Art, glitz and power. Felipe IV and the iconographic program of the throne room of the Palacio del Buen Retiro. The Atlantic context.
The Palace of the Buen Retiro was constructed between 1630 and 1635 in the suburbs of Madrid as place of rest for Philip IV and his court. One of its main rooms was called Salon de Reinos, a place that hosted an iconographic program that, besides the famous intervened Diego Velázquez, several of the...
Guardado en:
| Autor principal: | |
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| Formato: | Artículo revista |
| Lenguaje: | Español |
| Publicado: |
Comité Editor IHA - Instituto de Historia del Arte - Facultad de Filosofía y Letras - Universidad Nacional de Cuyo
2019
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| Materias: | |
| Acceso en línea: | https://revistas.uncu.edu.ar/ojs3/index.php/cuadernoshistoarte/article/view/2773 |
| Aporte de: |
| id |
I11-R101article-2773 |
|---|---|
| record_format |
ojs |
| institution |
Universidad Nacional de Cuyo |
| institution_str |
I-11 |
| repository_str |
R-101 |
| container_title_str |
CUADERNOS DE HISTORIA DEL ARTE |
| language |
Español |
| format |
Artículo revista |
| topic |
pintura barroca programas iconográficos pictóricos Felipe IV Palacio del Buen Retiro Baroque painting Pictorial iconographic programs Felipe IV Buen Retiro Palace Pintura barroca Programas iconográficos Felipe IV Palácio do bom retiro. Peinture baroque programmes iconographiques pictoriques Felipe IV Palacio del Buen Retiro живопиÑÑŒ в барокке пикторичеÑ-кие иконографи-чеÑкие программы фелипе iv буÑн-ретиро дворец |
| spellingShingle |
pintura barroca programas iconográficos pictóricos Felipe IV Palacio del Buen Retiro Baroque painting Pictorial iconographic programs Felipe IV Buen Retiro Palace Pintura barroca Programas iconográficos Felipe IV Palácio do bom retiro. Peinture baroque programmes iconographiques pictoriques Felipe IV Palacio del Buen Retiro живопиÑÑŒ в барокке пикторичеÑ-кие иконографи-чеÑкие программы фелипе iv буÑн-ретиро дворец García Sánchez , Laura Art, glitz and power. Felipe IV and the iconographic program of the throne room of the Palacio del Buen Retiro. The Atlantic context. |
| topic_facet |
pintura barroca programas iconográficos pictóricos Felipe IV Palacio del Buen Retiro Baroque painting Pictorial iconographic programs Felipe IV Buen Retiro Palace Pintura barroca Programas iconográficos Felipe IV Palácio do bom retiro. Peinture baroque programmes iconographiques pictoriques Felipe IV Palacio del Buen Retiro живопиÑÑŒ в барокке пикторичеÑ-кие иконографи-чеÑкие программы фелипе iv буÑн-ретиро дворец |
| author |
García Sánchez , Laura |
| author_facet |
García Sánchez , Laura |
| author_sort |
García Sánchez , Laura |
| title |
Art, glitz and power. Felipe IV and the iconographic program of the throne room of the Palacio del Buen Retiro. The Atlantic context. |
| title_short |
Art, glitz and power. Felipe IV and the iconographic program of the throne room of the Palacio del Buen Retiro. The Atlantic context. |
| title_full |
Art, glitz and power. Felipe IV and the iconographic program of the throne room of the Palacio del Buen Retiro. The Atlantic context. |
| title_fullStr |
Art, glitz and power. Felipe IV and the iconographic program of the throne room of the Palacio del Buen Retiro. The Atlantic context. |
| title_full_unstemmed |
Art, glitz and power. Felipe IV and the iconographic program of the throne room of the Palacio del Buen Retiro. The Atlantic context. |
| title_sort |
art, glitz and power. felipe iv and the iconographic program of the throne room of the palacio del buen retiro. the atlantic context. |
| description |
The Palace of the Buen Retiro was constructed between 1630 and 1635 in the suburbs of Madrid as place of rest for Philip IV and his court. One of its main rooms was called Salon de Reinos, a place that hosted an iconographic program that, besides the famous intervened Diego Velázquez, several of the most renowned painters of the time. The theme revolved around the mythology, history and allegory based on the exaltation of three main ideas: performance, power and strength. In this pictorial set, there are several paintings that allude to the success of a series of battles but three that make express reference to Atlantic context: The recovery of Baía de Todos los Santos, by Juan Bautista Maino; The recovery of the island of Puerto Rico by Don Juan de Haro, by Eugene Cajés; and The recovery of the island of San Cristobal by Fadrique de Toledo, by Felix Castelo. In order to project an influential image of the king in a moment of crisis, the analysis of the existing bibliography concerning this topic allows to conclude that the recovery of distant territories to the European frame was the perfect excuse to promote a universal idea of victory. |
| publisher |
Comité Editor IHA - Instituto de Historia del Arte - Facultad de Filosofía y Letras - Universidad Nacional de Cuyo |
| publishDate |
2019 |
| url |
https://revistas.uncu.edu.ar/ojs3/index.php/cuadernoshistoarte/article/view/2773 |
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2022-06-20T13:36:08Z |
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2022-06-20T13:36:08Z |
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