The Portrait Workshop at the Court of Philip III of Spain
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| Publicado no: | ProQuest Dissertations and Theses (2014) |
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| Acesso em linha: | Citation/Abstract Full Text - PDF |
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| Resumo: | Portraits assisted in defining Philip III of Spain's image and thereby bolstered his claim to legitimacy. Overshadowed by his more famous father and son, Philip III's art patronage has received relatively little scholarly attention. This dissertation attempts to assess the deceptively complex implications of Philip III's often neglected imagery. The social and economic status of artists at the court of Philip III depended on the monarch's favor and on a frequently hostile and negligent royal administration. Nonetheless, Spanish painters strove for court appointments whose evolution may be traced to the reign of the Catholic Kings. Portraitists working for Philip III operated within a pictorial tradition initiated by the Catholic Kings and the Austro-Burgundian Habsburgs. Charles V fused these into a personal imagery centered on his title of Holy Roman Emperor. When Philip II failed to succeed as emperor, allusions to imperial Rome became inapplicable. Symbols of Christian kingship also were not available to Philip II because the kings of Castile underwent no coronation. Also, Philip ruled over a composite monarchy and, if portrayed as the king of one realm, in that portrait, he was not the king of the others. Only he himself united his kingdoms, and his sacred body became the locus for expressions of the monarchy's unity. When Philip III succeeded, he projected a message of stable continuity coupled with reform. Pantoja de la Cruz portrayed Philip III as a magnificent gilded youth, departing sharply from likenesses of Philip II as an aged, widowed king. Yet Pantoja's portraits of Philip III also recall paintings of the young Philip II, thereby casting Philip III as a continuation of the Spanish Habsburgs, even as he distances himself from immediate precedents. By painting Philip III as a flawless, radiant icon, Pantoja expressed the difference dividing the monarch from even his greatest subjects, including his court favorite and de facto prime minister, the duke of Lerma. Late portraits of Philip III reveal a more somber king, clad in black, who had resolved to rule more actively. These images pave the way for the celebrated portraits of Philip IV by Velázquez. |
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| ISBN: | 9781321159714 |
| Fonte: | ProQuest Dissertations & Theses Global |