Berlin, 29 June 2016 CONTENTS Kulturforum, Gemäldegalerie El

Transcription

Berlin, 29 June 2016
CONTENTS
Kulturforum, Gemäldegalerie
El Siglo de Oro. The Age of Velázquez
1 July – 30 October 2016
1. Invitation to the press preview
GENERALDIREKTION
2. Press release
PRESSE – KOMMUNIKATION – SPONSORING
3. Fact sheet
Stauffenbergstraße 41
10785 Berlin
4. Wall texts
MECHTILD KRONENBERG
5. List of exhibited works
REFERATSLEITUNG
MARKUS FARR
6. Press release
“Reencuentros. Dialogues with the Siglo de Oro”
7. Press images
8. Program „Golden Summer in Berlin“
PRESSEREFERENT
Telefon: +49 30 266 42 3402
Telefax: +49 30 266 42 3409
[email protected]
www.smb.museum/presse
9. Press release Sparkassen-Finanzgruppe
PROJEKTBEZOGENE KOMMUNIKATION
10. Press release Kuratorium Preußischer Kulturbesitz
ARTEFAKT KULTURKONZEPTE
11. Press release “la Caixa“ Banking Foundation
12. Press release Museum&Location
Telefon: +49 30 440 10 720
Telefax: +49 30 440 10 684
[email protected]
www.artefakt-berlin.de
13. Catalogue information
Das Fotografieren ist ausschließlich zur aktuellen Berichterstattung über die Ausstellung /
Veranstaltung erlaubt. Bei jeder anderweitigen Nutzung der Fotos sind Sie verpflichtet, selbständig vorab die Fragen des Urheber- und Nutzungsrechts zu klären. Sie sind verantwortlich für die Einholung weiterer Rechte (z.B. Urheberrechte an abgebildeten Kunstwerken,
Persönlichkeitsrechte).
Seite 1/1
Berlin, 6 June 2016
INVITATION TO THE PRESS PREVIEW
10785 Berlin, Matthäikirchplatz
An exhibition by Gemäldegalerie – Staatliche Museen zu Berlin in
cooperation with Kunsthalle München
Press preview: Wednesday, 29 June 2016, 11 am
Opening: Thursday, 30 June, 6 pm
GENERALDIREKTION
We would like to invite you to the press preview of the exhibition El Siglo
de Oro. The Age of Velázquez on Wednesday, 29 June 2016, 11 am at
Gemäldegalerie, Berlin.
El Siglo de Oro – the golden age of Spanish art – remains one of the most
important and popular chapters in European cultural history. This summer,
a major exhibition showcasing 17th century Spanish painting and sculpture in all its fascinating variety will go on show outside of Spain for the
first time. El Siglo de Oro. The Age of Velázquez will comprise 130 masterpieces by Velázquez, El Greco, Francisco de Zurbarán, and Bartolomé
E. Murillo, as well as lesser-known artists such as Alonso Cano and Gregorio Fernández.
In attendance:
Michael Eissenhauer
General Director – Staatliche Museen zu Berlin
Karl-Peter Schackmann-Fallis
Managing Director of the board of management – Deutscher Sparkassenund Giroverband
Thorsten Strauß
Global Head of Art, Culture & Sports – Deutsche Bank AG,
Chairman of the board – Kuratorium Preußischer Kulturbesitz
Ignasi Miró
Director of the cultural sector – ”la Caixa” Banking Foundation
Bernd Wolfgang Lindemann
Director of the Gemäldegalerie, sculpture collection and
the Museum für Byzantinische Kunst – Staatliche Museen zu Berlin
Following the press conference, the curators Roberto Contini and María
López-Fanjul y Díez del Corral will offer a guided tour in the exhibition.
To attend the press preview, please send us an E-mail until Tuesday,
28 June 2016: [email protected].
The exhibition is being held under the joint aegis of His Majesty King Felipe VI of Spain and German Federal President Joachim Gauck. The exhibition is sponsored by Kuratorium Preußischer Kulturbesitz, SparkassenFinanzgruppe and “la Caixa“ Banking Foundation. The exhibition is supported by Kaiser Friedrich Museumsverein, the Embassy of Spain, Instituto Cervantes and Museum&Location.
10785 Berlin
MECHTILD KRONENBERG
HEAD OF PRESS, COMMUNICATION,
SPONSORSHIP
MARKUS FARR
PRESS OFFICER
Tel.: +49 30 266 42 3402
Fax: +49 30 266 42 3409
[email protected]
PROJECT-RELATED COMMUNICATION
Tel.: +49 30 440 10 720
Fax: +49 30 440 10 684
[email protected]
PRESS RELEASE
Matthäikirchplatz, 10785 Berlin
Tue, Wed, Fri 10 am–6 pm, Thu 10 am–8 pm, Sat + Sun 11 am–6 pm
An exhibition by the Gemäldegalerie – Staatliche Museen zu Berlin in
cooperation with Kunsthalle München
GENERALDIREKTION
The exhibition falls under the joint patronage of His Majesty Felipe VI, the
King of Spain and Federal President Joachim Gauck.
The Siglo de Oro – the Golden Age of Spanish art – remains one of the
most important chapters in European cultural history. Prominent painters
of the era such as Bartolomé Esteban Murillo, Diego Velázquez and Francisco de Zurbaran belong to the ranks of the greatest masters of art history just as much as do the sculptors Gregorio Fernández, Pedro de Mena
and Juan Martínez Montañés.
This summer, for the first time, 17th-century painting and sculpture in all
its fascinating variety can be comprehensively explored outside of Spain:
From 1 July 2016, the Gemäldegalerie, which itself holds one of the most
important collections of Spanish painting in Germany, will be dedicated to
the Golden Age with a large-scale exhibition featuring over 130 masterpieces from 64 international lenders, including the Museo del Prado in
Madrid, the Metropolitan Museum of Art in New York, the Louvre in Paris
and the Museo Nacional de Escultura in Valladolid.
Paradoxically, the Siglo de Oro evolved during a time marked by profound
crisis: epidemics, famines and armed conflicts were causing upheaval
throughout Europe. At the beginning of the 17th century, Spain was still
the most powerful country in the Western hemisphere, ruling a territory
that spanned five continents. However, King Philip IV, who ascended the
throne of the Spanish Empire in 1621, struggled to combat continuous
decline and an increasing loss of territorial and political hegemony.
Against the sombre background of societal reality, art became the most
important political medium for simulating would-be stability and power.
10785 Berlin
MECHTILD KRONENBERG
SPONSORSHIP
MARKUS FARR
PRESS OFFICER
Tel.: +49 30 266 42 3402
Fax: +49 30 266 42 3409
[email protected]
Tel.: +49 30 440 10 720
Fax: +49 30 440 10 684
[email protected]
El Siglo de Oro. The Age of Velázquez shows the artistic opulence of the
era between 1550 and 1680, taking into account the political and geographical conditions of the time. Employing the most important art centres
in Spain as examples, the exhibition depicts, in chronological order, the
general development of Baroque painting and sculpture during the reigns
of Philip III, Philip IV and Charles II. Thus, visitors are taken through different artistic regions, of which the most important cities are Madrid, Valladolid, Toledo, Valencia and Seville. Special attention is paid to concrete
topics such as portrait painting and still life as well as the close relationPhotographs may only be taken as part of the media coverage for the current exhibition/
event. If you take photographs for any other purpose, it is your responsibility to establish
beforehand any issues relating to copyright and terms of use. You are also responsible for
obtaining permission for any additional usage rights (e.g. copyright for images of artworks,
rights of personality, and so forth).
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ship between painting and sculpture, which is given particular expression
in the form of masterful polychrome wood sculptures. One room of the
exhibition is devoted exclusively to the art of Spanish drawing, with singular Baroque drawings from the Kupferstichkabinett of the Staatliche Museen zu Berlin which will be on view for the first time.
Under Philip III (1578–1621, king from 1598), surprising diversity and
strong foreign influences shaped the Spanish arts. Originally from Greece,
Domenikos Theotokópoulos (the highly original artist otherwise known as
El Greco) worked in the city of Toledo. In his work he combined Italian
and Spanish pictorial traditions with those of his homeland, developing his
own distinctive style that influenced many of his contemporaries. The artist Juan Sánchez Cotán also lived in Toledo. Together with the Madrilenian Juan van der Hamen y León, he played a significant role in the development of a typical Spanish still-life genre, the bodegón.
The port city of Seville, rich and cosmopolitan at the time, was Andalusia’s
artistic heart. Religious works destined for America were also created
here. The most important representative of the Sevillian school of sculpture is Juan Martínez Montañés, whose sculptures are characterised by
profound realism and lifelike renderings.
The second section of the exhibition focuses on the artistic peak of the
Baroque period’s great masters, contextualised by political and religious
elites of their day. Philip IV (1605–65, king from 1621) was a great lover of
the arts. Together with his favourite, the Count-Duke of Olivares, he fashioned art in the midst of economic and social crises into his primary instrument of political propaganda. The enormous number of artistic initiatives he sponsored for this purpose ultimately established Madrid, the seat
of the court, as Spain’s most important artistic centre.
The capital attracted many artists, including the Sevillian Diego Velázquez, who at the age of 24 took a court position and was soon appointed
court painter—the highest royal office obtainable by an artist. As a painter,
Velázquez distinguished himself in the field of portraiture in particular. His
position meant that he was responsible for the creation of official portraits
of the monarch and his family. The empathy and interest in the psychology of his subjects that is so keenly palpable in these works also influenced
his numerous other portraits of personalities of the court and its surroundings.
GENERALDIREKTION
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PRESS OFFICER
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Fax: +49 30 440 10 684
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During the Counter-Reformation, the Church was the most important
commissioner of works of art. In Valladolid an independent school of
sculpture committed exclusively to religious subjects emerged. Gregorio
Fernández was its dominant figure and became the most successful
Spanish sculptor of the century. His Cristo Yacente of El Pardo (1627) is
an exemplary masterpiece of polychrome carved wooden sculpture and
one of the most representative creations of Spanish Baroque sculpture.
The artist adorns this life-sized, recumbent statue with additional elements
such as ivory teeth and nails fashioned from bull’s horn to achieve a more
Photographs may only be taken as part of the media coverage for the current exhibition/
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realistic effect. The carefully executed polychroming is attributed to the
painters Diego de la Peña and Jerónimo de Calabria. Deeply dramatic
sculptures such as this one express a religiosity that was newly emerging
at the time, which can be understood as a reaction against the CounterReformation. They were meant to strengthen the viewer’s religious faith,
leaving a lasting impression. Another example of polychrome sculpture, a
group comprising life-size figures that portray a cross-carrying Christ and
the attendant scene (after 1610), is still used to this day as part of a yearly
procession in the streets of Valladolid. Now, for the first time in history, it
will be on display in Germany, in the Gemäldegalerie.
GENERALDIREKTION
Art in Valencia, too, was steeped in a deep sense of religion and spirituality. In part thanks to its distance from Madrid, Valencia, the birthplace of
Jusepe de Riberas, evolved into an independent artistic centre with its
own presentational style. In Ribera’s Madonna with the Christ Child and
Saint Bruno, reality and hallucination are masterfully folded in on one another. Another impressive example from Seville is Francisco de Zurbarán’s St. Francis of Assisi in His Tomb. In Zurbarán’s painting, which is
life-sized and painted head-on, the border between natural and supernatural dissolves; the viewer is confronted with a miraculous event.
10785 Berlin
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As the seat of the court, Madrid was one of the largest cities in Europe
towards the end of the century, while many other cities in Spain were experiencing an ongoing demographic decline. The heir apparent to Philip IV
was Charles II, his son (1661–1700, king from 1665). As a result of Madrid’s centralisation, all artistic activity became focused on the capital and
a lively exchange arose between the artists who had settled there. The
most significant commissions were fresco cycles for the decoration of
buildings and churches.
Tel.: +49 30 266 42 3402
Fax: +49 30 266 42 3409
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The artists’ work simultaneously shows the influence of their environment
and the upheavals of their time. Bartolomé Esteban Murillo, next to Velázquez the best-known Spanish Baroque painter of his day, developed a
new genre of painting, in which he depicted scenes from daily street life.
Children Eating a Pie shows two barefoot children in ragged clothes. The
cheerful mood and the childlike unselfconsciousness outshines their obvious poverty.
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As the century came to a close, so did these artistic golden days; however, they left a significant mark, tangible in the work of generations of artists
to come. Concurrent with the turn of the century, the death of the childless
king led to the end of the Spanish line of the Habsburg dynasty and the
beginning of a new chapter in Spanish history.
Under the title Reencuentros. Dialogues with the Siglo de Oro, installations comprising the contemporary Spanish artists Anna Talens, Pablo
Alonso and Alex Arteaga will be on view in the foyer of the Kulturforum.
The work in these installations deals explicitly with the Golden Age, establishing a dialogue with the current discourse.
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A diverse line-up of cultural programming is planned in Berlin for the duration of the exhibition under the motto ‘Golden Summer in Berlin’. A broad
network of partners—from the museums at the Kulturforum, to cultural
institutions, language schools, bookstores and flamenco studios, to restaurants and tapas bars—are part of a comprehensive programme that
includes exhibitions, concerts, lectures, film screenings and many other
promotions and specials. The entire programme is available online at
www.goldenersommer.de.
A publication from Hirmer Verlag accompanies the exhibition, ca. 336
pages, ca. 280 colour plates, 24 x 29 cm, ISBN: 978-3-7774-2478-1,
price: €49,90, price at the museum: €29
El Siglo de Oro. The Age of Velázquez has received generous support
from the Kuratorium Preußischer Kulturbesitz, the Sparkassen-Finanzgruppe and “la Caixa“ Banking Foundation. The exhibition has received
further support from the Kaiser Friedrich Museumsverein, the Embassy of
Spain, Instituto Cervantes and Museum&Location
GENERALDIREKTION
10785 Berlin
MECHTILD KRONENBERG
SPONSORSHIP
MARKUS FARR
PRESS OFFICER
Tel.: +49 30 266 42 3402
Fax: +49 30 266 42 3409
[email protected]
Tel.: +49 30 440 10 720
Fax: +49 30 440 10 684
[email protected]
Page 4/4
FACT SHEET
Exhibition runs
1 July–30 October 2016
Venue
Matthäikirchplatz, 10785 Berlin
GENERALDIREKTION
Public transport
U-Bahn U2 (Potsdamer Platz)
S-Bahn S1, S2, S25 (Potsdamer Platz)
Bus M29 (Potsdamer Brücke), M41 (Potsdamer Platz Bhf / Voßstraße),
M48 + M85 (Kulturforum), 200 (Philharmonie)
10785 Berlin
MECHTILD KRONENBERG
Opening times
Tue, Wed, Fri 10 am–6 pm, Thur 10 am–8 pm, Sat+Sun 11 am–6 pm
SPONSORSHIP
MARKUS FARR
Opening times on public holidays
Day of German Unity: Mon 3 October 2016, 11 am–6 pm
Admission
Time-slot ticket: €14/red. €7 (incl. permanent collection display)
Free admission for children and teenagers up to and incl. age 18
Book your ticket online here: www.elsiglodeoro.de
Barrier-free access
Severely disabled visitors can go to the front of the queue; wheelchair-,
step-free access to building, lift at side entrance, disabled WC available
Information and booking
Tel.: +49 (0)30 266 42 42 42 (Mon–Fri 9 am–4 pm)
Fax: +49 (0)30 266 42 22 90
[email protected]
www.elsiglodeoro.de
PRESS OFFICER
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Fax: +49 30 266 42 3409
[email protected]
Tel.: +49 30 440 10 720
Fax: +49 30 440 10 684
[email protected]
Website
www.elsiglodeoro.de
Hashtags
During the exhibition, the Gemäldegalerie uses the hashtags
#elsiglodeoro and #goldenersommer to communicate via social media
Audio guide
Narrated by Daniel Brühl
German/English, included in the ticket price
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COMPAÑERO. The guide for children
Audio guide and sketchbook for children ages 6 to 12
In German, free of charge
Catalogue
A publication from Hirmer Verlag accompanies the exhibition, ca. 336
Pages, ca. 280 colour plates, 24 x 29 cm, ISBN: 978-3-7774-2478-1,
price: €49,90, price at the museum: €29
Patronage
The exhibition is being held under the joint aegis of His Majesty King Felipe VI of Spain and German Federal President Joachim Gauck
Support
The exhibition has received generous support from the Kuratorium
Preußischer Kulturbesitz, the Sparkassen-Finanzgruppe and “la Caixa“
Banking Foundation. The exhibition has received further support from the
Kaiser Friedrich Museumsverein, the Embassy of Spain, Instituto Cervantes and Museum&Location
GENERALDIREKTION
10785 Berlin
MECHTILD KRONENBERG
SPONSORSHIP
MARKUS FARR
In cooperation with:
Kunsthalle München
Media partners
Frankfurter Allgemeine Zeitung, rbb Fernsehen, radioeins/rbb,
Kulturradio/rbb, Tagesspiegel, Weltkunst, tip Berlin, ZITTY
Mobility partner
Deutsche Bahn
With a special cultural discount from Deutsche Bahn, round-trip travel to
the Gemäldegalerie within a three-day period is available for €39. Up to
four passengers save €10 each. While offer lasts
Additional information is available at: www.bahn.de/kultur
PRESS OFFICER
Tel.: +49 30 266 42 3402
Fax: +49 30 266 42 3409
[email protected]
Tel.: +49 30 440 10 720
Fax: +49 30 440 10 684
[email protected]
Press tickets
Complimentary time-slot tickets for press can be booked in advance by
visiting the press section of the website www.elsiglodeoro.de. After booking, you will receive a PDF ticket via email, which you should print out.
This printed ticket and a valid press pass entitle you to immediate admission to the exhibition during the time frame chosen at the time of booking.
The ticket does not include a guest. Your press pass will be checked before entry.
Subject to availability, complimentary press tickets can also be obtained
directly on site at the admissions desk upon presentation of a valid press
pass. We apologize for any delays that may occur due to high visitor turnout. The ticket does not include a guest.
Page 2/2
WALL TEXTS
The Blossoming of Art in Adverse Times
Around 1600 Spain was the most powerful country in the western hemisphere and governed an enormous territory spread over five continents.
Spain was able to maintain this leading position until about the middle of
the 17th century, when a continuous process of loss of power began.
The environment within which these shifts in political power took place
was anything but simple. The 17th century is regarded as a century of
global crisis, which affected Spain in the form of famine, epidemics, revolts and armed conflicts. Together with a great deal of emigration, the
population declined significantly and numerous formerly vibrant cities, especially in Castile, sank into insignificance.
GENERALDIREKTION
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MECHTILD KRONENBERG
One could assume that such an environment would hardly be favourable
to Spanish art, but in fact a few outstanding characters like the writer Miguel de Cervantes or the painter El Greco prepared the way for a tremendous blossoming of the arts around 1600. This desolate era thereby became, paradoxically for Spain, the Siglo de Oro – the Golden Age.
The development of fine arts in the Siglo de Oro can be roughly divided
into three separate phases, each with their own character, which coincide
with the reigns of the respective kings. During the reign of Philip III (1598–
1621) a great number of different centres of art evolved, in which various
and surprisingly independent paths were taken in response to baroque
trends arising in Italy. During the following reign of Philip IV (1621–1665)
art was increasingly exploited by the elite in power. At the same time, due
to the activities of the generation of the great masters, the Siglo de Oro
reached the height of artistic success. Finally, under King Charles II
(1661–1700) there was an increasing trend towards a concentration of
artistic activities in Madrid.
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Throughout the individual stages of development, the art of the Siglo de
Oro cultivated many individual characteristics, which justify its special
place in the context of European art of the same period. This includes,
above all, a completely unique tendency towards realism as well as an
intensive interaction between painting and sculpture. In addition the Spanish contributions to the genres of still life and portrait painting were of outstanding importance.
The Leading Artistic Landscapes
After the death of Charles II the Siglo de Oro and the Spanish Habsburg
dynasty came to an end with the War of Succession. In the 18th century
the trend towards centralisation was significantly intensified under the
Bourbons, so that the individual cultural regions were not able to provide
as much impetus. But it was precisely this regional diversity which had
contributed decisively to a century of overarching achievements in the
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field of Spanish art, whereby it was the centre of Castile around the capital
city of Madrid, Andalusia around the metropolis of Seville as well as the
Levante with the focal point of Valencia which made the essential contributions to the Siglo de Oro.
A central role in creating the most significant art region of the Siglo de Oro
was played by the royal court, which in the meantime was firmly anchored
in the centre of the country. Besides the ambitious royal capital of Madrid,
Toledo, the former capital of Castile, and the temporary royal residence,
Valladolid established themselves as two further art centres. Whereas the
latter two had to pay tribute to a decline in population and commerce in
the course of the century, the ongoing growth of the capital attracted a
continually increasing number of artists and intellectuals. Already during
the reign of Philip IV, Madrid became Spain’s leading artistic centre in this
way.
As the largest and richest city in Spain at the time, cosmopolitan Seville
had, at the beginning of the Siglo de Oro, rivalled Madrid for the title of
capital of the arts. Commissioned by the Church, countless religious
works of art were made in the harbor city, both for the wealthy region and
for export to America. Subsequently the community was very much affected by the crisis, but remained one of Spain‘s artistic powerhouses.
The same was true of other Andalusian cities such as Cordoba and especially Granada, at least now and then, and to a modest extent.
The Levante, mostly belonging to the crown of Aragon, was culturally
more strongly oriented to the Mediterranean area, whose most significant
centre was the busy harbour city of Valencia. In terms of originality, its art,
intensely charged with the spirit of the counter-reformation, was hardly
less important than that of the other two leading artistic landscapes. However, the gradual decline of artistic patronage in the province already had
notable effects in the second half of the 17th century.
The Transition to Baroque in Castile
In the last quarter of the 16th century a new pictorial language based on
reality found its way into Spanish art. The workshops of the royal monastery of El Escorial, in which numerous Italian artists worked, were of particular importance for this development. Parallel to their eloquent and sober style there existed, however, a further form of the portrayal of reality,
appearing almost arbitrarily during the reign of Philip III, which manifested
itself in the works of El Greco. It was primarily his presence that caused
Toledo to advance to the status of a leading artistic centre in the heart of
Spain, which was able to assert itself as an independent talent pool for
painters up to the end of the first third of the new century.
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The groundbreaking work of El Greco was by no means without consequences. On the one hand it was a source of inspiration of fundamental
importance for the next generation of Spanish artists. On the other hand
he also influenced numerous artists directly, as is evident in the case of
his pupil Luis Tristán. Other artists also showed themselves to be obviousPhotographs may only be taken as part of the media coverage for the current exhibition/
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ly influenced, above all, by El Greco’s intensive colour scheme, like the
painter Juan Bautista Maíno who, after a lengthy period of residence in
Italy, worked first in Toledo and later at the Court in Madrid.
Juan Sánchez Cotán also played an important role in Toledo. With his
unique pictorial inventions he had a long lasting influence on the development of still life painting in Spain. This became a widespread genre, as
we shall see in the further course of the exhibition.
The Transition to Baroque in Valencia
Due to the predominance of ecclesiastical commissioners, Valencia’s art
was shaped by a particularly strong counterreformatory spirit already
since the 16th century. In the early phase of the 17th century, the city and
its region developed into a major art centre which appeared to be widely
unaffected by the contemporaneous art work at the royal Court. Although
the pieces of art that were created here also showed the heritage of the
Italian artists of the Escorial, the large distance to Madrid still allowed the
formation of an individual way of presentation that was characterized by
naturalistic immediacy, a very personal way of dealing with pathos and a
unique mastery in the representation of objects.
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Valencian Baroque painting was fundamentally shaped by Francisco Ribalta and his atelier. Among his successors, his own son Juan played an
essential role, whose works were qualitatively in no way inferior to those
of his father already at an early age. The style of the two Ribaltas had a
lasting impact on numerous artists like Jerónimo Jacinto de Espinosa, and
one believes to feel the reverberation of their art also in the work of
Jusepe de Riberas, who took his first steps as a painter in Valencia.
A sort of counterpart is embodied by Pedro de Orrente from Murcia. The
well-travelled artist used to work not only in Valencia and in his home
town but also in Castile. His work impressively illustrates the Italian
tendencies of the art of the Spanish Levante in those years.
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The Transition to Baroque in Andalusia
In the rich and cosmopolitan Seville, the by far largest city in Spain at the
beginning of the 17th century, the church was the most important commissioner for art works. However, the local artists did not only supply the
numerous conventions and religious foundations of the harbour town with
their religious paintings, but at the same time also produced certain export
articles for America. Furthermore, Seville was a centre of Spanish sculpture. Just like in Valladolid, the sculptures that had been created here
were used mainly in a religious context. The most significant representative of the Sevillian sculpture school was Juan Martínez Montañés, whose
works combined profound realism with a graceful appearance. These fundamental characteristics turned out to have an influence on the Andalusian sculpture until the 18th century. The early phase of the Siglo de Oro
in Seville was thereby characterised by a particularly intense collaboration
of painters and sculptors. Whereas the sculptors were responsible for
shaping the sculptures, the painters alone had the right to colour them.
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The outstanding Sevillian figures in art during that era were Francisco
Pacheco und Juan de Roelas. They were teachers and sources of inspiration for the most important artists of the following generations: Diego Velázquez, Francisco de Zurbarán and Bartolomé E. Murillo. Beyond that,
Pacheco also worked as an art theorist and prepared one of the central
documents of the Siglo de Oro with the treatise Arte de la pintura, published posthumously in 1649. He offers the current observer an informative insight in the intellectual world of Spanish artists in his days by dealing with specific iconographic issues of that time, among others, in addition to general explanations concerning painting and polychromy. Besides
the appropriate visualisation of the Immaculate Conception, it includes
also the, at that time, controversially discussed question concerning the
representation of the crucified with four instead of merely three nails.
The Generation of the Great Masters. Between Seville and Madrid
At the beginning of the 1620s Diego Velázquez left Seville to go to the
Court in Madrid. There he profited not least from the cultural commitment
of the most prominent Sevillian at the Court of Philip IV, the Prime Minister
Conde Duque de Olivares. Velázquez advanced rapidly and was ultimately promoted to Pintor de cámara (court painter), the highest position which
an artist could achieve at court.
Coming from the Extremadura region, Francisco de Zurbarán, with his
very independent and archaistic style of painting, worked above all both in
Seville and for Cistercian monasteries in the centre of Spain. In 1634 and
again in 1650 he spent some time in Madrid, where he ultimately spent his
last years. Zurbarán was in close contact with Velázquez, who he had
already become acquainted with in Seville. Because of this he was able to
participate actively in the artistic life of the capital. These periods of residence, as well as further contacts, were of major importance for the further development of his art.
The Generation of the Great Masters in Madrid
With purposeful measures Madrid became the artistic centre of Spain.
King Philip IV and his favourite, the Conde Duque de Olivares, launched
extensive cultural undertakings, not only to entertain the Court but also to
promote the achievements of his governmental activities. In fact, after early successes, the armed conflicts during his reign initiated the demise and
ruin of the Spanish superiority. Yet Madrid, which had grown into a metropolis in the meantime, became a meeting place for a new generation of
painters, including a whole series of especially gifted ones.
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The leading painters in Madrid engaged in an unusually lively exchange
with one another, but at the same time, each of them went on to develop
his own individual artistic style. Their most eminent representative is undoubtedly Diego Velázquez. As the aposentador mayor (the palace superintendent) he was also in charge of organizing the numerous royal theatrical and musical events, decorating palaces and extending royal collections. As a painter Velázquez was especially outstanding in the area of
portrait painting. Due to his position as pintor de cámara he was responsiPhotographs may only be taken as part of the media coverage for the current exhibition/
Page 4/12
ble for painting the official portraits of the monarch and his family. The
evident empathy shown in these works also characterise his numerous
other portraits of personalities at Court and its surroundings. Velázquez
usually used a neutral background here and in doing so, drew the whole
attention to the facial features of those portrayed, which acted as examples for psychological studies.
Vicente Carducho and Philip IV’s Court before Velázquez
Vicente Carducho came from Florence to Madrid as a child to work with
other Italian painters in the workshops of the Escorial. He settled permanently in the Spanish capital and in the course of time he became the
most influential painter at Court; a role which he gradually lost from the
1620s onwards to the newcomer Diego Velázquez.
It was just in this critical phase (1626–32) that Carducho created his masterpiece, a cycle of 56 large paintings for the Carthusian monastery of
Santa María del Paular, situated to the north-west of Madrid. Carducho’s
congenial colleague was Eugenio Cajés who, although born in Spain,
likewise had his roots in Tuscany. Parallel to some works for the Church
Cajés also made a career at the royal court.
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Like his Sevillian contemporary, Francisco Pacheco, Carducho was not
only a practitioner but also a theorist. In his Diálogos de la pintura (1633),
a key work on the history of Spanish art, he reaffirmed his understanding
of drawing as the indispensable basis of all arts.
Still Lifes
Still lifes used to be very popular in Baroque painting, and especially in
Spain this was a very common art form although it was considered to be
of lower value. In fact it is believed that in fact Juan van der Hamen triggered the rapidly spreading interest in this art form in Madrid in the early
17th century. Numerous leading artists soon devoted themselves intensively to this special form of painting in various regions of the country. Furthermore, painters like Diego Velázquez or Jusepe de Ribera frequently
integrated appealing still-life elements in paintings of other art forms.
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Many of these still lifes were created as commissional works and were
intended to decorate the walls of the private houses of collectors. These
collectors set great value upon the exact depiction of the objects and the
resulting fictional presence of material objects that they might never had
seen or touched in real life.
These educated art connoisseurs were especially interested in the so
called bodegones as well as Vanitas-presentations in the immanent ambiguity of which the art of painting reached far beyond purely aesthetical
spheres. Thus, the bodegón represented more than merely an innocent
image of everyday items, it rather staged realistic situations that gave the
viewer several possibilities of interpretation. Vanitas-still-lifes addressed
the transience of property and fame and at the same time reminded the
viewer that only a purified soul would be saved on doomsday. Their unPhotographs may only be taken as part of the media coverage for the current exhibition/
Page 5/12
derlying ideas formed a fundamental element of the Christian culture in
the 17th century, and the paintings used a generally understandable symbolic language.
La Torre de la Parada
In the 1630s King Philip IV had a significant watchtower in the mountain
range of Madrid converted into a hunting lodge. Peter Paul Rubens, one
of the most famous artists in Europe at that time, was commissioned with
the decoration of the building, which today is a ruin. The Flemish painter
was closely connected with the Spanish Royal Family. He travelled twice
to the Court in Madrid. This was where he also met Diego Velázquez, who
likewise contributed numerous paintings to the Torre de la Parada.
The oldest-known inventory of 1700 provides evidence of how magnificently the hunting lodge was once decorated. 176 paintings were in the
little more than ten rooms. They transformed the unpretentious building
into an impressive complete work of art. Some way outside the city of Madrid it was a retreat for the king. To selected guests it illustrated the
Court’s grandeur and the king’s ambitions.
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Rubens’ atelier supplied a total of 63 mythologies in accordance with Ovid’s Metamorphoses. Frans Snyders and Peter de Vos created approximately the same number of hunting and animal scenes. The original Rubens’ draft for Fortuna, the ancient goddess of good fortune and destiny,
today belongs to the Berlin Gemäldegalerie. In the drafts personally executed by Rubens, the Flemish painter confronts us as the intellectual creator of the series. His pictorial inventions, however, were transferred onto
the canvases by his workshop.
The complex decorative programme of the Torre de la Parada was completed by religious pictures of Vicente Carducho for the prayer rooms as
well as numerous paintings of Velázquez. In addition to hunting portraits
Velázquez created, above all, portraits of philosophers and Court jesters.
Due to their subjects and the experimental painting techniques these are
among the most unconventional works of Philip IV’s Court Painter. One
striking example of this is the Court Jester with a book on his knees. For
sure the most famous painting once created for the Torre de la Parada
(and the most difficult to interpret) is without doubt the unheroic portrayal
of Mars, the God of War, as an old man resting.
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The Buen Retiro Palace
In the 1630s, the Palacio del Buen Retiro was built upon the initiative of
Gaspar de Guzmán, Conde Duque de Olivares. This was designed for
entertainment of the Court and formed the setting for various festivities.
The palace was located in an impressive Baroque complex with gardens
and ponds which made it a popular residence of the king.
Apart from the Conde Duque de Olivares, Diego Velázquez also played a
significant role in the artistic furnishing of the palace building. The court
painter was conceptually involved in the decoration of the interior spaces
Page 6/12
and he also created several paintings for this purpose. Masterpieces of
contemporary Spanish and foreign art were collected at this place. Among
them there were works by Peter Paul Rubens and Nicolas Poussin. This
constitutes the largest artistic commission in Spain in the 17th century.
The ceremonial core and the most significant room of the Palacio del
Buen Retiro was the Salón de Reinos (Hall of the Kingdoms). The decoration of this representative hall served the glorification of the Spanish monarchy and thereby fulfilled mainly a political function: art was the most significant instrument of politically strong propaganda that was intended to
present the victories of the Spanish kingdom. The emblems of 24 kingdoms give an impression of the remarkable size of the Spanish realm. A
series by Francisco de Zurbarán and five equestrian portraits by Velázquez of the royal family, that were intended to express the dynamic persistence of the Spanish Habsburgs also belonged to the interior decoration. An important part of the Salón de Reinos was formed by twelve battle
scenes that illustrated the military successes of Philip IV. Among these,
there was the currently most famous work of this series, The Surrender of
Breda by Velázquez and others by José Leonardo.
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The Example of Titian
As a cultivated monarch and patron, Philip IV was extraordinarily interested in the Arts. In particular he expanded the art collections compiled by
the Emperor Charles V and King Philip II numerous paintings, so that he
ultimately possessed the most important collection of paintings in Europe
at that time.
The possibility of direct access to the works of the most famous European
masters kept in the Royal Collection was of fundamental importance for
the artistic development of numerous young Spanish painters. In particular the works of Titian served as an important inspiration for figures such
as Diego Velázquez or Alonso Cano to develop their own individual artistic style. One especially important case in this connection is the Martyrdom of St. Stephen by Diego Polo, since the masterpiece of this painter,
who came from Burgos in Castile, was regarded until recently as a personal work of Titian.
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The Generation of the Great Masters in Andalusia
In the first half of the 17th century the former economic powerhouse of
Seville was severely affected by the crisis, and the epidemic plague in the
middle of the century resulted in especially devastating consequences
too. In continuing to be the most important community in Andalusia, the
city still had great appeal. The most important artists of the region, however, now worked at the Court in Madrid, which had replaced Seville as
the most populous city in Spain.
One of these artists was Francisco de Zurbarán. As already seen in the
section »Between Seville and Madrid«, he had developed a visual language for his religious pictures which came close to the genre paintings
established by Francisco Pacheco and Juan de Roelas. In this phase
Page 7/12
Zurbarán’s work was in turn groundbreaking, especially for the art of the
young Bartolomé E. Murillo too. Some of Murillo’s early compositions,
working with powerful contrasts of light and dark, look like theatrical productions. The influence of the theatre, one of the most important genres of
the Spanish literature of the Siglo de Oro, was also revealed in those
years in the works of Madrid artists like Pedro Núñez del Valle.
Alonso Cano, who worked in Madrid from time to time, was also the most
remarkable personality who had emerged from the active art scene in
Granada at that time. In the middle of the century Cano, who had previously worked together with Diego Velázquez in Francisco Pacheco’s
workshop, returned to his native town. With his many talents he worked as
a painter, sculptor and architect in the second largest city in Andalusia.
The Road to Calvary
Until today, the Float of the Way to Calvary (paso procesional) is driven
through the streets of Valladolid on a wagon in the Passion Week. The
remaining time of the year, it is exhibited in the Museo Nacional de Escultura in Valladolid. Like almost no other piece of art in this exhibition, this
group of works brings to mind the fact that the majority of the sculptures
and paintings presented were originally not created to be exhibited in a
museum, but rather fulfilled specific functions.
For centuries, the full-size sculptures have been standing in the centre of
elaborately staged processions attracting the attention of spectators. They
dramatically bring to mind a scenery from Christ’s suffering and directly
participate the believers in the process of salvation. The apparently vitally
acting figures unfold an impressive presence due to their expressive faces
and gestures as well as their realistic appearance.
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The Golden Age of the pasos procesionales started at the beginning of
the 17th century. The large groups of figures made of polychrome wood
not only unfolded a monumental and emotional impact. They also had
practical advantages: the wooden sculptures were extremely robust and
comparatively easy to move due to their comparatively low weight.
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The group presented here was commissioned by the Fraternity of the Holy
Passion of Christ. It shows how Jesus is directed to Golgotha under the
guidance of two tormentors. Simon of Cyrene is helping him carry the
cross. Veronica is standing next to Christ. She is usually holding a veil in
her hands with an imprint of the true countenance of Christ. The absence
of the veil is compensated in the exhibition by an illusionistic representation of this relic created by Francisco de Zurbarán which you can see at
the opposite side of this room. The authentic image of Christ, which had
miraculously been imprinted in the veil during the bearing of the cross,
gained extraordinary popularity in Spain during the 17th century and was
frequently depicted in paintings, sculptures and engraved illustrations.
Page 8/12
Landscape Painting
In the Spanish Baroque, landscape painting played a special role. It did
not evolve as an individual art form, like it was the case for example in the
Netherlands, in Italy or France, but it rather served as scenery for a portrait or as framework for a story, for instance from the Old Testament.
In many of the paintings that are presented in this exhibition, the event
that is illustrated or the person who is portrayed is placed in front of a
landscape. Thus, the lower third of the Inmaculada Oballe by El Greco,
which is presented in the first section of the exhibition, shows the hilly
landscape of the city of Toledo in the distance with its countless church
steeples. On the other hand, the impressive Guadarrama Mountains are
sketched out in the background of the Court Jester with a book on his
knees by Diego Velázquez.
The relationship between humankind and nature is expressed in the detailed examination and reproduction of the plants, fruits and blossoms.
These can be found in the different versions of still lifes in the second section of this exhibition. Thus, we can find a detailed illustration of a garden,
for instance in Ceres or Pomona and Vertumnus or a multi-faceted bunch
of flowers in Still life with flowers and a dog, both by Juan van der Hamen.
Due to its location at the city outskirts and its purpose as a place for recreation, the Buen Retiro-Palace accommodated numerous landscape images. These served as inspiration for various landscape illustrations of
Spanish artists, including Francisco Collantes and Antonio Pereda. The
paintings presented here belong to the group of rather uncommon landscapes that refrain from an obviously biblical or historical legitimation. Two
peasants returning from their field work and the rural everyday life of a
peasant couple are embedded into nature here and play a subordinate
role.
The Portrait
The extraordinary quality of Spanish portraits from the early modern period has in a special way to do with the people who commissioned them
and the aims of the commissions. To project their self-image, royalty and
nobility in particular resorted to the great artists of the time. These works
of art also served as historical documents, reflecting the country’s history.
This sense of history is also evident in the etiquette of portraying the royal
family according to more or less fixed norms. These were adopted by
many other members of the social elite, some of whom, however, let
themselves be shown in professional action.
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There were also other kinds of portraits. The least usual was the group
portrait, a genre of which only three examples are now known. Foremost
among these is Las Meninas by Diego Velázquez, and the other two are
shown in this room. The Artist’s Family by Juan Bautista Martínez del Mazo is an homage to the famous work by his master, Velázquez. The Ambassador Lerche with his Friends by José Antolínez, shows the Danish
ambassador as part of a circle of intellectuals associated with the Court.
Page 9/12
Alonso Cano’s portrait bust Saint John of God is typical of the Spanish
portraiture of the time, even in the form of sculpture, in leading viewers to
empathize with the subject. The extraordinary emphasis on individual expression in Spanish portraiture drew realism to new heights, and the
presentation of saints as real individuals brought them closer to the hearts
of the faithful.
Painting and Sculpture
In the 17th century, artists in Spain strived for realism in their sculptures
with great ambition and creativeness. In order to let their works seem
more realistic, sculptors frequently used extraordinary methods. For instance, they crafted teeth for their sculptures made of ivory or glass eyes
and tears. Specially trained painters intensified this effect in the coloured
versions with lifelike skin tones.
Not least due to this fact, an intensive dialogue developed in the Siglo de
Oro between the sculpting and the painting art which strived for a comparably breath-taking realism in its paintings. However, unlike the latter, the
Spanish sculpting art was almost totally dedicated to serve the church. Its
religious painting works gave the divine profound human features and
they were therefore regarded as perfect visual supplements to the catechesis, the tuition in religious practices.
In Castile, this genre, which was based on the great foundation of the
Spanish sculpting art, established in Valladolid. Its most important protagonist at the beginning of the Siglo de Oro was Gregorio Fernández, who
created works of a discreet beauty. He had numerous successors who
perceived his works throughout the whole century.
Further centres of sculpture were located in Andalusia. Seville was famous for its full-size figures which were created for instance in the ateliers
of Juan Martínez Montañés or Pedro Roldán. In Granada however, preferably smaller devotional images were created. One of the outstanding
artists in the field of these moderately dimensioned sculptures was Alonso
Cano. He was succeeded by artists who captured profound emotions with
the help of masterful techniques, like José de Mora or Pedro de Mena
who later settled in Málaga.
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Spanish Early Modern Drawings
The Kupferstichkabinett has one of the most comprehensive collections of
Spanish drawings in Germany. In it there are to be found regional lines of
development and many important draughtsmen of the Siglo de Oro.
th
An increasing artistic exchange with Italy in the 16 century roused interest in this medium in artists like Andrés de Melgar and Fernando Yáñez
de la Almedina. In Seville, Valencia and Madrid there were initiatives in
the following century for founding drawing academies. On this basis Spanish baroque drawing developed increasingly independent traits.
Page 10/12
Almost all important artists in Sevilla in the Siglo de Oro practised drawing. Besides having a great range of personal portrayal techniques, Sevillian draughtsmanship was characterised by a diverse range of tasks,
which extended up to the presentation drawings of Felipe Gómez de Valencias.
Madrid played an important role in the development of Spanish baroque
drawing. The Kunstbibliothek is in possession of an especially representative example, an extensive bundle of papers for the decoration of the Hall
of Mirrors in the Alcázar, the former royal palace.
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Baroque drawing in Valencia received important impulses from Francisco
Ribalta. While he still used drawing primarily as a preparatory process for
painting, Jusepe de Ribera developed some works completely detached
from the context of painting and even made his own prints to distribute
them.
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Seville in the High Baroque
The High Baroque began in Seville with the works of Francisco de Herrera
el Mozo (the Younger), who came up with compositional innovations and
powerful contrasts of light and dark. After Herrera moved to Madrid, where
he also worked as an architect, the last period of the 17th century was
dominated by Bartolomé E. Murillo and Juan de Valdés Leal. Through
their disciples and students the influence of both these great masters extended well into the next century.
Murillo created an absolutely unusual form of representation. With new
models and a special sensitivity he anticipated some of the developments
th
of the 18 century. He empathized with the merchants in Seville, whose
sense of family and their inclination to inner emotionality he portrayed with
great mastery. This trait also characterizes his paintings of a religious nature as well as his paintings in a new type of genre: scenes of everyday
life which showed children on the streets of Seville while eating and playing. These works rapidly spread, even outside of Spain.
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In the brush-strokes of Valdés Leal his temperament and the expressive
force also ascribed to his character by historians can be felt. Although he
was valued mainly as a painter of the macabre, his themes do not differ
significantly from those of his contemporaries. His allegorical paintings
and Vanitas portrayals, behind which there are unusually complex trains
of thought, are of special interest. He was also a master of the estofado
technique, which makes the portrayal of cloth look especially realistic in
sculptures. He often worked together on them with Pedro Roldán, whose
daughter Luisa became famous as the first Spanish sculptress.
Madrid in the High Baroque
During the reign of Charles II a type of »Madrid School« of painting
emerged. It consisted of artists with comparable training and interested in
new techniques, who opened themselves up to compositions with stronger colours and more dynamic forms. Their greatest exponents were FranPhotographs may only be taken as part of the media coverage for the current exhibition/
Page 11/12
cisco de Herrera the Younger (Herrera el Mozo) from Seville as well as
Francisco Rizzi and Claudio Coello. They furnished numerous interiors
with large-scale trompe l’oeil frescoes, whose architectural settings developed an astonishing spatiality.
The transition into a new era, both in political and artistic terms, is represented by Luca Giordano, who came from the Spanish viceroyalty of Naples. During his ten year residence in Madrid (1692–1702) he furnished
an impressively large number of palaces, churches and monasteries with
extensive frescoes and, parallel to this, created numerous paintings on
canvas with religious and historical content.
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War Losses
The Gemäldegalerie of the Staatliche Museen zu Berlin is home to a fine
collection of Spanish art, whose outstanding significance is due less to
their quantity than to their quality. In the wake of the Second World War
the museums in Berlin lost many high quality masterpieces. In May 1945
two fires in the anti-aircraft bunker in the borough Friedrichshain destroyed works of art brought there for protection, including major works by
Francisco de Zurbarán, Jusepe de Ribera, Alonso Cano and Bartolomé E.
Murillo. To give an impression of these paintings, chosen works are reproduced here in original size. These have been created from glass negatives stored in the museum’s archive.
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Page 12/12
El Siglo de Oro. Die Ära Velázquez / The Age of Velázquez
Werke der Ausstellung / List of exhibited works
Der Übergang zum Barock in Kastilien / The Transition to Baroque in Castile
Öl auf Leinwand
347 x 174 cm
1608–1613
Eigentum der Parroquia
de San Nicolás de Bari
– Arzobispado de
Toledo.
Als Dauerleihgabe im
Museo de Santa Cruz,
Toledo
Domenikos
Theotokopoulos, gen.
Der heilige Martin und
El Greco
der Bettler
Kreta 1541 – Toledo
1614
Öl auf Leinwand
193,5 x 103 cm
1597–1599
National Gallery of Art,
Washington, Widener
Collection
Domenikos
Christus am Kreuz mit
El Greco
zwei Stiftern
1614
Öl auf Leinwand
248 x 180 cm
ca. 1580–1590
Paris, Musée du
Louvre, Département
des Peintures
198 x 137 x 46 cm
(Christus); 260 x 175 x
8,5 cm (Kreuz)
ca. 1600
Museu Frederic Marès.
Barcelona
1683
Staatsbibliothek zu
Berlin – Preußischer
Kulturbesitz, Abt.
Historische Drucke
Domenikos
El Greco
1614
Unbefleckte
Empfängnis
(Inmaculada Oballe)
Ducete, Sebastián
Toro 1568–1620
Kruzifix
Holz, polychromiert
Cervantes Saavedra,
Migel de
Alcalá de Henares, ca.
1547 – Madrid 1616
Don Quixote von
Mancha,
Abentheurliche
Geschichte
[7] Bl., 704 S. :
Kupfert., XVI Bl. Ill. ; 8°
Pantoja de la Cruz,
Juan
Valladolid, ca. 1553 –
Madrid 1608
Portrait Philipps III.
Öl auf Leinwand
204 x 102 cm
1608
Depot des Musée du
Louvre, Paris, im
Musée Goya, Castres,
1984
Öl auf Leinwand
110 x 63 cm
ca. 1600
The Art Institute of
Chicago, Gift of Mr.
and Mrs. Chauncey
McCormick
Domenikos
Der heilige Martin und
El Greco
der Bettler
1614
Tristán, Luis
Toledo(?), ca. 1585 –
Toledo 1624
Dreifaltigkeit
Öl auf Leinwand
149,5 x 97 cm
1624
Catedral de Sevilla
Sánchez Cotán, Juan
Orgaz, Toledo 1560 –
Granada 1627
Stilleben mit
Wildvögeln
Öl auf Leinwand
67,8 x 88,7 cm
1600–1603
The Art Institute of
Chicago, Gift of Mr.
and Mrs. Leigh B.
Block
Maíno, Fray Juan
Bautista
Pastrana, Guadalajara
1581 – Madrid 1649
Auferstehung Christi
Öl auf Leinwand
295 x 174 cm
1612-1614
Museo Nacional del
Prado. Madrid
Maíno, Fray Juan
Bautista
Pastrana, Guadalajara
1581 – Madrid 1649
Der heilige Johannes
auf Patmos
Öl auf Leinwand
74 x 163 cm
1612-1614
Museo Nacional del
Prado. Madrid
Seite 1 von 13
Der Übergang zum Barock in Valencia / The Transition to Baroque in Valencia
Orrente, Pedro
Murcia 1580 – Valencia
1645
Christus heilt Kranke
am Teich Bethesda
Öl auf Leinwand
83 x 116 cm
ca. 1615–1620
Kunsthistorisches
Museum Wien,
Gemäldegalerie
Ribalta, Francisco
Solsona, Lérida 1565 –
Valencia 1628
Der heilige Paulus
Öl auf Holz
167 x 64 cm
1625-27
Museo de Bellas Artes
de Valencia
Der heilige Hieronymus
Öl auf Leinwand
164 x 114 cm
1618
Depot der Real
Acadèmia Catalana de
Belles Arts de Sant
Jordi
im Museu Nacional
d’Art de Catalunya,
Barcelona
Der heilige Franziskus
Ribalta, Francisco
umarmt
den Gekreuzigten
Valencia 1628
Öl auf Leinwand
208 x 167 cm
ca. 1620
de Valencia
Ribera, Jusepe de
Játiva, Valencia 1591 – Brustbild eines Mannes
Neapel 1652
Öl auf Leinwand
76 x 63,5 cm
ca. 1613–1615
Gemäldegalerie,
Staatliche Museen zu
Berlin
Ribera, Jusepe de
Madonna mit Kind und
Játiva, Valencia 1591 –
dem heiligen Bruno
Neapel 1652
Öl auf Leinwand
205 x 153,5 cm
1624
Gemäldegalerie,
Berlin
Ribalta, Juan
Madrid 1596/97 –
Valencia 1628
Der Übergang zum Barock in Andalusien / The Transition to Baroque in Andalusia
Pacheco, Francisco
San Lúcar de
Barrameda 1564 –
Sevilla 1644
Die Landung der von
Petrus Nolascus
befreiten christlichen
Gefangenen
Öl auf Leinwand
203 x 254 cm
1602
Depot der Real
Acadèmia Catalana de
Belles Arts de Sant
Jordi
im Museu Nacional
d’Art de Catalunya,
Barcelona
Martínez Montañés,
Juan
Alcalá la Real 1568 –
Sevilla 1649
Francisco Pacheco
San Lúcar de
Barrameda 1564 –
Sevilla 1644
Der heilige Ignatius von
Loyola
Holz, polychromiert
174 x 68 x 51 cm
1610
Universidad de Sevilla,
Iglesia de la
Anunciación
Martínez Montañés,
Juan
Alcalá la Real 1568 –
Sevilla 1649
Francisco Pacheco
San Lúcar de
Barrameda 1564 –
Sevilla 1644
Der heilige Francisco
de Borja
Holz, polychromiert
173,5 x 70 x 55 cm
um 1624
Universidad de Sevilla,
Iglesia de la
Anunciación
Pacheco, Francisco
San Lúcar de
Barrameda 1564 –
Sevilla 1644
Christus am Kreuz
Öl auf Holz
58 x 37,5 cm
1614
Instituto GómezMoreno de la
Fundación RodríguezAcosta, Granada
Velázquez, Diego
Sevilla 1599 – Madrid
1660
Portrait von Francisco
Pacheco
Öl auf Leinwand
41 x 36 cm
ca. 1620
Museo Nacional del
Prado. Madrid
Seite 2 von 13
Pacheco, Francisco
San Lúcar de
Barrameda 1564 –
Sevilla 1644
Arte de la pintura
Velázquez, Diego
1660
Drei Musikanten
Öl auf Leinwand
Puga, Antonio
Orense 1602 – Madrid
1648
Der Olivenölhändler
Unbekannter Künstler
Umkreis von Antonio
Puga (?)
1649
Staatsbibliothek zu
Kulturbesitz
88 x 111 cm
ca. 1616–1618
Gemäldegalerie,
Berlin
Öl auf Leinwand
121 x 86 cm
ca. 1620
Ville de Castres –
Musée Goya, musée
d’art hispanique
Die jungen Händler
Öl auf Leinwand
70 x 84 cm
ca. 1620
Musée Goya, musée
d’art hispanique
Puga, Antonio
Orense 1602 – Madrid
1648
Die Taverne
Öl auf Leinwand
120 x 162 cm
ca. 1620
Museo de Pontevedra
Herrera, Francisco de
["el Viejo"]
Sevilla, ca. 1590 –
Madrid, ca. 1654
Die Heilige Sippe
Öl auf Leinwand
194,5 x 177 cm
ca. 1634
de Bilbao
Roelas, Juan de las
Flandern vor 1573 –
Olivares, Sevilla 1625
Die Maria Immaculata
mit dem Jesuitenpater
Fernando de Mata
Öl auf Leinwand
319,5 x 172,5 cm
ca. 1612–1613
Gemäldegalerie,
Berlin
Mesa, Juan de
Córdoba 1583 – Sevilla
1627
Unbefleckte
Empfängnis
Holz, polychromiert
138 x 54 x 44 cm
ca. 1610–1615
The Matthiesen
Gallery, London
Mena, Pedro de
Granada 1628 –
Málaga 1688
Jungfrau mit Kind
Holz, polychromiert
H 44 x B 42 x T 36 cm
ca. 1675
Catedral Metropolitana
de Granada – Museo
Roelas, Juan de las
Flandern vor 1573 –
Olivares, Sevilla 1625
Predigt des heiligen
Andreas
Öl auf Eichenholz
50 x 148,5 cm
ca. 1610–1615
de Bilbao
Die Generation der großen Meister. Zwischen Sevilla und Madrid / The Generation of the Great Masters. Between Seville and Madrid
Zurbarán, Francisco
de
Fuente de Cantos,
Badajoz 1598 – Madrid
1664
Die heilige Margareta
von Antiochien
Öl auf Leinwand
163 x 105 cm
Seite 3 von 13
ca. 1630–1634
The National Gallery,
London. Bought, 1903
de
von Assisi nach der
Fuente de Cantos,
Vision von Papst
Nikolaus V.
1664
Öl auf Leinwand
180,5 x 110,5 cm
um 1640
Museu Nacional d’Art
de Catalunya,
Barcelona
de
Bildnis des Don Alonso
Fuente de Cantos,
Verdugo de Albornoz
1664
Öl auf Leinwand
186,6 x 104,5 cm
1635
Gemäldegalerie,
Berlin
Die Generation der großen Meister in Madrid / The Generation of the Great Masters in Madrid
Velázquez, Diego
(Werkstatt)
1660
Philipp IV., König von
Spanien
Öl auf Leinwand
130,2 x 97,8 cm
ca. 1644–1660
By Permission of The
Trustees of Dulwich
Picture Gallery, London
Velázquez, Diego
(Werkstatt)
1660
Don Gaspar de
Guzmán,
Conde Duque de
Olivares
Öl auf Leinwand
127,6 x 104,1 cm
ca. 1635
Gemäldegalerie Alte
Meister, Staatliche
Kunstsammlungen
Dresden
Velázquez, Diego
(Werkstatt)
1660
Portrait der Infantin
Maria von Habsburg
Öl auf Leinwand
200 x 106 cm
ca. 1630
Gemäldegalerie,
Berlin
Velázquez, Diego
1660
Bildnis einer Dame
(Condesa de
Monterrey?)
Öl auf Leinwand
123,7 x 101,7 cm
ca. 1631–1640
Gemäldegalerie,
Berlin
Velázquez, Diego
1660
Bildnis des Juan
Martínez Montañés
Öl auf Leinwand
109 x 88 cm
ca. 1635
Museo Nacional del
Prado. Madrid
Vicente Carducho und der Hof Philipps IV. vor Velázquez / Vicente Carducho and Philip IV’s Court before Velázquez
Carducho, Vicente
Florenz, ca. 1576 –
Madrid 1638
Der Traum des Hugo,
Bischof von Grenoble
Carducho, Vicente
Madrid 1638
Diálogos de la pintura
Carducho, Vicente
Madrid 1638
Der Tod des heiligen
Bruno
Öl auf Leinwand
Cajés, Eugenio
Madrid 1574 – 1634
Die Jungfrau Maria
überreicht dem heiligen
Ildefons sein
Messgewand
Öl auf Leinwand
Öl auf Leinwand
1626-1632
National Galleries of
Scotland, Edinburgh
1633
Staatsbibliothek zu
Kulturbesitz
60 x 43 cm
1626-1632
Paris, Musée du
des Peintures
82,5 x 49 cm
ca. 1615
Musée des Beaux-Arts
de Bordeaux
57 x 45,5 cm
Seite 4 von 13
Stillleben / Still Lifes
Loarte, Alejandro de
Die Geflügelverkäuferin
Madrid (?) 1590/1600 –
(La Gallinera)
Toledo 1626
Öl auf Leinwand
162 x 130 cm
1626
Colección Alberto de
Alcocer
Hamen y León, Juan
van der
Madrid 1596–1631
Korb mit Süßigkeiten
Öl auf Leinwand
40,8 x 52 cm
ca. 1621
Museo de Pontevedra
Hamen y León, Juan
van der
Madrid 1596–1631
Ceres oder Pomona
und Vertumnus
Öl auf Leinwand
229 x 149 cm
1620
Banco de España
Collection
Schenkung von Juan
de Zavala
Hamen y León, Juan
van der
Madrid 1596–1631
Stilleben mit Blumen
und Hund
Öl auf Leinwand
228,5 x 100,5 cm
um 1625
Museo Nacional del
Prado. Madrid
Öl auf Leinwand
38 x 49 cm
1621
de Granada
Hamen y León, Juan
Schachteln und Gefäße
van der
mit Süßigkeiten
Madrid 1596–1631
Meister des
Amsterdamer
Stillebens
Küchenstück
Öl auf Leinwand
105 x 125,2 cm
ca. 1625
Rijksmuseum
Amsterdam,
als Dauerleihgabe im
Museum Boijmans Van
Beuningen, Rotterdam
Zurbarán, Juan de
Llerena 1620 – Sevilla
1649
Stilleben mit Obstkorb
und Kardone
Öl auf Leinwand
74,5 x 106 cm
1643
Kunststiftung Gösta
Serlachius, Mänttä,
Finnland
Ribera, Jusepe de
Mann mit Weinflasche
und Tamburin
Neapel 1652
Öl auf Leinwand
52,5 x 75 cm
1631
Kunststiftung Gösta
Serlachius, Mänttä,
Finnland
Pereda y Salgado,
Antonio de
Valladolid 1611 –
Madrid 1678
Allegorie der
Vergänglichkeit
Öl auf Leinwand
139,5 x 174 cm
um 1634
Kunsthistorisches
Museum Wien,
Gemäldegalerie
(Madrid?)
Bücherstilleben
Öl auf Leinwand
34,9 x 56,8 cm
um 1630/40
Gemäldegalerie,
Berlin
Mars
Öl auf Leinwand
179 x 95 cm
ca. 1638
Museo Nacional del
Prado. Madrid
La Torre de la Parada
Velázquez, Diego
1660
Seite 5 von 13
Velázquez, Diego
1660
Hofnarr mit Buch auf
den Knien
Öl auf Leinwand
107 x 82 cm
1636-1638
Museo Nacional del
Prado. Madrid
Rubens, Peter Paul
Siegen, Westfalen
1577 – Antwerpen
1640
Fortuna
Eichenholz
35,7 x 25,4 cm
1636-1638
Gemäldegalerie,
Berlin
1604
Staatsbibliothek zu
Kulturbesitz
Die Generation der großen Meister in Madrid / The Generation of the Great Masters in Madrid
Ávila, Teresa de
Ávila 1515 – Alba de
Tormes 1582
Castillo espiritual
in Libros de la Madre
Teresa de Jesús
Fernández, Gregorio
Die heilige Theresa von
Sarriá, Lugo 1576 –
Ávila
Valladolid 1636
Holz, polychromiert
172 x 103 x 85 cm
1625
Museo Nacional de
Escultura. Valladolid
Öl auf Leinwand
92,5 x 74 cm
um 1635
The Metropolitan
Museum of Art, New
York
Der Buen Retiro Palast / The Buen Retiro Palace
Velázquez, Diego
1660
oder
Juan Bautista
Martínez del Mazo
Beteta (?), Cuenca, ca.
1611 – Madrid 1667
Don Gaspar de
Guzmán
Conde Duque de
Olivares
Leonardo, Jusepe
Calatayud 1601 –
Zaragoza 1652
Der heilige Johannes
der Täufer in der
Wüste
Öl auf Leinwand
195,58 x 118,74 cm
ca. 1635
Los Angeles County
Museum of Art
Purchased with funds
provided by the William
Randolph Hearst
Foundation
Öl auf Leinwand
204, 7 x 158, 8 cm
1639
de Valencia
Das Vorbild Tizians / The Example of Titian
Orrente, Pedro
Martyrium des heiligen
Murcia 1580 – Valencia
Jakobus des Jüngeren
1645
Polo, Diego
Burgos, ca. 1610 –
Madrid, ca. 1655
Martyrium des heiligen
Stephanus
Öl auf Leinwand
193 x 120 cm
1640er-Jahre
Palais des Beaux-Arts
de Lille
Tiziano Vecellio, gen.
Tizian
Pieve di Cadore
1488/90 – Venedig
1576
Selbstbildnis
Leinwand
100,1 x 77 cm
ca. 1560
Gemäldegalerie,
Berlin
1635
Arcidiocesi di Milano,
Galleria Arcivescovile,
Ufficio Beni Culturali
Ecclesiastici e Arte
Sacra, Mailand
Ribera, Jusepe de
Neapel 1652
Vision des Belsazar
Öl auf Leinwand
52 x 64 cm
Seite 6 von 13
Die Generation der großen Meister in Andalusien / The Generation of the Great Masters in Andalusia
Cano, Alonso
Granada 1601 – 1667
Christus in der Vorhölle
(Christi Abstieg in
Abrahams Schoß)
Öl auf Leinwand
167,64 x 120,65 cm
ca. 1655
Los Angeles County
Museum of Art (Gift of
Bella Mabury)
Cano, Alonso
Granada 1601 – 1667
Beschneidung Christi
Öl auf Leinwand
27,5 x 20,5
1645
Instituto GómezMoreno de la
Fundación RodríguezAcosta, Granada
Murillo, Bartolomé
Esteban
Sevilla 1617 – 1682
Bruder Junipero und
der Arme
Öl auf Leinwand
176 x 221,5 cm
ca. 1645/46
Paris, Musée du
des Peintures
Murillo, Bartolomé
Esteban
Sevilla 1617 – 1682
Das Festmahl des
verlorenen Sohnes
Öl auf Leinwand
104,5 x 135,5 cm
ca. 1640
National Gallery of
Ireland, Dublin
Cano, Alonso
Granada 1601 – 1667
Büste des heiligen
Paulus
Holz, polychromiert
47 x 52,5 x 28 cm
ca. 1660-65
Catedral Metropolitana
de Granada – Museo
Murillo, Bartolomé
Esteban
Sevilla 1617 – 1682
Joseph und die Frau
des Potiphar
Öl auf Leinwand
196,5 x 245,3 cm
um 1640-1645
Museumslandschaft
Hessen Kassel,
Meister
Núñez del Valle,
Pedro
Madrid, ca. 1590 –
1649
Jael und Sisera
Öl auf Leinwand
88,5 x 108 cm
1630
Madrid, Privatbesitz
Núñez del Valle,
Pedro
Madrid, ca. 1590 –
1649
Judith und Abra mit
dem Kopf von
Holofernes
Öl auf Leinwand
88,5 x 108 cm
1630
Madrid, Privatbesitz
Kreuztragung Christi / The Road to Calvary
Valladolid 1636
Simon von Cyrene,
Veronika und Peiniger
Holz, polychromiert
Ch. 144 x 84 x 124 cm.,
Cir. 176 x 106 x 91 cm.,
Ver. 172 x 84 x 95 cm.,
Sch. 164 x 53 x 101 cm.,
Tromp. 192 x 93 x 92 cm.
1614/15
Museo Nacional de
de
Fuente de Cantos,
1664
Das Schweißtuch der
heiligen Veronika
(Santa Faz)
Öl auf Leinwand
105 x 83, 50 cm
1658
Museo Nacional de
Landschaft
Öl auf Leinwand
100,5 x 100 cm
um 1650
Wallraf-RichartzMuseum & Fondation
Corboud, Köln
Landschaftsmalerei / Landscape Painting
Collantes, Francisco
Madrid, ca. 1599–1656
Seite 7 von 13
Pereda y Salgado,
Antonio de
Valladolid 1611 –
Madrid 1678
Landschaft mit
Bauernpaar am
Brunnen
Öl auf Leinwand
33 x 41 cm
vor 1622
Gemäldegalerie,
Berlin
Carreño de Miranda,
Juan
Avilés, Asturias 1614 –
Madrid 1685
Don Juan José de
Austria
Öl auf Leinwand
63,5 x 51,5 cm
1677/78
Gemäldegalerie,
Berlin
Carreño de Miranda,
Juan
Avilés, Asturias 1614 –
Madrid 1685
König Karl II. von
Spanien
Öl auf Leinwand
205 x 142 cm
1673
Gemäldegalerie,
Berlin
Coello, Claudio
Madrid 1642–1693
Die Königin Maria Anna
von Österreich
Öl auf Leinwand
104, 7 x 84, 1 cm
1683-1693
The Bowes Museum,
Barnard Castle, Co.
Durham
Martínez del Mazo,
Juan Bautista
1611 – Madrid 1667
Die Familie des
Künstlers
Öl auf Leinwand
149,5 x 174,5 x 3,8 cm
um 1664/65
Kunsthistorisches
Museum Wien,
Gemäldegalerie
Velázquez, Diego
1660
oder
Juan Bautista
Martínez del Mazo (?)
1611 – Madrid 1667
Portrait eines
Mädchens
Öl auf Leinwand
43 x 29,5 cm
1630er Jahre (?)
Galerie G. Sarti, Paris
Portrait von Sir Arthur
Hopton
Öl auf Leinwand
187,33 x 116, 84 cm
1641
Meadows Museum,
SMU, Dallas, Algur H.
Meadows Collection
Antolínez, José
Madrid 1635–1675
Atelierszene (Der
Bildhändler)
Öl auf Leinwand
201,9 x 125,6 cm
um 1670
Bayerische
Staatsgemäldesammlu
ngen München – Alte
Pinakothek
Öl auf Leinwand
172,5 x 202 cm
1662
Statens Museum for
Kunst, Kopenhagen
Das Portrait / The Portrait
Antolínez, José
Madrid 1635–1675
Der Botschafter
Cornelius Pedersen
Lerche
mit seinen Freunden
Rizi [Ricci], Fray Juan
Madrid 1600 –
Montecassino, Italien
1681
Page mit Brief
Öl auf Leinwand
176 x 97 cm
um 1640
Colección Banco
Santander
Ribera, Jusepe de
Neapel 1652
Portrait eines
Jesuitenmissionars
Öl auf Leinwand
195,6 x 111,5 cm
1638
Museo Poldi Pezzoli,
Mailand
Seite 8 von 13
Cano, Alonso
Granada 1601 – 1667
Büste des heiligen
Johannes von Gott
Holz, polychromiert
30,5 x 22 x 21 cm
um 1660-1665
de Granada
Malerei und Skulptur / Painting and Sculpture
Valladolid 1636
Der tote Christus
Holz, polychromiert
46 x 191 x 74 cm
1627
Museo Nacional del
Prado. Madrid
Museo Nacional de
Murillo, Bartolomé
Esteban
Sevilla 1617 – 1682
Taufe Christi
Öl auf Leinwand
233,2 x 160,1 cm
um 1655
Gemäldegalerie,
Berlin
Velázquez, Diego (?)
1660
Der aufgebahrte
Leichnam des Simón
de Rojas
Öl auf Leinwand
101 x 121 cm
um 1624
Familia del Duque del
Infantado
de Valencia
Cerezo, Mateo
Burgos 1637 – Madrid
1666
Christus am Kreuz
Öl auf Leinwand
206 x 162 cm
1665
Gemäldegalerie,
Berlin
Roldán, Luisa Ignacia
gen. La Roldana
1706
Christus am Kreuz
Holz, polychromiert
42,5 cm
ca. 1690-1704
The Auckland Castle
Trust / The Zurbaran
Trust
Castillo y Saavedra,
Antonio del
Córdoba 1616–1668
betend
Öl auf Leinwand
164 x 107 cm
1655-60
Gemäldegalerie,
Berlin
Escalante, Juan
Antonio de Frías
Córdoba 1633 – Madrid
1669
Der Engel weckt den
Propheten Elias
in der Wüste
Öl auf Holz
49 x 33 cm
ca. 1665-1669
Gemäldegalerie,
Berlin
Cano, Alonso
Granada 1601 – 1667
Der tote Christus, von
einem Engel gestützt
Öl auf Leinwand
1646-1652
Museo Nacional del
Prado. Madrid
Escalante, Juan
Antonio de Frías
Córdoba 1633 – Madrid
1669
Leichnam Christi
Öl auf Leinwand
84 x 162 cm
1663
Museo Nacional del
Prado. Madrid
Cano, Alonso
Granada 1601 – 1667
Pietà
Öl auf Leinwand
27 x 23 cm
1646–1652
Christopher GonzálezAller Collection, Madrid
178,3 x 119,8 cm
Seite 9 von 13
Pedro Roldán,
zugeschrieben
Sevilla 1624–1699
Mater Dolorosa
Holz, polychromiert
37 x 35 x 24 cm
um 1670
Skulpturensammlung
und Museum für
Byzantinische Kunst,
Berlin
Mena, Pedro de
Granada 1628 –
Málaga 1688
Ecce Homo
Holz, polychromiert
65 x 38 x 35 cm
ca. 1673
Museo Nacional de
Artes Decorativas.
Madrid
Museo Nacional de
Murillo, Bartolomé
Esteban
Sevilla 1617 – 1682
Ecce Homo
Öl auf Leinwand
153 x 105 cm
1670
de Murcia
Öl auf Leinwand
92,5 x 132,5 cm
ca. 1660
Meister, Staatliche
Kunstsammlungen
Dresden
Terrakotta
45 x 51 x 38 cm
zw. 1692-1704
Museo de Guadalajara
Sevilla im Hochbarock / Seville in the High Baroque
Schule von Sevilla
Die Köpfe der Märtyrer
Paulus,
Johannes der Täufer
und Jakobus
Roldán, Luisa Ignacia Die Jungfrau Maria als
Kind
gen. La Roldana
mit den Heiligen
Joachim und Anna
1706
Valdés Leal, Juan de Allegorie der Krone des
Lebens
Sevilla 1622–1690
Öl auf Leinwand
127 x 95,3 cm
1655-65
York Museums Trust
(York Art Gallery)
Presented by F. D.
Lycett Green through
the Art Fund, 1955
Valdés Leal, Juan de
Sevilla 1622–1690
Kreuztragung
Öl auf Leinwand
88,5 x 71,5 cm
ca. 1661
de Bilbao
Mesa, Juan de
Córdoba 1583 – Sevilla
1627
Der heilige Nikolaus
von Tolentino
Holz, polychromiert
126 x 86 x 58 cm
1. Viertel 17. Jh.
Museo Nacional de
Valdés Leal, Juan de
Sevilla 1622–1690
Die Geißelung des
heiligen Hieronymus
Öl auf Leinwand
223,5 x 245,5 cm
1657
de Sevilla
Murillo, Bartolomé
Esteban
Sevilla 1617 – 1682
Der Sommer als junger
Mann
mit einem Fruchtkorb
Öl auf Leinwand
143,2 x 120 cm
ca. 1650-1655
National Galleries of
Scotland, Edinburgh
Murillo, Bartolomé
Esteban
Sevilla 1617 – 1682
Alte Frau und Knabe
Öl auf Leinwand
146 x 106 cm
um 1670
Wallraf-Richartz
Museum & Fondation
Corboud, Köln
Seite 10 von 13
Murillo, Bartolomé
Esteban
Sevilla 1617 – 1682
Die Pastetenesser
Öl auf Leinwand
123,6 x 102 cm
um 1670/75
Bayerische
Staatsgemäldesammlu
ngen München – Alte
Pinakothek
Madrid im Hochbarock / Madrid in the High Baroque
Arellano, Juan de
Santorcaz, Madrid
1614 – Madrid 1676
Blumenstilleben
Öl auf Leinwand
85 x 105 cm
ca. 1670-1675
Meister, Staatliche
Kunstsammlungen
Dresden
Giordano, Luca
Neapel 1634–1705
Vision des heiligen
Ildefonso von Toledo
Öl auf Leinwand,
graubraune Grisaille
152 x 79 cm
um 1698
Salzburg Museum
(Sammlung Rossacher)
Coello, Claudio
Madrid 1642–1693
Studie für das
Hochaltarbild
des Klosters San
Plácido in Madrid
Öl auf Leinwand
103,4 x 83,5 cm
1668
Fondo Cultural Villar
Mir, Madrid
Öl auf Leinwand
208,3 x 195,5 cm
ca. 1670
Museo Nacional del
Prado. Madrid
Herrera, Francisco de
Der Traum des heiligen
["el Mozo"]
Joseph
1685
Coello, Claudio
Madrid 1642–1693
Unbefleckte
Empfängnis
Öl auf Leinwand
210 x 145 cm
1676
Musée Goya, musée
d’art hispanique
Coello, Claudio
Madrid 1642–1693
Die heilige Katharina
von Alexandrien
bezwingt Kaiser
Maxentius
Öl auf Leinwand
218,5 x 154,9 cm
1664-1665
Meadows Museum,
SMU, Dallas, Algur H.
Meadows Collection
Rizi, Francisco
Madrid 1614 – San
Lorenzo del Escorial
1685
Die Befreiung Petri
Öl auf Holz
87 x 42 cm
1670-1685
de Catalunya,
Barcelona
Rizi, Francisco
Madrid 1614 – San
Lorenzo del Escorial
1685
Der Engel vor dem
Grab
Öl auf Holz
87,5 x 43 cm
1670-1685
de Catalunya,
Barcelona
Mora, José de
Baza 1642 – Granada
1724
Jungfrau der
Einsamkeit
Holz, polychromiert
47 x 49,5 x 27,5 cm
ca. 1673
Museo Nacional de
111 x 86 cm
1.Hälfte 17. Jh.
Gemäldegalerie,
Berlin (Kriegsverlust)
Kriegsverluste / War Losses
Cano, Alonso
Granada 1601 – 1667
Die heilige Agnes
Seite 11 von 13
Murillo, Bartolomé
Esteban
Sevilla 1617 – 1682
Der heilige Antonius
von Padua
mit dem Christuskind
165 x 200 cm
1660er Jahre
Gemäldegalerie,
Murillo, Bartolomé
Esteban
Sevilla 1617 – 1682
Anbetung der Hirten
170 x 196 cm
ca. 1655
Gemäldegalerie,
Ribera, Jusepe de
Neapel 1652
Der heilige Sebastian
200 x 149 cm
1636
Gemäldegalerie,
Der heilige
Bonaventura verweist
de
den heiligen
Fuente de Cantos,
Badajoz 1598 – Madrid Thomas von Aquino
auf den Gekreuzigten
1664
226 x 256 cm
1629
Gemäldegalerie,
Spanische Zeichnungen der frühen Neuzeit / Spanish Early Modern Drawings
Grotesken für die
Melgar, Andrés de
Kathedrale
Benavente, ca. 1500 –
Santo Domingo de la von Santo Domingo de
la Calzada
Calzada, ca. 1557
Feder in Graubraun,
auf Papier
333 x 105 mm
ca. 1550
Kupferstichkabinett,
Berlin
Grotesken für die
Melgar, Andrés de
Kathedrale
von
Santo Domingo de
Santo Domingo de la
la Calzada
Calzada, ca. 1557
Feder in Braun, braun
laviert, auf Papier
335 x 230 mm
ca. 1550
Berlin
Grotesken für die
Melgar, Andrés de
Kathedrale
la Calzada
Calzada, ca. 1557
laviert, auf Papier
337 x 228 mm
ca. 1550
Berlin
Grotesken für die
Melgar, Andrés de
Kathedrale
la Calzada
Calzada, ca. 1557
laviert, auf Papier
335 x 231 mm
ca. 1550
Berlin
134 x 166 mm
ca. 1525
Berlin
Yáñez de la Almedina,
Metallstift, weiß gehöht,
auf bräunlich-grünlich
Fernando
Die heilige Magdalena
grundiertem Papier,
Almedina, ca. 1489 –
quadriert
Cuenca, ca. 1536
Pass von Miravete
Feder in Grau, braun,
grün und blau laviert,
auf Papier
206 x 300 mm
2. Hälfte 17.
Jahrhundert (?)
Berlin
Pacheco, Francisco
San Lúcar de
Barrameda 1564 –
Sevilla 1644
Anbetung des
Jerusalemkreuzes
Pluma, tinta parda y
aguada sobre papel
verjurado agarbanzado
252 x 172 mm
1635
Berlin
Seite 12 von 13
Cano, Alonso
Granada 1601 – 1667
Der heilige Sebastian
Feder in Graubraun,
grau laviert, grauer
Stift, auf Papier
167 x 82 mm
ca. 1645-1649
Berlin
Gómez de Valencia,
Felipe
Granada, ca. 1634 –
ca. 1694
Kreuztragung
Pluma, tinta parda y
aguada sobre papel
verjurado agarbanzado
159 x 109 mm
1674
Berlin
Murillo, Bartolomé
Esteban
Sevilla 1617 – 1682
Mariä Himmelfahrt
laviert, über grauem
Stift, auf Papier
146 x 155 mm
h. 1665-68
Berlin
Ribalta, Francisco
Valencia 1628
Anbetung der Könige
Feder in Braun, laviert
205 x 157 mm
1599-1610
Berlin
Ribalta, Juan
Madrid 1596/97 –
Valencia 1628
Studie einer
männlichen Figur
Schwarze und etwas
weiße Kreide, auf
graubraunem Papier
276 x 162 mm obere
Ecken abgeschnitten
Ribera, Jusepe de
Neapel 1652
Kopf eines Jünglings
mit verbundenen
Augen
Pinsel in Braun, auf
hellem Papier
243 x 179 mm
ca. 1630-1640
Berlin
Ribera, Jusepe de
Neapel 1652
Die Anbetung der
Hirten
laviert, umrandet mit
schwarzer Kreide
146 x 248 mm
1650
Berlin
Ribera, Jusepe de
Neapel 1652
»Cartilla de dibujo«:
Nasen
ca. 1622
Berlin
Ribera, Jusepe de
Neapel 1652
Grotesker Kopf
1622
Berlin
Pereda y Salgado,
Antonio de
Valladolid 1611 –
Madrid 1678
Der Künstler und
Giambolognas Apennin
Feder in Braun, grau
laviert, auf Papier
261 x 215 mm
ca. 1665-1678
Berlin
Mitelli, Agostino
Bettedizzo, Bologna
1609 – Madrid 1660
Zeichnung für eine
Deckendekoration
der Wallfahrtskapelle
San Pablo in Madrid
Feder in Braun, Stift in
Schwarz, auf Papier
21,1 x 21,3 cm
um 1658
Kunstbibliothek,
Berlin
Mitelli, Agostino
Bettedizzo, Bologna
1609 – Madrid 1660
Zeichnung für eine
Deckendekoration
des Spiegelsalons im
Alcázar
laviert, Stift in Schwarz,
auf Papier
20,10 x 29,70 cm
um 1658/59
Kunstbibliothek,
Berlin
La Vega, Francisco
Rom 1735 – Portici
1804
Altarentwurf
Feder in Schwarz, grau
und grün laviert, auf
Papier
348 x 495 mm
1750–1760
Berlin
Seite 13 von 13
Berlin
PRESS RELEASE
10785 Berlin, Matthäikirchplatz
Tue, Wed, Fri 10 am–6 pm, Thur 10 am–8 pm, Sat+Sun 11 am–6 pm
Reencuentros. Dialogues with El Siglo de Oro
1 July–30 October 2016
An exhibition by the Gemäldegalerie – Staatliche Museen zu Berlin, and
Instituto Cervantes
GENERALDIREKTION
Reencuentros (English: Reencounters) is the title of an exhibition project
that, in tandem with El Siglo de Oro. The Age of Velázquez will be shown
in the foyer of the Kulturforum.
Together with the Instituto Cervantes, the Staatliche Museen zu Berlin’s
Gemäldegalerie has invited the three contemporary Spanish, Berlin-based
artists Anna Talens, Alex Arteaga and Pablo Alonso to address the Siglo
de Oro (The Golden Age of Spain) and the art of the Baroque in their own
work. Reencuentros. Dialogues with El Siglo de Oro traces the lines of
development of Spanish art and aims to make the points of connection
between contemporary art production and traditional art-making just as
visible as their disjunctures.
Anna Talens, born 1978 in Valencia, presents Disenchantment of the
World, a scenic arrangement of objects and materials that exist in a state
between the holy and the profane. Talens introduces the viewer to the
sacred objects in their raw form, encouraging the viewer to reflect on their
sacralisation and secularisation.
Alex Arteaga, born 1969 in Barcelona, discusses in his installation Lines:
An Essay the thought-generative function of drawing. Using video closeups of drawings by Bartolomé E. Murillo, Alonso Cano, and José de Ribera included in El Siglo de Oro: The Art of Velázquez, he shows how the
line itself guides the composition of the object that the drawing portrays.
10785 Berlin
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MARKUS FARR
PRESS OFFICER
Tel.: +49 30 266 42 3402
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Fax: +49 30 440 10 684
[email protected]
Pablo Alonso, born 1969 in Gijón, deals with the light, the gaze, and the
mirror as means of painterly expression in the Siglo de Oro in his installation 24 Mirrors. The allegory of the mirror is a constant in Baroque painting; however, actual mirrors were first used in art in the 20th century. The
integration of metal, glass or plastic particles into a painting frees the mirror from its function – the reflection of the light itself becomes the image.
Reencuentros. Dialogues with the Siglo de Oro is sponsored by the
Fundación Cristina Masaveu Petersen and supported by the Spanish embassy and the Ministerio de Educación y Cultura.
Page 1/1
PRESSEFOTOS
Generaldirektion
El Siglo de Oro. Die Ära Velázquez
1. Juli – 30. Oktober 2016
10785 Berlin
presse–kommunikation–sponsoring
Mechtild Kronenberg
Referatsleitung
1
2
Markus Farr
Pressereferent
Telefon:
Telefax:
+49 30 266-42 34 02
+49 30 266-42 34 09
[email protected]
Pressemitteilungen
www.smb.museum/pressemitteilungen
Diego Velázquez
Mars, nach 1641
© Museo Nacional del Prado
Eugenio Cajés
Der Heilige Ildefons empfängt von
Maria die Kasel, 17. Jh.
© Musée des Beaux-Arts de Bordeaux,
1860, Foto: L. Gauthier, F. Deval
3
4
Francisco de Zurbarán
Heilige Margareta von Antiochien,
1630-34
© The National Gallery, London
Bartolomé Esteban Murillo
Junger Mann mit einem Fruchtkorb,
ca. 1640-1650
© Scottish National Gallery. Purchased by
Private Treaty with the aid of the Art Fund
in 1999
5
6
El Greco
Immaculata Oballe, 1613,
© Parroquia de San Nicolas de Bari,
Toledo, Foto: David Blázquez
Das Schweißtuch der
Heiligen Veronika,1658
© Museo Nacional de Escultura
Pressefotodownload
www.smb.museum/presse/pressebilder
Pressefotoanfragen
[email protected]
Die honorarfreie Reproduktion ist nur im
Rahmen der aktuellen Berichterstattung zur
Ausstellung bei Nennung der vollständigen
Creditline erlaubt. Bei jeder anderweitigen
Nutzung sind Sie verpflichtet, selbstständig
die Fragen des Urheber- und Nutzungsrechts zu klären. Eine Weitergabe an Dritte
ist nicht erlaubt. Bitte beachten Sie, dass
bei digitaler Veröffentlichung alle Fotos die
Auflösung von 758 x 512 Pixel und 72 dpi
nicht überschreiten dürfen. Die Pressefotos
sind 4 Wochen nach Ablauf der Ausstellung
aus allen Onlinemedien zu löschen.
Mit freundlicher Bitte um Zusendung eines
Belegexemplars an die Pressestelle der
Staatlichen Museen zu Berlin.
Images can only be reproduced free of
charge when used in current press coverage
on the exhibition, with the credit line always
stated in full. For any use other than as
stipulated above, you must independently
seek clearance from the copyright and
rights holder. Images cannot be passed on
for use by third parties. Please note: when
publishing them online, all images may not
exceed a resolution of 758 x 512 pixels and
72 dpi. Press photos must be deleted from
all online media once the coverage is no longer current: 4 weeks after the exhibition
has finished.
We kindly request that you send a copy of
your article or item to the Staatliche Museen
zu Berlin Press Office.
Seite 1 / 7
PRESSEFOTOS
Generaldirektion
10785 Berlin
Mechtild Kronenberg
Referatsleitung
7
8
Markus Farr
Pressereferent
Telefon:
Telefax:
+49 30 266-42 34 02
+49 30 266-42 34 09
[email protected]
Pressemitteilungen
Jusepe de Ribera
Vision des Belsazar, 1635
© Arcidiocesi di Milano, Curia Arcivescovile /
Paolo Manusardi, Milano
Spanien, Schule von Madrid
Bücherstillleben, um 1630/40
© Staatliche Museen zu Berlin,
Gemäldegalerie / Jörg P. Anders
9
10
Juan de Arellano
Blumenstillleben, um 1670
© Gemäldegalerie Alte Meister,
Staatliche Kunstsammlungen Dresden,
Foto: E. Estel / H.-P. Klut
Diego Velázquez
Die Drei Musikanten, um 1616-20
11
12
Gregorio Fernández
Gang zum Kalvarienberg, nach 1610
© Museo National de Escultura
Hl. Franziskus, um 1640
© Museu Nacional d’Art de Catalunya,
Barcelona, Foto: Calveras / Mérida /
Sagristà
Pressefotodownload
Pressefotoanfragen
[email protected]
has finished.
Seite 2 / 7
PRESSEFOTOS
Generaldirektion
10785 Berlin
Mechtild Kronenberg
Referatsleitung
13
14
Markus Farr
Pressereferent
Telefon:
Telefax:
+49 30 266-42 34 02
+49 30 266-42 34 09
[email protected]
Pressemitteilungen
Juan Carreño de Miranda, König Karl II.
von Spanien als Knabe, 1673
Diego Velázquez
Bildnis einer Dame, um 1630/33
15
16
Antonio Pereda
Bergige Landschaft mit Ziehbrunnen,
um 1650
Antonio de Pereda
Der Künstler vor Gianbolognas
Appennino, 1665-1678?
© Staatliche Museen zu Berlin, Kupferstichkabinett / Volker-H. Schneider
17
18
Alonso Cano
Johannes von Gott (Detail),
um 1660-1665
© Museo de Bellas Artes de Granada,
Foto: © Javier Muñoz / Paz Pastor
Gregorio Fernández
Heilige Theresa von Ávila (Detail), 1625
© Museo Nacional de Escultura,
Foto: © Javier Muñoz / Paz Pastor
Pressefotodownload
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[email protected]
has finished.
Seite 3 / 7
PRESSEFOTOS
Generaldirektion
10785 Berlin
Mechtild Kronenberg
Referatsleitung
19
20
Markus Farr
Pressereferent
Telefon:
Telefax:
+49 30 266-42 34 02
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Pressemitteilungen
Diego Velázquez
Don Gaspar Guzmán, Conde Duque de
Olivares, ca. 1635
© bpk, The Metropolitan Museum of Art,
Malcolm Varon
Mariä Himmelfahrt, 1665-68
Kupferstichkabinett / Volker-H. Schneider
21
22
El Greco
Der Heilige Martin und der Bettler
1597 / 1599
© Courtesy National Gallery of Art,
Washington
Juan Antonio de Frias y Escalante
Der Engel erweckt den Propheten Elias
in der Wüste, um 1650/60
23
24
Ecce Homo, 1670
© Museo de Bellas Artes de Murcia
Alonso Cano
Christus in der Vorhölle ca. 1655
© Los Angeles County Museum of
Art, Gift of Bella Mabury (M.48.5.1),
Foto: © Museum Associates / LACMA
Pressefotodownload
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[email protected]
has finished.
Seite 4 / 7
PRESSEFOTOS
Generaldirektion
10785 Berlin
Mechtild Kronenberg
Referatsleitung
25
26
Markus Farr
Pressereferent
Telefon:
Telefax:
+49 30 266-42 34 02
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[email protected]
Pressemitteilungen
Jusepe de Ribera
Madonna mit dem heiligen Bruno, 1624
José Antolínez
Atelierszene (Der Bildhändler),
um 1670
© Bayerische Staatsgemäldesammlungen München - Alte Pinakothek
27
28
Diego Velázquez
Der Hofnarr Diego de Acedo,
ca. 1636-38
© Museo Nacional del Prado
Pedro Roldán
Mater Dolorosa, um 1660-75
© Staatliche Museen zu Berlin, Skulpturensammlung und Museum für Byzantinische
Kunst / Antje Voigt
29
30
Diego Velázquez
Francisco Pacheco, ca. 1620
Museo Nacional del Prado
© Photographic Archive, Museo Nacional
del Prado Madrid
Jusepe de Ribera
Brustbild eines Mannes, um 1613-1615
Pressefotodownload
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has finished.
Seite 5 / 7
PRESSEFOTOS
Generaldirektion
10785 Berlin
Mechtild Kronenberg
Referatsleitung
31
32
Markus Farr
Pressereferent
Telefon:
Telefax:
+49 30 266-42 34 02
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[email protected]
Pressemitteilungen
Jusepe de Rebera
Kopf mit Verband, ca. 1630
Kupferstichkabinett / Volker-H. Schneider
Die Pastetenesser, um 1670/75
© Bayerische Staatsgemäldesammlungen
München - Alte Pinakothek
33
34
Ausstellungsansicht
Gemäldegalerie / Achim Kleuker
Ausstellungsansicht
35
36
Ausstellungsansicht
Ausstellungsansicht
Pressefotodownload
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has finished.
Seite 6 / 7
PRESSEFOTOS
Generaldirektion
10785 Berlin
Mechtild Kronenberg
Referatsleitung
37
38
Markus Farr
Pressereferent
Telefon:
Telefax:
+49 30 266-42 34 02
+49 30 266-42 34 09
[email protected]
Pressemitteilungen
Ausstellungsansicht
Ausstellungsansicht
Pressefotodownload
Pressefotoanfragen
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39
Ausstellungsansicht
Ausstellungsansicht
41
42
Reencuentros.
Dialoge mit dem Siglo de Oro
Ausstellungsansicht
El Siglo de Oro. Die Ära Velázquez:
Katalog-Cover, Hirmer Verlag, München,
ca. 336 Seiten, ca. 280 Abbildungen
in Farbe, 24 x 29 cm, gebunden,
ISBN: 978-3-7774-2478-1,
Buchhandelspreis: 49,90 €,
Preis der Museumsausgabe: 29 €
has finished.
Seite 7 / 7
Golden Summer in Berlin
A diverse range of cultural programming brings a piece of Spain to the
Spree this summer: During the run of the exhibition El Siglo de Oro. The
Age of Velázquez, the presence of the Iberian Peninsula, with its culture
and its way of life, will be felt not only in the Gemäldegalerie, but throughout Berlin. A broad network of partners—from the museums at the Kulturforum, to cultural institutions, language schools, bookstores and flamenco studios, to restaurants and tapas bars—are part of a comprehensive programme that includes exhibitions, concerts, lectures, film screenings and many other promotions and specials. Anyone on the search for
Spanish art, literature, music and fashion, Spanish design, film and dance,
as well as food and beverages in Berlin can find all of the partners on an
interactive city map: www.goldenersommer.de
GENERALDIREKTION
10785 Berlin
MECHTILD KRONENBERG
Exhibitions and programme of events at the Kulturforum
SPONSORSHIP
MARKUS FARR
Kupferstichkabinett in the Gemäldegalerie
PRESS OFFICER
26.4. – 17.7.2016
Fiesta in Seville. An Illustration Series from the Golden Age in Spain
Fiesta in Seville. An Illustration Series from the Golden Age in Spain
shows a selection of 15 pages from Fiestas de la S. Iglesia de Sevilla and
offers, through presentations of monumental architecture, figurative portraits and hieroglyphically enigmatic emblemata, a glimpse as unusual as
it is varied into Seville's Golden Age.
Tel.: +49 30 266 42 3402
Fax: +49 30 266 42 3409
[email protected]
19.7. – 6.11.2016
José de Ribera – Etchings. He was young and needed the money
José (Jusepe) de Ribera (1591–1652) is regarded as the foremost Spanish printmaker active before Goya and as one of the most virtuosic etchers of the 17th century. A selection of his most interesting works can be
seen in this cabinet exhibition.
Tel.: +49 30 440 10 720
Fax: +49 30 440 10 684
[email protected]
Kunstbibliothek
20.6. – 31.7.2016
The Habsburgs in Spain. Portrait Prints of the Golden Age
The Kunstbibliothek of the Staatliche Museen zu Berlin is bringing a selection of portrait prints from the 17th century to its glass display cases, focussing on portraits of the Habsburg era in Spain. The selection comes
from the collection of portrait prints in the Lipperheide Costume Library’s
Fashion Image Collection, which was assembled by the Berlin publisher
and collector Franz von Lipperheide (1838–1906) starting in the 1880s.
Page 1/5
Kunstgewerbemuseum
1.7. – 30.10.2016
Artesanía Artística. Spanish Impressions
In parallel with El Siglo de Oro. The Age of Velázquez, the Kunstgewerbemuseum of the Staatliche Museen zu Berlin is showing masterpieces of
Spanish craft and design. The focus is on precious lustre-ware with a new
style of glazing influenced by Moorish traditions, richly-decorated furniture
with Moorish mosaic inlays as elaborate as carpets and exquisite gold and
silver embroideries fashioned in the royal atelier of the Escorial. This
presentation, integrated into the Kunstgewerbemuseum’s permanent exhibition, is supplemented by a studio exhibition about the Spanish fashion
designer Cristobál Balenciaga (1895–1972) in the Fashion Gallery. Sack
dresses, balloon dresses, models in kimono-like dresses and grand robes
inspired by the artists of his Spanish homeland exemplify the pioneering
designs of this ‘architect of fashion’.
GENERALDIREKTION
10785 Berlin
MECHTILD KRONENBERG
Select selections!
Curatorial tours of the exhibition
Cost: €4 plus admission
Limited places available
Meeting point: Admissions desk of the Kunstgewerbemuseum
Gold Leather from Spain. Luxurious Wall Panelling in Europe
Thur 4:30 pm / 21.7.2016
With Sabine Thümmler, Director of the Kunstgewerbemuseum of the
Staatliche Museen zu Berlin
From Spain to Italy. On the History and Spread of Maiolica
Thur 4:30 pm / 18.8.2016
With Claudia Kanowski, research associate at the Kunstgewerbemuseum
of the Staatliche Museen zu Berlin
Cristóbal Balenciaga and the Siglo de Oro
Thur 4:30 pm / 22.9.2016
With Christine Waidenschlager, research associate at the Kunstgewerbemuseum of the Staatliche Museen zu Berlin
SPONSORSHIP
MARKUS FARR
PRESS OFFICER
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[email protected]
Spain and the Art of Furniture Design in the Renaissance and
Baroque
Thur 4:30 pm / 20.10.2016
With Achim Stiegel, research associate at the Kunstgewerbemuseum of
the Staatliche Museen zu Berlin
Public guided tours for individual visitors
Sun 11:30 am / 17.7., 21.8. + 18.9.2016
Cost: €4 plus admission
Limited places available
Page 2/5
Musikinstrumenten-Museum of the Staatliches Institut für
Musikforschung
7.7. – 11.9.2016
La Guitarra Española
Parallel to the masterful changes wrought in art by Velázquez, El Greco
and co., dramatic developments also occurred in Spanish music. The
plucked string instrument hailing from the necked box lute family now
commonly known as the guitar has become the national symbol of Spanish music. In this cabinet exhibition, valuable and historic guitars from the
Musikinstrumenten-Museum collection will be on view. Visitors also are
given insight into the life and work of Santiago de Murcia, Gaspar Sanz
and Francisco Guerau, who are among the most popular and successful
composers of Spanish guitar music.
Wed 3:30 pm / 27.7.2016
Jour Fixe – Music in the Afternoon
With Laura Fontanals Clop, guitar
Works by Fernando Sor, Emili Pujolm Gaspar Sanz and Miquel Llobet
As part of this popular Musikinstrumenten-Museum series, which puts
music students from the Curt-Sachs-Saal in front of an audience on alternating Wednesday afternoons, the young Spanish guitarist will present a
programme with ‘Spanish flavour’.
Cost: free
Sun 11 am / 16.10.2016
Old Music – Live: ‘Historia de un marino’ with Luz y Norte
As a part of the series ‘Old Music – Live’, the Spanish ensemble Luz y
Norte presents music of the 16th and 17th centuries, playing works by
major composers such as Diego Ortiz, Juan Hidalgo, Alonso de Mudarra,
Gabriel Bataillé, Martín y Coll, Roque Ceruti and more.
Cost: €14 / red. €8
GENERALDIREKTION
10785 Berlin
MECHTILD KRONENBERG
SPONSORSHIP
MARKUS FARR
PRESS OFFICER
Tel.: +49 30 266 42 3402
Fax: +49 30 266 42 3409
[email protected]
Tel.: +49 30 440 10 720
Fax: +49 30 440 10 684
[email protected]
Ibero-Amerikanisches Institut
27.8. – 28.9.2016
Architectural Impressions of Spain.
Historic Photographs by Jean Laurent
The architectural photography taken by French photographer Jean Laurent (1816–1886) on behalf of the Spanish government as a record of the
country’s technical advances is a fascinating contemporary document.
These photographic documents evoked a powerful response in 1867 at
the International Exposition in Paris; now, this unique collection from the
holdings of the Ibero-Amerikanisches Institut can be viewed Mon–Fri 9 am
–7 pm and Sat 9 am –1 pm in the reading room.
Page 3/5
Spanish night at the Kulturforum
Sat 6 pm – 2 am / 27.8.2016
36th Long Night of Museums
The Gemäldegalerie, Ibero-Amerikanisches Institut, Kunstgewerbemuseum and the Musikinstrumenten-Museum host a Spanish summer night at
the Kulturforum during the Long Night of Museums. These concerts, tours,
workshops, films, readings and dance performances are strongly influenced by the Siglo de Oro, offering diverse approaches to the Spanish
Golden Age and opening up exciting possibilities for experiencing the exhibitions. Spanish food and drink provide the appropriate ambience. In a
‘Notturno extra’, the Polyphonia Ensemble of the Deutsches SymphonieOrchester performs works by Spanish and South American composers in
the Gemäldegalerie and the Musikinstrumenten-Museum. The silent film
Carmen (1918)—accompanied by Jörg Riehle in the MusikinstrumentenMuseum, on the museum’s Mighty Wurlitzer theatre organ—brings the
Spanish night to an end.
Cost: Ticket to the Long Night of Museums
The complete program for the Spanish night at the Kulturforum is available online at: www.elsiglodeoro.de
GENERALDIREKTION
10785 Berlin
MECHTILD KRONENBERG
SPONSORSHIP
MARKUS FARR
PRESS OFFICER
Summer Movies at the Kulturforum
22.6. – 26.8.2016
Cine de Verano en Español
This summer, the Kulturforum’s summer movie series—a co-operation
between the Staatliche Museen zu Berlin, Yorck Kinogruppe and ARTE—
joins forces with the Instituto Cervantes to screen contemporary featurelength films from Spain and Latin America. Starting in September 2016,
the series Cine en Español will take place monthly at the Neues Off cinema in Neukölln.
Wed 10 pm / 29.6.2016
El Siglo de Oro: The Golden Age of Spanish Art
Documentary ARTE / ZDF 2016, 52 min.
On the occasion of the exhibition, filmmaker Grit Lederer toured the Spanish art centres of Seville, Madrid, Toledo and Valladolid for ARTE, following the trail of the artists of the Siglo de Oro.
ARTE Broadcast Date: Sun. 3.7., 5:35 p.m.
Introduced by Grit Lederer in conversation with Bernd Wolfgang Lindemann, Director of the Gemäldegalerie
Cost: free
Tel.: +49 30 266 42 3402
Fax: +49 30 266 42 3409
[email protected]
Tel.: +49 30 440 10 720
Fax: +49 30 440 10 684
[email protected]
Wed 10 pm / 6.7.2016
Embrace of the Serpent
Original with German subtitles
Price: €7.50 / red. €6.50
Page 4/5
Sun 10 pm / 17.7.2016
The Clan
Price: €7.50 / red. €6.50
Mon 9:30 pm / 15.8.2016
Truman
Price: €7.50 / red. €6.50
The complete programme is available online at: www.yorck.de
GENERALDIREKTION
Exhibition and Event Programme of the Instituto Cervantes
7.10. – 16.12.2016
A un paso de Berlín: One Stop Before Berlin
As the central work of the exhibition El Siglo de Oro. The Age of Velázquez, the group of sculptures by Gregor Fernández known as The Way to
Calvary have left Spain for the first time. The photographer Carlos Collado
went along for the journey—beginning at the Museo Nacional de Escultura in Valladolid, through the streets of Valladolid where each year the
sculptures are carried as part of a solemn Easter procession, all the way
to the Gemäldegalerie in Berlin. The photography exhibition in the Instituto
Cervantes Berlin and in the Pixel Grain showroom addresses the varying
perceptions of the sculptural ensemble with respect to their different functions and contexts.
An exhibition of the Instituto Cervantes, Gemäldegalerie – Staatliche Museen zu Berlin, Junta de Castilla y León and the Museo Nacional de Escultura, Valladolid, supported by Pixel Grain.
13. – 14.10.2016
Cervantes y su estímulo:
INTERNATIONAL. INGENIOUS. INTERMEDIAL. VIRTUAL
Colloquium on the 400th anniversary of the death of Miguel de Cervantes
Organized by Dr. Dieter Ingenschay, Professor of Spanish Literature,
Humboldt-Universität, and Dr. Janett Reinstädler, Roman Literature and
Cultural Studies with a focus on Hispanic Studies, Universität des Saarlandes.
10785 Berlin
MECHTILD KRONENBERG
SPONSORSHIP
MARKUS FARR
PRESS OFFICER
Tel.: +49 30 266 42 3402
Fax: +49 30 266 42 3409
[email protected]
Tel.: +49 30 440 10 720
Fax: +49 30 440 10 684
[email protected]
Tu 7 pm / 25.10.2016
La voz de nuestros clásicos – The Voices of the Classics
Staged readings of texts by Miguel de Cervantes, Lope de Vega and Calderón de la Barca.
Page 5/5
 Finance Group
German Savings Banks Association
Press release
Savings Banks Finance Group sponsors exhibition “El Siglo de Oro.
The Age of Velázquez” at the Gemäldegalerie of the Staatliche
Museen zu Berlin
Berlin, 29th June 2016
As part of its close cooperation since 2011 with the Staatliche Museen
zu Berlin, the Savings Banks Finance Group is to sponsor the exhibition
“El Siglo de Oro. The Age of Velázquez” at the Gemäldegalerie am
Kulturforum from 1st July to 30th October 2016.
The exhibition, which is being held under the joint aegis of His Majesty
King Felipe VI of Spain and German Federal President Joachim Gauck,
focuses on the golden age of Spanish art. With artists such as
Velázquez, El Greco and Francisco de Zurbarán, this is widely regarded
as having been one of the most important and popular chapters in
European cultural history.
17th century Spain was characterized by political and social tensions:
A country that had once been the most powerful in Europe and whose
particular prosperity had also resulted in a blossoming of art and
culture was now confronted with a steady loss of political power and the
increasing influence of Protestantism. This had a huge influence on the
era’s visual language.
This special exhibition in Berlin – the first of its kind outside Spain – will
present a broad overview of the diversity and development of Spanish
painting and sculpture in this Golden Age.
In order to make such outstanding exhibitions in the current cultural
landscape accessible to a broad public, the Savings Banks Finance
Group – consisting of the Deutsche Sparkassen- und Giroverband, the
Berliner Sparkasse and DekaBank Deutsche Girozentrale – has been a
major sponsor of the Staatlichen Museen zu Berlin for the last five
years.
In addition to the exhibition “El Siglo de Oro” and the previous
presentation in the Gemäldegalerie “The Botticelli Renaissance”, the
Savings Banks Finance Group also supports a cultural education
project entitled “Über kurz, mittel oder lang”, which encourages
students and teachers in all subject areas at Berlin colleges and
universities to become actively involved in shaping the long-term work
of the city’s museums.
Seite 2
Sponsorship to the tune of some 135 million euros every year makes the
Savings Banks Finance Group the largest non-public promoter of the
arts in Germany. If its sponsorship of projects in the social sphere,
sport, the environment, education, and other areas is included, it
spends 470 million euros annually as part of its social commitment.
The German Savings Banks Association is the umbrella organisation for the
Savings Banks Finance Group and encompasses 409 savings banks, seven
Landesbank groups, DekaBank, nine regional building societies, eleven savings
bank direct insurers and many more financial services companies.
For further information contact:
German Savings Banks Association, Charlottenstraße 47, 10117 Berlin
Tel.: +49 (0)30/20 22 55 115; Fax: +49 (0)30/20 22 55 119,
email: [email protected]
Stefan Marotzke
(mainly political and economic matters and those relating to Group policy)
Tel.: +49 (0)30 20 22 55 110, email: [email protected]
Alexander von Schmettow
(mainly market, corporate and business-related issues)
Tel.: +49 (0)30 20 22 55 112, email: [email protected]
Michaela Roth (DSGV Brussels Office)
(mainly EU-related matters)
Tel.: +32 (0)2 740 16 43, email: [email protected]
Press release
Kuratorium Preußischer Kulturbesitz promotes the exhibition
“El Siglo de Oro. Die Ära Velázquez” (El Siglo de Oro. The Age of Velázquez)
Berlin, 29th June 2016
In the context of its strategic partnership with the Stiftung Preußischer Kulturbesitz (Prussian
Cultural Heritage Foundation), the Kuratorium Preußischer Kulturbesitz supports the
exhibition “El Siglo de Oro. Die Ära Velázquez”, which will be presented as of 1st July until
30th October 2016 in the art gallery of the Staatliche Museen zu Berlin (Berlin State
Museums) – Preußischer Kulturbesitz (Prussian Cultural Heritage).
“El Siglo de Oro. Die Ära Velázquez” presents the Spanish art of the 17th century in a hitherto
unknown diversity. Paintings and sculptures from that outstanding era will be shown in a
fascinating variety for the first time outside Spain: In addition to the works of the own
collection, more than 150 further top-class paintings and sculptures will be presented. Aside
from important names like Velázquez and El Greco, Spanish artists can be discovered that
have been rather unknown to the wide public in this country so far.
Thorsten Strauß, Head of the Kuratorium Preußischer Kulturbesitz: “During its two years of
existence, the Kuratorium has meanwhile promoted many different projects of the foundation.
We are involved in the exhibition ‘El Siglo de Oro’ as it offers this rich diversity of Spanish art
in Berlin for the first time. The popular is combined with the unknown. Therefore, it has the
potential to draw citizens of Berlin as well as tourists to the Kulturforum (Cultural Forum) and
to strengthen this location of the Staatliche Museen.”
The Kuratorium Preußischer Kulturbesitz is an association of leading business enterprises
that are committed in promoting selected activities of the foundation in a strategic sponsoring
partnership over several years. Thereby, the engagement of the Kuratorium is not focussed
on certain institutions or locations but is split up into various promotion segments throughout
the foundation.
The following enterprises are currently members of the Kuratorium: Bayer Pharma AG,
Bertelsmann SE & Co. KGaA, Daimler AG, Deutsche Bank AG, Linde AG, KPMG AG, SAP
AG, Siemens AG, Würth-Gruppe and ZDF. Head of the Kuratorium is Thorsten Strauß,
Deutsche Bank AG; his deputy is Sylvia Weber, Würth-Gruppe.
Further information: www.preussischer-kulturbesitz.de
Press release
EXHIBITION PREVIEW
Settecento. Italian Masters from the Staatliche Museen zu Berlin
CaixaForum Zaragoza (Spain), from 3 June to 13 November 2016
Within the framework of the agreement established with the Gemäldegalerie of
the Staatliche Museen zu Berlin (National Museums of Berlin), "la Caixa" Banking
Foundation has organised a completely new exhibition in Spain featuring works
by Italian artists from the Century of Light
"la Caixa" Banking Foundation is working with the Gemäldegalerie of the Staatliche Museen zu
Berlin to jointly organise the exhibition "El Siglo de Oro. The Age of Velazquez". Within the
framework of this cooperation, "la Caixa" will contribute financially to producing the exhibition
devoted to Spain’s Golden Age and to organising a second show, which will open to the public
in Spain in June this year.
As a result, masterpieces by Italian painters conserved in the Staatliche Museen zu Berlin
collections have been brought to Spain, specifically to the CaixaForum cultural centre in the city
of Saragossa. The show provides a unique opportunity for Spanish audiences to discover the
great works conserved in these collections.
Through a selection of 45 works by 29 artists, the exhibition illustrates the evolution of the
painting in the eighteenth century, representing the different schools and tendencies in Italian
art during that period. The great masters featured include, particularly, Giovanni Battista Tiepolo,
Il Canaletto, Antonio Diziani and Francesco Guardi.
The ”la Caixa” Banking Foundation directly oversees Welfare Projects with an ultimate aim: to
build a better and fairer society by creating opportunities for those most in need. To accomplish
this, Welfare Projects will once again have a budget of €500 million in 2016, the same
allowance as for the past eight years, making it Spain’s leading foundation when it comes to
funds invested in social welfare projects and also one of the largest in Europe and indeed
worldwide. A total of 5 million people attended the cultural, scientific and educational
programmes and events organised across all of Spain by ”la Caixa” Welfare Projects in 2015,
up 7.41% year on year.
Berlin, 14th of June 2016
Press Information
On the occasion of the exhibition “El Siglo de Oro” Museum&Location offers exclusive guided tours
and receptions with Spanish specialties outside the public opening hours!
In line with the exhibition “El Siglo de Oro” (1st of July – 30th of October 2016 at the Gemäldegalerie)
Museum&Location offers in cooperation with the catering company 40seconds an exclusive visit of the
exhibition including catering:
Welcome address from 6.30pm at the Foyer of the Kulturforum with drinks and finger food.
From 7.30pm guides invite to a guided tour of one hour through the exhibition.
End of the evening event at the Gemäldegalerie approx. 8.30pm.
Costs:
…up to 20 persons: 2.400,00 € plus VAT.
…up to 40persons: 4.000,00 € plus VAT.
Including:
- Entrance fee for up to 20 or 40 persons.
- Personal guide (one up to 20 persons, two up to 40 persons).
- Wardrobe assistant.
- Drinks are all-inclusive: Jugo de Naranja (orange juice), Agua Minerale sin y con gas & Cava (mineral
water and sparkling wine)
- Finger food:
Chorizo and Manchego on splits
dates wrapped in bacon
small vegetable tortillas
- High top tables
- Service staff
- Catering equipment und transport
- Museum guards
- Cleaning of the event areas before and after the event
Museum&Location looks forward to planning individual events, private guided tours or free visits of
exhibitions outside opening hours.
Inquiries:
[email protected] or +49 30 / 2639 488 26
Further information:
http://www.museum-location.de
www.facebook.com/MuseumUndLocation
Museum&Location Veranstaltungsgesellschaft der Staatlichen Museen zu Berlin mbH
Potsdamer Str. 58
10785 Berlin
A WHO IS WHO OF THE
MOST FAMOUS ARTISTS OF
THE 17TH CENTURY
EXQUISITE SELECTION OF
MASTERPIECES
CREATED IN COOPERATION
WITH THE WORLD’S MOST
IMPORTANT COLLECTIONS
THE SPANISH GOLDEN AGE
Ed. Staatliche Museen
zu Berlin, Kunsthalle der
Hypo-Kulturstiftung
336 pages
206 colour illustrations
24 x 29 cm, hardcover
€ 49,90
978-3-7774-2526-9
Exhibitions
Berlin | Gemäldegalerie
01.07.–30.10.2016
www.smb.museum
Munich | Kunsthalle der
Hypo-Kulturstiftung
PAINTING AND SCULPTURE IN THE TIME OF VELÁZQUEZ
Velázquez, El Greco, Murillo – the golden age of Spanish art positions the most
famous artists of the 17th century within the history of painting, while still
allowing us to discover new aspects of the most brilliant era of an empire
which once prided itself on the fact that within its boundaries the sun never
seemed to set.
Through the examples of the artistic centres of Toledo, Valencia, Sevilla and Madrid this
volume opens our eyes to Spain’s “Siglo de Oro”. Its artistic production was indissolubly
linked to a profound change in politics and society: Spanish art reached its high point at a
time in which what had previously been the most powerful country in Europe was facing a
25.11.2016–26.03.2017
continuous loss of its power. However the King, the Church and the aristocracy demanded
www.hypo-kunsthalle.de
pictures which would defy the new realities. This book is a formidable invitation to make
the acquaintance of this important era of European art history through selected works of
painting, sculpture and drawing.
Contact
If you would like to receive a copy for review, or if you require highresolution image files or any further information, please contact:
Hirmer Verlag, PR
Eva-Maria Neuburger, p: 089/12151663, e: [email protected]
www.hirmerpublishers.com

Berlin, 29 June 2016 CONTENTS Kulturforum, Gemäldegalerie El

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