Tintoretto : la pintura como arrebato.

Se describe una exposición realizada en el Museo del Prado en honor al pintor Tintoretto. Se explica la relación del pintor con Venecia ya que esta fue la ciudad a la que fue destinada la mayoría de la producción de Tintoretto. Se presenta su estilo, la relación con otros artistas como Miguel Ángel o Tiziano, las diferentes temáticas y técnicas utilizadas, etc. Se describen algunas de sus obras más importantes y los aspectos más relevantes de las mismas.

Venues on the verges: London's theater government between 1594 and 1614

In 1594, major decisions were made by the governors of London and the country about plays and playing. We need to learn what lay behind these events, such as what led James Burbage to build his Blackfriars theater in 1596. That initial fiasco might tell us much about what lay behind Shakespeare’s decision to join the new Chamberlain’s Men in 1594 and his subsequent commitment to them as a full-time playwright. When the Globe burned down in 1613, a majority of the shareholders decided to rebuild it at great cost, but Shakespeare withdrew. The rebuilding was old-fashioned thinking, reverting to the company’s desire, asserted in 1594, to play indoors in winter, which helps to clarify their decisions and Shakespeare’s own—to write plays rather than more long poems. The few surviving papers of the Privy Council and the London mayoralty from the time suggest that one of the two new companies of 1594 preferred to play indoors during the winter instead of at their allocated open playhouses in the suburbs. They tried to renew this traditional practice, first in 1594 and again in 1596 when James Burbage built the indoor Blackfriars playhouse for them. The renewal of the Globe in 1614 was part of the same thinking, although Shakespeare evidently opted out of the decision.

Kurtzer bewehrter Ausszuch [et]c. Der letzten Wormbser Judenordnung, wie sie Anno 1594. an etlichen orten Corrigiert vnd gebessert, im Newlich eröffneten Buchstaben geschrieben befunden : Darinnen ein jeder aussgesessener vnnd vnparteischer Christ: oder hanthierender Burger zu Wormbs, sich zubespieglen ... habe [et]c.

Vorlageform des Erscheinungsvermerks: Gedruckt zu Vallo Francko, Anno 1614.

Printed Narrative: The Festival Books for Archduke Ernest of Austria from Brussels and Antwerp 1594

Workshop „The Narrative in Eastern and Western Art“, Graduate School of Letters, Kyoto, 2-5 December 2013 Abstract by Ivo Raband, University of Berne Printed Narrative: The Festival Books for Ernest of Austria from Brussels and Antwerp 1594 During the early modern period the medium of the festival book became increasingly more important as an object of ‘political narration’ throughout Europe. Focusing on Netherlandish examples from the sixteenth and seventeenth centuries, my talk will focus on the festival books printed for the Joyous Entries of Archduke Ernest of Austria (1553–1595). Ernest was appointed Governor General of the Netherlands by King Philipp II in 1593, being the first Habsburg Prince to reside in Brussels since 30 years. In Brussels and Antwerp, the Archduke was greeted with the traditional Blijde Imkomst, Joyous Entry, which dates back to the fourteenth century and was a necessity to actually become the sovereign of Brabant and Antwerp and to uphold the privileges of the cities. Decorated with ephemeral triumphal arches, stages, and tableaux vivants, both cities welcomed Ernest and, at the same time, demonstrated their civic self-assurance and negotiated their statuses. In honor of these events of civic power, the city magistrates commissioned festival books. These books combine a Latin text with a description of the events and the ephemeral structures, including circa 30 engravings and etchings. Being the only visual manifestation of the Joyous Entries, the books became important representational objects. The prints featured in festival books will be my point of departure for discussing the importance of narrative political prints and the concept of the early modern festival book as a ‘political object’. By comparing the prints from Ernest’s entries with others from the period between 1549 and 1635, I will show how the prints became as important as the event itself. Thus, I want to pose the question of whether it would have been possible to substitute a printed version of the event for the actual ceremony.

Nova Palmae Civitas : Ao. 1594

Auf d. kl. Platte: Abb. e. Gedenkmünze aus d. Grundstein

Ms. Ff. Mus. 1518 - Dom. Septuages.

Telemann. [Text: Gottfried Simonis]