ILENIA COLÓN MENDOZA, The Cristos yacentes of Gregorio Fernández: Polychrome Sculptures of the Supine Christ in Seventeenth-Century Spain. Visual Culture in Early Modernity. Farnham: Ashgate. 2018. xviii + 186 pp. 16 colour + 52 black-and-white illustrations

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Cean Bermudez: historiador del arte y coleccionista ilustrado

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Velázquez:‘Las Meninas’and the Late Royal Portraits. [Exhibition catalogue]. Edited by Javier Portús. Translated by Wade Matthews and Laura Suffield. London/New York: Thames & Hudson. 2014. 176 pp.; 83 colour + 9 black-and-white illustrations.

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A university set on a hill overlooking one of the richest cities: Stirling Maxwell, Spanish Culture, and the University of Glasgow

This article concerns Sir William Stirling Maxwell (1818–1878), a pioneer scholar and collector of Spanish art with close links to the University of Glasgow, whose Library’s Special Collections benefited from the bequest of many of his emblem books and festival books. The article first considers his important role in Higher Education reform, charting his association with several universities in Scotland, notably with Glasgow University, whose fundraising campaign he assisted to bring about its new campus at Gilmorehill in the city’s West-End, designed by Gilbert Scott. The article then examines his legacy to the University of Glasgow, focusing on key examples of Spanish books in the Stirling Maxwell Collection, to show their significance for new approaches within interdisciplinary studies concerned with emblems, festivals, illustrations, book-collecting and word-image relations

El arte español entre Roma y París (siglos XVIII y XIX): intercambios artísticos y circulación de modelos. Edited by Luis Sazatornil & Frédéric Jiméno. Collection de la Casa de Velázquez 143. Madrid: Casa de Velázquez, 2014. xi + 574 pp. 93 colour + 49 black-and-white illustrations.

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Ut Pictura Poesis : dialéctica entre palabras e imagen en Sir William Sterling Maxwell

En el presente artículo se analiza la estrecha relación entre la historia del arte de Sir William Stirling Maxwell, su biblioteca y su colección artística. Este vínculo encierra la clave para la comprensión de su excepcional aportación a la historiografía del arte español. Sus diversas actividades, como historiador del arte, coleccionista de libros y cuadros, y director de ediciones privadas de libros raros, fueron todas manifestaciones de su gran fascinación por el paralelo entre la literatura y el arte, la palabra y la imagen. Tal relación se encuentra incluso en el esquema decorativo de su biblioteca.This article examines the remarkable unity between Sir William Stirling Maxwell's art history, his library and his art collection and argües that this relationship is the key to understanding his unique contribution to scholarship of Spanish art. In particular, it will be shown that his actlvities as an art historian, bibliophile, art collector and editor of prívate editions of rare books were all expressions of his fascination with the relationship between literature and art in general, and more specifically between word and image. Even the decorative scheme of his library emphasised this relationship.</p

Lingering over graphic descriptions of grand state ceremonials and festivities: Stirling Maxwell and the role of the artist in Golden-Age Spain

This article examines the remarkable contribution of Sir William Stirling Maxwell (1818–1878) towards a modern understanding of the interdisciplinarity of the arts which was fundamental to the multi-faceted role of the artist in Early Modern Spain and the Habsburg empire. As the first chronological history of Spanish art, which contextualized art by demonstrating the close links—indeed interdependence—between the visual arts, literature and theatre, and the patronage of Church and State, Stirling’s Annals of the Artists of Spain (1848) earned a pioneering place in the emerging discipline of art history. We trace the evolution of Stirling’s interest in both festivals and art, and their interrelationship, citing evidence from his early travels on the Continent, his published works, and his outstanding collections of Spanish art and of festival books, focusing especially on the multiple copies of Torre Farfán’s Fiestas de Sevilla (1671–1672) which he conserved and prefaced. Thus, although he was criticized at the time for ‘lingering over’ descriptions of the role of artists in ephemeral festivals and celebrations, it is argued here that Stirling can now be seen as an important nineteenth-century link between current art historical approaches and Early Modern mentalities of theatricality and performativity

Plunder, dissolution, and dodgy dealing: the international market for Spanish art in the nineteenth century

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Stirling, the Annals and the reproduction of Spanish art

No abstract available