may not be the best exposure you can now be seen in Madrid, at the Museum del Prado there are others such as "Passion for Renoir " (until 13 February), the fantastic on " Rubens (up to January 23) or "Bibliotheca Artis" (through Jan. 30) but the one titled "Painting Realms. Shared identity in the Hispanic world "(through Jan. 23) allows us to note the development of European painting took across the Atlantic and meet for the first time, I at least novohispanos these artists and their works.
For reasons not just good understanding "of sponsorship? 1 , space "?, This fascinating exhibition of 120 works were presented in two venues: The Prado Museum and Royal Palace. This requires two visits, usually on different days, if you want to see it in full. I suggest first visiting the temporary exhibition hall of the Palais Royal, organized in a more didactic, and then to the Prado Museum to complete the vision of the main works. Also agrees to purchase the catalog, at an affordable price (18 €) and with texts by John H. Elliot, Jonathan Brown and other specialists. And above all I recommend to readers of this blog who still have not seen, to hurry, because the closure on 30 January.
From the sixteenth to seventeenth time by extending the exhibition, the cultural area largest was the territory of the English monarchy, where "the sun never set." As Jonathan Brown notes, English painting of this era " was itself a conglomerate incorporating artists and works from the Netherlands and Italy, then under English control. And their productions to the New World in large numbers. English painters, Flemish and Italian made the perilous journey to America and artistic personalities transplanted to American soil " 2 . American painters born in the New world transforming English and European sources and gave a visual interpretation of that culture itself imported, so different from the native but no less real. Knowing
authors, works, styles, influences, models, schools, this is an interesting journey this exhibition is that we start with the formation of a common visual language .
and in Spain during the sixteenth and seventeenth century had expanded the artistic ideas from the Netherlands (in Castilla, XVI century) and Italy (Valencia in the sixteenth century), joint influence in Seville. In the seventeenth century, the construction of the Escorial Tuscan painters attracts influential art circles that generate large among English artists. A mid-century, Rubens, the king of painters, " exerts unparalleled influence ." The consequence is that "these trends in painting transformed the English painting in a kind of crucible as local artists were adapting their styles to satisfy a diverse clientele taste."
In the first room of the Royal Palace shows works that reflect these various artistic movements. Highlight three, one for the issue, as repeated "prize dairy St. Bernard by Claudio Coello, " the last great master of the Madrid school " as 3 Lafuente Ferrari, from the Collection Granados 4 Madrid, Jose Ribera "The Españoleto, a "San Francisco Angel receiving seven privileges" that comes from the Collection Musei di Strada Nuova, Palazzo Bianco, Genoa and, above all, for my taste, a unique "Immaculate Conception " (below) early work of Francisco Rizi, Prado Museum (on deposit at the Museo de Cádiz) 5 .
For reasons not just good understanding "of sponsorship? 1 , space "?, This fascinating exhibition of 120 works were presented in two venues: The Prado Museum and Royal Palace. This requires two visits, usually on different days, if you want to see it in full. I suggest first visiting the temporary exhibition hall of the Palais Royal, organized in a more didactic, and then to the Prado Museum to complete the vision of the main works. Also agrees to purchase the catalog, at an affordable price (18 €) and with texts by John H. Elliot, Jonathan Brown and other specialists. And above all I recommend to readers of this blog who still have not seen, to hurry, because the closure on 30 January.
From the sixteenth to seventeenth time by extending the exhibition, the cultural area largest was the territory of the English monarchy, where "the sun never set." As Jonathan Brown notes, English painting of this era " was itself a conglomerate incorporating artists and works from the Netherlands and Italy, then under English control. And their productions to the New World in large numbers. English painters, Flemish and Italian made the perilous journey to America and artistic personalities transplanted to American soil " 2 . American painters born in the New world transforming English and European sources and gave a visual interpretation of that culture itself imported, so different from the native but no less real. Knowing
authors, works, styles, influences, models, schools, this is an interesting journey this exhibition is that we start with the formation of a common visual language .
and in Spain during the sixteenth and seventeenth century had expanded the artistic ideas from the Netherlands (in Castilla, XVI century) and Italy (Valencia in the sixteenth century), joint influence in Seville. In the seventeenth century, the construction of the Escorial Tuscan painters attracts influential art circles that generate large among English artists. A mid-century, Rubens, the king of painters, " exerts unparalleled influence ." The consequence is that "these trends in painting transformed the English painting in a kind of crucible as local artists were adapting their styles to satisfy a diverse clientele taste."
In the first room of the Royal Palace shows works that reflect these various artistic movements. Highlight three, one for the issue, as repeated "prize dairy St. Bernard by Claudio Coello, " the last great master of the Madrid school " as 3 Lafuente Ferrari, from the Collection Granados 4 Madrid, Jose Ribera "The Españoleto, a "San Francisco Angel receiving seven privileges" that comes from the Collection Musei di Strada Nuova, Palazzo Bianco, Genoa and, above all, for my taste, a unique "Immaculate Conception " (below) early work of Francisco Rizi, Prado Museum (on deposit at the Museo de Cádiz) 5 . 
In America, the first English were in the "obligation" to replace the pre-Hispanic cultures of other imported models that promote the Catholic faith which spread among the natives was rightly the domain of the English monarchs of the New World . This task of creating a new culture in three complementary ways did each other: through the importation of models, especially prints, its easy transport and reproduction allowed wide distribution, by sending artwork directly executed the American market, trade involving artists the popularity of Zurbarán and Valdés Leal, and finally by the establishment in the English viceroys of English artists, Italian and Flemish. 
Most artists, " men in transit" from Spain to India I are poorly understood. In case I've ever tried, I like the "San Cristóbal " Simon Pereyns flamenco, the Metropolitan Cathedral of Mexico. Among the "works of art in transit" is the spectacular " Vision of St. Ignatius in the way of Rome " Valdés Leal, in the parish of San Pedro, Lima and a "San Pedro saved from the waters " anonymous flamenco, influenced by Patinir, the cathedral of Puebla in Mexico. 
The most important and significant exposure to a greater number of works presented, one that corresponds to the painters in Mexico, those born in the New World, who combined English artistic conventions and local influences were artistic response to the needs and tastes of their societies .
These "shared identities and local varieties" are focused around several models. The "package Virgin" or images of Marian devotion in Spain than in America, soon acquired a more complex terrain, as in "Our Lady of Loreto " Limeña School (Col. New Orleans Museum of Art) or the two " Madonna and Child" by Cristobal de Villalpando, the brightest of the painters of New Spain, which will see several masterpieces during this double exposure. The "Crucifixion", instead of showing two paintings done in Spain (Luis Tristan and Zurbarán) and two "Americans" saved enough parallelism. also widely represented model is the "Adoration of the Magi " in which the similarities are too great, except perhaps in the anecdote of the old San Jose represented in the New World "as a young man of cheerful countenance " 6 . Two other recurring patterns of" Trinidad on earth "cult spread by the Jesuits and the" angels and archangels Á "offer little difference, except the" archangels musketeers "in the viceroyalty of Peru and re-emphasizes representation Cristobal de Villalpando author of the picture " The sweet name of Mary "as attractive as cash.
In another issue " Marriage of the Virgin " (below), repeat American artists, with some variations, an iconographic model already consolidated. To highlight the support given by the anonymous Cuzco Collection Museo de Arte de Lima introduced the girls who accompany Mary and her frustrated suitors, according to the account of the apocryphal gospels (note the flowering rod of Joseph, the chosen suitor.)
portraits allow a wide range of possibilities. The exhibition is to compare the success of Philip II of Antonio Moro to Montezuma, of doubtful attribution, the latter is particularly unusual portrait of the dress that looks Mexican monarch. More evenly matched that of Mariana of Austria, literate Carreño and Sor Juana Inés de la Cruz, the latter already painted in the eighteenth century, in which the artist, Miguel Cabrera, the background has been a part of the beloved library the poet nun, known as "the tenth Muse" and to infer that there was pressure from the authorities Church shortly before his death . original decorative elements in English America were the screens, brought from Japan in the "Manila Galleon" and functioning as mobile dividing walls of the rooms. Two magnificent screens in the exhibition offer us in their leaves develop two separate issues relating to the Conquest of Mexico: the " Meeting of Cortés and Moctezuma ", painted around 1690 by Juan Correa (below) and various " scenes Conquest of Mexico", an anonymous author, both works of good quality, good composition and performance of scenes .
Very curious about their particular subject "genealogy" is the anonymous Peruvian canvas entitled "Union Inca imperial descent to the house of Loyola and Borgia " (below) Jesusonian sent to Cuzco by expressing the high degree of coexistence reached between the English and Inca aristocracy and the role played by the Jesuits.
We shall comment on the visit to the next venue of the exhibition at the Museum Prado, but not to extend more this article, we leave this for a second post.
© Manuel Martínez Bargueño
January, 2011
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NOTES
1. The initiative for this exhibition match Fomento Cultural Banamex, a civil association founded forty years ago by the National Bank of Mexico to promote, save and spread the culture of Mexico and is a part, as I read, the commemoration of the bicentennial of the war Independence from Spain. In this event have collaborated Heritage and the Museo Nacional del Prado.
2. Quoting until further notice, corresponds to the Introduction to "Painting realms," which Jonathan Brown in the exhibition catalog, p.15 et seq.
3. Enrique Lafuente Ferrari. " brief history of English painting . Second Edition. Misiones Art. 1936 p.140.
4. The Collection of the artist Miguel Pérez Granados (Granados library) is considered one of the richest, unique and thorough collection of English art, painting and sculpture, and part of the XVII century XVIII. boasts works by Alonso Cano, Zurbaran, Murillo, Valdés Leal, Claudio Coello, Carreño de Miranda and other Baroque masters.
5. In this work Revenga Paula Dominguez writes that " The painter offers one of the greatest versions of this subject which highlights the dynamic and theatrical sense of composition, with a Virgin firmly planted but sparkling with color and expressive power , which announces and later seized and fully reflects the triumph of the baroque in the Madrid school (Revenga Paula Dominguez. " Formation of a common visual language. Spain, Italy, Flanders " in the exhibition catalog, p .49).
6. Rogelio Ruiz Gomar "shared identities and varieties local "in the Show Catalogue.
NOTES
1. The initiative for this exhibition match Fomento Cultural Banamex, a civil association founded forty years ago by the National Bank of Mexico to promote, save and spread the culture of Mexico and is a part, as I read, the commemoration of the bicentennial of the war Independence from Spain. In this event have collaborated Heritage and the Museo Nacional del Prado.
2. Quoting until further notice, corresponds to the Introduction to "Painting realms," which Jonathan Brown in the exhibition catalog, p.15 et seq.
3. Enrique Lafuente Ferrari. " brief history of English painting . Second Edition. Misiones Art. 1936 p.140.
4. The Collection of the artist Miguel Pérez Granados (Granados library) is considered one of the richest, unique and thorough collection of English art, painting and sculpture, and part of the XVII century XVIII. boasts works by Alonso Cano, Zurbaran, Murillo, Valdés Leal, Claudio Coello, Carreño de Miranda and other Baroque masters.
5. In this work Revenga Paula Dominguez writes that " The painter offers one of the greatest versions of this subject which highlights the dynamic and theatrical sense of composition, with a Virgin firmly planted but sparkling with color and expressive power , which announces and later seized and fully reflects the triumph of the baroque in the Madrid school (Revenga Paula Dominguez. " Formation of a common visual language. Spain, Italy, Flanders " in the exhibition catalog, p .49).
6. Rogelio Ruiz Gomar "shared identities and varieties local "in the Show Catalogue.
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