plethora of historical scholarship regarding the Medici rulers and their role in promoting Florence as the cultural center of the Renaissance and the epitome of unparalleled cultural achievement. Art historians have greatly contributed to the image of a cultivated dynasty that patronized the greatest Renaissance artists and intellectuals. This book by Angelica Groom presents objective and well documented evidence of Medici self-promotion from a practical viewpoint, revealing a malevolent aspect that has been insufficiently explored. A brief overview of animal collections and menageries, established by Asian and European sovereigns, introduces the Medici collections "in relation to a wider global phenomenon of cultural activities centered on animals" (29). Her book is divided into two parts. Part 1 focuses on the contribution of animals in the self-fashioning of the Medici Court, exploring their methods of obtaining rare beasts, the manner of their display, and roles played by animals in the diplomacy of gift exchange and ceremonial life. Issues relating to the lack of Medici control over maritime trading routes and difficulties in the procurement of exotic animals from Africa, Asia and the "New World" are examined through letters, diplomatic dispatches and court documents from the reigns of Medici dukes. Cosimo I and his heir Francesco were served by networks of agents, diplomats and court personnel. Reconstructions of the famous zoological spaces, the sixteenth century Serraglio de leoni, near San Marco, and the later Sarraglio degli animali rari in the Boboli Gardens, are based on visual sources and written descriptions. The brutal practice of sacrificing animals for exotic hunts and caccie, staged spectacles of animal combats, ostensibly proclaimed the power of the Medici regime. This savage slaughter of animals increased during the reign of Cosimo I, who took an active part in the hunts and caccie that marked "the family's victories and dynastic stability" (142). Part 2 focuses on artistic depictions of exotic animals, viewed as an aspect of political and princely identity. Shifting values with regard to the keeping and appreciation of rare beasts are demonstrated by chronological studies of artistic projects commissioned by successive Medici patrons. The author states that "a key aim of the argument is to expose the Medici's skillful use of [animal] imagery as a form of propaganda and make-believe" (32). Patronage of the natural sciences is demonstrated by Medici involvement with Aldrovandi's scientific research projects and reflected in the pietra dura production. Final chapters deal with zoological paintings commissioned by the last Medici rulers.
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Hans Khevenhuller, imperial ambassador in Spain from 1574 to 1606, assumed the role of intermediary and agent for his Habsburg patrons, the emperors Maximilian II, and Rudolf II, and the Archduke Ferdinand II of Tyrol. Khevenhuller played... more
Hans Khevenhuller, imperial ambassador in Spain from 1574 to 1606, assumed the role of intermediary and agent for his Habsburg patrons, the emperors Maximilian II, and Rudolf II, and the Archduke Ferdinand II of Tyrol. Khevenhuller played a major role in the development of Kunstkammern, menageries and gardens in Vienna, Prague, Graz, Innsbruck and Munich. His thirty-three-year residency in Iberia transformed Habsburg collecting in the late sixteenth century. A true Renaissance man with cultivated tastes and a discerning eye, Khevenhuller was responsible for the acquisition of wild and domestic animals, Andalusian horses, exotica, luxury goods, and seeds, flowers and plants from Portuguese Asia and the Americas, which he shipped under difficult circumstances from Madrid, Lisbon and Seville. Habsburg elite shoppers sourced extraordinary global commodities, luxuries and merchandise through Khevenhuller, who bridged Spain, Portugal and their overseas trade empires with Central Europe in the late Renaissance.
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... Autores: Annemarie Jordan Gschwend; Localización: Ao modo da Flandres: disponibilidade, innovação e mercado de arte na época dos descobrimentos (1415-1580) : actas do congresso internacional celebrado em a reitoria da Universidade de... more
... Autores: Annemarie Jordan Gschwend; Localización: Ao modo da Flandres: disponibilidade, innovação e mercado de arte na época dos descobrimentos (1415-1580) : actas do congresso internacional celebrado em a reitoria da Universidade de Lisboa, (11-13 de abril de 2005 ...
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... "Cosa veramente di gran stupore". Entrada Real y Fiestas nupciales de Juana de Austria en Lisboa en 1552. Autores: Annemarie Jordan Gschwend; Localización: El legado de Borgoña. Fiesta y ceremonia cortesana en la... more
... "Cosa veramente di gran stupore". Entrada Real y Fiestas nupciales de Juana de Austria en Lisboa en 1552. Autores: Annemarie Jordan Gschwend; Localización: El legado de Borgoña. Fiesta y ceremonia cortesana en la Europa de los Austrias (1454-1648) / coord. ...
Research Interests: Humanities and Art
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... Mujeres mecenas de la Casa de Austria y la infanta Isabel Clara Eugenia. Autores: AnnemarieJordan; Localización: El arte en la corte de los Archiduques Alberto de Austria e Isabel Clara Eugenia (1598-1633) : un reino imaginado, 1999,... more
... Mujeres mecenas de la Casa de Austria y la infanta Isabel Clara Eugenia. Autores: AnnemarieJordan; Localización: El arte en la corte de los Archiduques Alberto de Austria e Isabel Clara Eugenia (1598-1633) : un reino imaginado, 1999, ISBN 84-95146-24-X , págs. 118-138. ...
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IN 1554, Emperor Ferdinand I of Austria sent an important gift of three relics to Joanna of Austria, Princess of Portugal (1535-73)-' An unpublished document located in the Haus-, Hof-und Staats-archiv in Vienna describes the... more
IN 1554, Emperor Ferdinand I of Austria sent an important gift of three relics to Joanna of Austria, Princess of Portugal (1535-73)-' An unpublished document located in the Haus-, Hof-und Staats-archiv in Vienna describes the gifts sent by Ferdinand via his ...
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En la Corte del Rey de España. Liber Amicorum en homenaje a Carlos Gómez-Centurión Jiménez (1958-2011). Rafael Valladares, Feliciano Barrios, Juan A. Sánchez Belén (eds.) Investigadores del Instituto Universitario “La Corte en Europa”... more
En la Corte del Rey de España. Liber Amicorum en homenaje a Carlos Gómez-Centurión Jiménez (1958-2011). Rafael Valladares, Feliciano Barrios, Juan A. Sánchez Belén (eds.) Investigadores del Instituto Universitario “La Corte en Europa” participan en esta obra homenaje a Carlos Gómez Centurión. Sinopsis En las últimas décadas la historiografía sobre la Corte ha experimentado en Europa un desarrollo espectacular. La obra de Carlos Gómez-Centurión Jiménez se vinculó desde muy pronto a este renacer de los estudios palatinos en la Edad Moderna con un enfoque siempre innovador acorde con su personalidad. Por ello, los autores reunidos en este libro rinden homenaje a su figura y su legado, tomando como hilo conductor de sus trabajos la pasión y la originalidad investigadoras de las que Gómez-Centurión hizo gala a la hora de tratar asuntos como las etiquetas cortesanas, la hacienda de las Casas Reales o las mascotas regias. Tras cada uno de estos argumentos recala siempre el problema de la majestad y del poder, de su gestión material y de su representación simbólica. Su obra, pues, ha inspirado este libro que pretende recordar a un historiador que perteneció a su generación tanto como permanecerá en las futuras. Rafael Valladares, Feliciano Barrios, Juan A. Sánchez Belén (eds.), En la Corte del Rey de España. Liber Amicorum en homenaje a Carlos Gómez-Centurión Jiménez (1958-2011), Ediciones Polifemo, Madrid, 2016.
Research Interests: Ancient History, Art, Habsburg Studies, Diplomacy, Global History, and 13 moreCollecting and Collections, Animals in Culture, Cultural Diplomacy, Menageries, History of Collecting, Patronage and collecting, Animals, Vienna, Exotic animals, Habsburg, Renaissance Menageries, The Cultural and Diplomatic World of Hans Khevenhüller, and Emperor Maximilian II
Research Interests: Gender Studies, Gender History, Habsburg Studies, Portraiture, Portugal, and 8 moreWomen and Gender Studies, Queenship in Medieval and Early Modern Europe, Portraiture and the Problematic of Representation, D. Manuel I of Portugal, Anthonis Mor, Renaissance Portraits, História De Arte Em Portugal, and Royal Princesses
Book Review: Portugal und das Heilige Römische Reich (16.-18. Jahrhundert). Portugale e o Sacro Império (séculos XVI-XVIII): Portugal und das Heilige Römische Reich (16.-18. Jahrhundert). Portugale e o Sacro Império (séculos XVI-XVIII). Edited by Alexandro Curvelo and Madalena Simões . (Studien z...more
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... Auteur(s) / Author(s). GSCHWEND Annemarie Jordan ; Revue / Journal Title. Oriental art ISSN 0030-5278 Source / Source. Congrès Legacy of Macao. International symposium, Lisbon , PORTUGAL (11/1999) 2000, vol. 46, n o 3, pp. 48-58 [11... more
... Auteur(s) / Author(s). GSCHWEND Annemarie Jordan ; Revue / Journal Title. Oriental art ISSN 0030-5278 Source / Source. Congrès Legacy of Macao. International symposium, Lisbon , PORTUGAL (11/1999) 2000, vol. 46, n o 3, pp. 48-58 [11 page(s) (article)] ...
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Hans Khevenhuller, imperial ambassador in Spain from 1574 to 1606, assumed the role of intermediary and agent for his Habsburg patrons, the emperors Maximilian II, and Rudolf II, and the Archduke Ferdinand II of Tyrol. Khevenhuller played... more
Hans Khevenhuller, imperial ambassador in Spain from 1574 to 1606, assumed the role of intermediary and agent for his Habsburg patrons, the emperors Maximilian II, and Rudolf II, and the Archduke Ferdinand II of Tyrol. Khevenhuller played a major role in the development of Kunstkammern, menageries and gardens in Vienna, Prague, Graz, Innsbruck and Munich. His thirty-three-year residency in Iberia transformed Habsburg collecting in the late sixteenth century. A true Renaissance man with cultivated tastes and a discerning eye, Khevenhuller was responsible for the acquisition of wild and domestic animals, Andalusian horses, exotica, luxury goods, and seeds, flowers and plants from Portuguese Asia and the Americas, which he shipped under difficult circumstances from Madrid, Lisbon and Seville. Habsburg elite shoppers sourced extraordinary global commodities, luxuries and merchandise through Khevenhuller, who bridged Spain, Portugal and their overseas trade empires with Central Europe in the late Renaissance.
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2017 EXHIBITION CATALOGUE: Museu Nacional de Arte Antiga Guest curated by Annemarie Jordan Gschwend and Kate Lowe English & Portuguese / 384 pages, all colour illustrations / Publisher: INCM - Imprensa Nacional Casa da Moeda /... more
2017 EXHIBITION CATALOGUE: Museu Nacional de Arte Antiga Guest curated by Annemarie Jordan Gschwend and Kate Lowe English & Portuguese / 384 pages, all colour illustrations / Publisher: INCM - Imprensa Nacional Casa da Moeda / ISBN: 9789722725057 Website: https://www.incm.pt/portal/loja_detalhe.jsp?codigo=103090
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Annemarie JORDAN-GSCHWEND (Centro de História d’Aquém e d’Além-Mar, Lisboa and Switzerland) Shopping in the Renaissance – Merchants as Cultural Mediators in Spain, Portugal and their Overseas Empires
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ABSTRACT
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The study entitled "Monitoring and Evaluation of Students' Performance: Enhancement of TIP Records Management System" was designed, created and evaluated to improve the students' record management system with ease of... more
The study entitled "Monitoring and Evaluation of Students' Performance: Enhancement of TIP Records Management System" was designed, created and evaluated to improve the students' record management system with ease of use. The developed system helps the user to track students' academic disciplinary probation with ease of use through the graphical user interface employed on the system. The system makes use of prototyping method to identify the necessary and important requirements of the present system (NARRA) which was able to give emphasis on accessibility and outputs during developmental stage of the system. The method used allows the team to study the history of the present system, redesign for easy navigation and use of the system, make and improve additional features expected from a record management system. The system was created using Visual Basic 6.0 as the front end and MSSQL server as its back-end for the purpose of making the records management system easy to maintain, portable and efficient. The developed system was evaluated using ISO 9126 which describes the characteristics of quality software such as functionality, reliability, efficiency, usability, maintainability and portability. Usability is an important aspect of software products. Several studies have shown that in addition to functionality and reliability, usability is a very important success factor. The usability of a product can be tested from mainly two different perspective "ease-of-use" and "quality-in-use". The ease or comfort during usage is mainly determined by characteristics of the software product itself, such as the user-interface. Within this type of scope usability is pa part of product quality characteristics. Usability is the capability of the software to be understood, learned, used and liked by the user when used. The extent to which a product can be used by specified users to achieve goals with effectiveness, efficiency and satisfaction in specified context of use. The system focused on the usability to help users to easily navigate and manipulate the system. The system was evaluated by IT Professionals and the intended users of the system, which is the Guidance and Counseling staff. Based on the evaluation, the system is usable. With an average mean of 4.5, the evaluation shows that majority of the respondents found out that the system is usable in terms of functionality, reliability, usability, efficiency, maintainability and portability. The evaluation on the usability shows that it satisfies the basic requirements of a record management system that should excel in its functionality, reliability, efficiency, maintainability and portability. And it was concluded that the system is usable in terms of functionality, reliability, efficiency, maintainability and portability; that the system is usable and useful especially in generating reports; that the system generally exceeded basic requirements of a record management system; that the above-mentioned statements attest to the usability of the Records Management System in Technological Institute of the Philippines
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T his exhibition opened in December , was interrupted by COVID-, and remained closed for months. It has reopened this September with an extension until January . A virtual exhibition is accessible at the Patrimonio Nacional... more
T his exhibition opened in December , was interrupted by COVID-, and remained closed for months. It has reopened this September with an extension until January . A virtual exhibition is accessible at the Patrimonio Nacional website, which allows viewers to enjoy the show in its entirety and closely study the objects on display. Curated by Fernando Checa Cremades, this exhibition spotlights two convents built in the centre of Madrid: the Descalzas Reales and the Encarnación, both of which were once a stone’s throw from the former royal residence, the Alcázar. Today the Palacio Real stands on the same site, rebuilt after a destructive fire in . The women who founded these religious institutions were two Spanish Habsburg princesses, Juana of Austria (–), sister of Philip II, and Margaret of Austria (–), consort of Philip III. Under Juana’s personal supervision, construction of the Descalzas Reales began in , coming to semi-completion by , while the Encarnación, founded in just before Queen Margaret’s premature death, was inaugurated in . Both convents and their churches are extremely well-preserved, containing a multitude of donated art works, reliquaries, paintings, portraits, rich textiles and religious objects — many from Asia and the NewWorld — but which have largely remained inaccessible to the public. As active convents, not all rooms can be accessed, and as former royal sites, both are managed today by the Patrimonio Nacional, which organises guided visits. Checa has curated eleven expansive rooms in the Royal Palace, with artworks (some never exhibited before), which reveal the past and present religious and artistic ambiences of these convents. Permission for some loans were obtained by the abbesses of both institutions, the real custodians of this rich heritage. Many of the artworks and objects, incorporated for centuries into the life and routines of these nuns, are still used daily, or are earmarked for specific religious ceremonies, which makes this exhibition distinctive. This is a show about
Research Interests: Gender Studies, Gender History, Habsburg Studies, Patronage (History), Patronage and collecting, and 12 moreArt Theory and Criticism, Female Patronage, Convents, Female convents, Habsburg, Court Studies, Juana of Austria As Patron and Collector, Court Women in Habsburg Spain, Descalzas Reales Convent, Habsburg Women in the Renaissance, Juana of Austria devotional life, and Empress Maria of Austria
... Las dos águilas del emperador Carlos V. Las colecciones y el mecenazgo de Juana y María de Austria en la corte de Felipe II. Autores: Annemarie Jordan Gschwend; Localización: La monarquia de Felipe II a debate. / coord. ...
Research Interests: Habsburg Studies, Collecting and Collections, Charles V, Early modern Spain, History of Collecting, and 15 morePatronage and collecting, Early Modern Collecting, Collectors and Collecting, Madrid, Female Patronage, Convents, Patronage, Historia de Madrid, Female convents, Jacopo da Trezzo, Descalzas Reales, Juana of Austria As Patron and Collector, Juan de Herrera, Descalzas Reales Convent, and Early modern convents
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Research Interests:
A s part of the Museo del Prado’s bicentenary celebrations in , Leticia Ruiz Gómez, Head of Spanish Painting, organised an exhibition highlighting two notable women painters of the late Renaissance: Sofonisba Anguissola and Lavinia... more
A s part of the Museo del Prado’s bicentenary celebrations in , Leticia Ruiz Gómez, Head of Spanish Painting, organised an exhibition highlighting two notable women painters of the late Renaissance: Sofonisba Anguissola and Lavinia Fontana. It is a bold move for the Prado, this exhibition coming just two years after the museum dedicated its first show to a female painter, the pioneering still-life artist Clara Peeters. Ruiz Gómez has brought together significant loans, among them fifty-six paintings, from European and American institutions. As painters, these two women achieved recognition and fame in their lifetimes: Sofonisba at the Spanish Habsburg court and Lavinia in her later career in Rome, enjoying the patronage of popes Gregory XIII and Clement VIII. Fontana, born in Bologna in , the daughter of the painter Prospero who trained her, is regarded as the first professional female artist. Aside from mothering eleven children, Fontana ran a professional studio, painting ...
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... Mujeres mecenas de la Casa de Austria y la infanta Isabel Clara Eugenia. Autores: AnnemarieJordan; Localización: El arte en la corte de los Archiduques Alberto de Austria e Isabel Clara Eugenia (1598-1633) : un reino imaginado, 1999,... more
... Mujeres mecenas de la Casa de Austria y la infanta Isabel Clara Eugenia. Autores: AnnemarieJordan; Localización: El arte en la corte de los Archiduques Alberto de Austria e Isabel Clara Eugenia (1598-1633) : un reino imaginado, 1999, ISBN 84-95146-24-X , págs. 118-138. ...
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Research Interests:
... Autores: Annemarie Jordan Gschwend; Localización: Juana I de Castilla, 1504-1555: de su reclusión de Tordesillas al olvido de la historia : I Simposio Internacional sobre la Reina Juana I de Castilla, Tordesillas (Valladolid), 23 y 24... more
... Autores: Annemarie Jordan Gschwend; Localización: Juana I de Castilla, 1504-1555: de su reclusión de Tordesillas al olvido de la historia : I Simposio Internacional sobre la Reina Juana I de Castilla, Tordesillas (Valladolid), 23 y 24 de noviembre de 2005 / coord. ...
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EDITED BY ANDREA DONATI |
2023 |
Special issue dedicated to Farnese collecting and patronage
2023 |
Special issue dedicated to Farnese collecting and patronage
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this GIS mapping was assigned to the pre-doctoral student Joanna Cieminska to create in the past three years. This student, incapable of generating her own original research and archival sourcing, which is required, was directed to use my... more
this GIS mapping was assigned to the pre-doctoral student Joanna Cieminska to create in the past three years. This student, incapable of generating her own original research and archival sourcing, which is required, was directed to use my published research on the imperial ambassador Hans Khevenhu ller together with my extensive work on Habsburg collectors in the Renaissance. In short, this student is repackaging my data, conclusions, and findings as hers with minimal citations of the entire body of my work regarding this topic-gift-giving, consumption, material culture and global cultural exchanges between Central Europe, Iberia, and their trade empires in the 16th century. This is a conscious breach of academic integrity and a lack of academic ethics. I have addressed these issues of ethics, infringements, AI, and illegalities in my forthcoming edited book on Hans Khevenhu ller (London, Paul Holberton), including contributions from six leading, renowned scholars. The same statements here (and more) shall be docked in black and white.
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Catherine of Austria, Queen of Portugal (r. 1525-1578) owned an impressive collection of Flemish tapestries. Her connoisseurship and appreciation of tapestries had been cultivated since childhood at her mother’s court, Juana I, in... more
Catherine of Austria, Queen of Portugal (r. 1525-1578) owned an impressive collection of Flemish tapestries. Her connoisseurship and appreciation of tapestries had been cultivated since childhood at her mother’s court, Juana I, in Tordesillas. Flemish tapestries belong to the tradition of Habsburg collecting in the Renaissance. Family members (male and female) were discerning connoisseurs, investing large sums of money in acquiring or commissioning significant allegorical, biblical, mythological, and classical history cycles to enhance their collections and furbish their residences and palaces - Catherine’s tastes aligned with family tradition.
LINK WITH IMAGES:
https://bidclient.prod.sothelabs.com/en/buy/auction/2024/royal-noble/king-ahab-preparing-for-battle-a-flemish-old?previewToken=YIgLrX5xyTr
LINK WITH IMAGES:
https://bidclient.prod.sothelabs.com/en/buy/auction/2024/royal-noble/king-ahab-preparing-for-battle-a-flemish-old?previewToken=YIgLrX5xyTr
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This is a public statement concerning the exploitation of my compilation of primary sources, royal inventories and documents representing years of hard work. I collated the latter material in archives in Portugal, Spain, Austria, Italy,... more
This is a public statement concerning the exploitation of my compilation of primary sources, royal inventories and documents representing years of hard work. I collated the latter material in archives in Portugal, Spain, Austria, Italy, France and Goa, India. My field trips to these countries were primarily paid for with personal funds, not institutional funding. These long years of research results and output were published in a respected, highly regarded academic journal in Vienna in 2001. I, the primary author of this lengthy essay, inserted an analogue documentary database into the above publication as appendices comprising over 100 pages of chronologically catalogued, previously unpublished source materials-correspondence, payment accounts, diaries, travelogues, contemporary eyewitness accounts, and Spanish royal passports (cédulas). This compilation records 50 years of art and cultural transfers of global commodities, wild animals, medicinal products, luxury goods, jewellery, precious stones and pearls, New World artefacts, Far Eastern lacquers and Ming porcelain between the
Research Interests: Intellectual Property, Copyright, Copyright (Law), Intellectual Property Law, Digital Copyright, and 7 moreIntellectual Property Rights, International Copyright Law, Copyright and intellectual property, Copyright Law, International Intellectual Property Law, Intellectual Prperty Rights, and Intellectual Porperty
Hugo Miguel Crespo is giving a series of workshops and master classes entitled: "The Decorative Arts and the Carreira da India" in Lisbon between 16-25 May 2023. His courses will include hands-on sessions, looking at and holding... more
Hugo Miguel Crespo is giving a series of workshops and master classes entitled: "The Decorative Arts and the Carreira da India" in Lisbon between 16-25 May 2023. His courses will include hands-on sessions, looking at and holding 16th-century objects to better understand cross-cultural exchanges between Renaissance Portugal and India. Meeting twice a week, Crespo will offer 80-minute PowerPoints outlining and explaining the complex histories and trajectories of exotica, luxury goods, furniture and decorative arts, which dazzled and fascinated European consumers and royal collectors.
Don't miss this ooportunity!
For more information and inscriptions, contact Cabral Moncada Leilões in Lisbon:
https://www.cml.pt/academia/ArtesDecorativas
Don't miss this ooportunity!
For more information and inscriptions, contact Cabral Moncada Leilões in Lisbon:
https://www.cml.pt/academia/ArtesDecorativas