A beautiful painting ? Aesthetic canon(s) and pictorial production within the Spanish Crown territories (16th-19th centuries)
Une belle peinture ? Canon(s) esthétique(s) et production picturale dans les territoires de la Couronne d’Espagne (XVIe-XIXe siècle)
Lo bello en la pintura. Cánones estéticos y producción pictórica en los territorios de la Corona española (siglos XVI-XIX)
Published on Tuesday, February 13, 2024
Abstract
Ces journées d’études sont consacrées à la question du beau dans la peinture produite dans les territoires de la Couronne d’Espagne (Espagne actuelle, mais également Sicile, Naples, Milan, Pays-Bas du Sud, Artois, Franche-Comté, ainsi que les territoires américains et philippins) du XVIe siècle au début du XIXe siècle. Elles visent à interroger à la fois la manière dont s’est forgé un idéal dans la peinture produite dans ces territoires, souvent associée dans l’historiographie à un canon « réaliste » ou « naturaliste », avec toutes les problématiques que ces termes impliquent, et la manière dont ce canon a été perçu et reçu, voire adapté, transformé aux différentes périodes. Qu’est-ce qui était considéré comme beau dans la peinture des territoires sous domination espagnole pendant les temps modernes ? Quel était l’idéal esthétique du peintre et du spectateur ? Le Beau était-il vraiment le premier objectif des peintres ?
Announcement
Dates and places
- Dates: 9-10-11th December 2024
- Places: Médiathèque du Patrimoine et de la Photographie, Charenton (9th December), Institut national d’histoire de l’art, Paris, Vasari room (10th December), Centre Dominique-Vivant Denon, Paris (11th December)
Argument
The beautiful in the field of Hispanic painting (in the sense of painting produced in the territories of the Spanish Crown) is a notion that is not precisely defined and debated regarding its fundamental character in art history in general, and this in favor of an approach that focuses mainly on the realistic canon of this painting. The Spanish Golden Age, religious painting, still life and its great names (Velázquez, Zurbarán, Ribera, etc.) are all linked to a form of realism or naturalism presented as the most characteristic feature of Spanish painting.
However, some recent publications on the Golden Age itself show a renewed interest and a new approach to the subject, which are also evidenced by the new directions of young researchers in the field of Hispanic painting of the 15th-19thcenturies. Moreover, exciting works have already been devoted to the painting produced within colonial America, which highlight the importance of adopting a periodization in which 1700 is not a breaking point for American territories, research on painting in the colonial Philippines is hardly sketched out, and for the other territories of the Crown also it seems obvious that periodization cannot be a fixed given.
Finally, a renewed interest in a historiographical approach to Spanish art history has emerged in the last decade. The history of Hispanic art is therefore undergoing a period of change.
This symposium is devoted to the question of the beautiful in painting produced within the territories of the Spanish Crown (Spain, but also Sicily, Naples, Milan, South Netherlands, Artois, Franche-Comté, as well as the American and Filipino territories) from the 16th century to the early 19th century. It aims to question both the way in which an ideal has been forged in the painting produced in these territories, often associated in historiography with a «realistic» or «naturalist» canon, with all the problems that these terms imply, and the way in which this canon was perceived and received, or even adapted, transformed to the different periods. What was considered beautiful in the paintings produced in the territories under Spanish rule during modern times? What was the aesthetic ideal of the painter and the viewer? Was beauty really the painters' first objective? What about the 18th century, particularly after the dynastic change, and the arrival at the Court of artists from France and Italy? What about the 16th century?
From the historiographic point of view, have the paradigms of Beauty been so modified that they have made Spanish painting lose its signs of recognition (realism, predominance of the religious), and have made it forget? What place should be given in this context to the greatest names in painting (Morales, Ribera, Zurbarán, Velázquez, Goya, etc.)? Can we think of the history of Spanish art by giving them less space in the aesthetic canons associated with it?
This event is dedicated to young researchers, and more specifically to doctoral and postdoctoral students working on one of the aspects described above. These French researchers will be able to enter into dialogue with foreign doctoral students, in particular Spanish ones, who are of course also expected: their presence will make it possible to assess whether there are gaps in their approaches, particularly because of the historiographic traditions on which they are based.
Submission guidelines
Contribution proposals in the form of an abstract of a maximum of 200 words and a brief bio-biographical profile must be sent to clemence.raccah@inha.fr, Iris.Romagne@louvre.fr and cecile.vincent-cassy@cyu.fr
before the 30th April 2024.
Travel and living expenses (3 nights) will be covered by the organization of the meeting.
Organization committee
- RACCAH Clémence (INHA)
- ROMAGNÉ Iris (CY Université and musée du Louvre)
- VINCENT- CASSY, Cécile (CY Cergy Paris Université)
Scientific committee
- ALCALÁ, Luisa Elena (Universidad Autónoma de Madrid)
- CHASTEL-ROUSSEAU, Charlotte (musée du Louvre)
- ESPIN, Elsa (CY Cergy Paris Université)
- GONZÁLEZ TORNEL, Pablo (Museo de Bellas Artes de Valencia)
- MOLINA MARTÍN, Álvaro (UNED)
- PEREDA Felipe (Harvard University)
- VINCENT-CASSY, Cécile (CY Cergy Paris Université)
Subjects
- Early modern (Main category)
- Periods > Early modern > Sixteenth century
- Periods > Early modern > Seventeenth century
- Mind and language > Representation > History of art
- Periods > Early modern > Eighteenth century
- Mind and language > Representation > Heritage
- Mind and language > Representation > Visual studies
- Zones and regions > Europe > Iberian Peninsula
Places
- Médiathèque du Patrimoine et de la Photographie - 11 rue du Séminaire de Conflans
Charenton-le-Pont, France (94220) - Centre Dominique-Vivant Denon - Musée du Louve, Porte des Arts
Paris, France (75001)
Event attendance modalities
Full online event
Date(s)
- Tuesday, April 30, 2024
Attached files
Keywords
- peinture, espagne, beau, amérique latine
Contact(s)
- Cécile Vincent-Cassy
courriel : cecile [dot] vincent-cassy [at] cyu [dot] fr - Clémence Raccah
courriel : clemence [dot] raccah [at] orange [dot] fr - Iris Romagné
courriel : Iris [dot] Romagne [at] louvre [dot] fr
Information source
- Clémence Raccah
courriel : clemence [dot] raccah [at] orange [dot] fr
License
This announcement is licensed under the terms of Creative Commons CC0 1.0 Universal.
To cite this announcement
« A beautiful painting ? Aesthetic canon(s) and pictorial production within the Spanish Crown territories (16th-19th centuries) », Call for papers, Calenda, Published on Tuesday, February 13, 2024, https://doi.org/10.58079/vtlu
