Calderón and Velázquez@@@Calderon and Velazquez
About: This article is published in Hispania.The article was published on 1952-02-01. It has received 5 citations till now.
Citations
More filters
TL;DR: A study of Calderon's auto sacramental La hidalga del valle as discussed by the authors illustrates how the dramatist combined his extensive knowledge of art history and theology to portray and visualize, on the stage, one of the central tenets of Catholicism, the Immaculate Conception.
Abstract: It has been studied and generally acknowledged that Calderon loved art, publicly defended painters, and recognized and felt an intrinsic, almost divinely inspired relationship that existed between painting and his dramatic works. However, what has not been fully appreciated is the extent to which Calderon understood the iconographical methodology that the early painters and, later, his contemporaries employed to portray the hidden theological and doctrinal mysteries, which the Church demanded that they help convey to instruct the faithful. This study focuses on Calderon's auto sacramental, La hidalga del valle , to illustrate how the dramatist combined his extensive knowledge of art history and theology to portray and visualize, on the stage, one of the central tenets of Catholicism, the Immaculate Conception. After reviewing Spain's important role in the debates concerning this controversial doctrine, which circulated throughout Europe, the essay discusses the five principal icons used by baroque artists in their paintings and how these same icons are imbedded in Calderon's auto . After a brief consideration of Calderon's staging of the play, the study concludes by relating the play's title and overall structure to the popular Marian prayer, Salve Regina .
2 citations
TL;DR: Ambrogio Spinola's victory at the Siege of Breda (1624-1625) marked a high point in the imperial policies of Philip IV and his royal favorite, the Count-Duke of Olivares as discussed by the authors.
Abstract: Ambrogio Spinola’s victory at the Siege of Breda (1624–1625) marked a high point in the imperial policies of Philip IV and his royal favorite, the Count-Duke of Olivares. Contemporary newsletters c...
1 citations
TL;DR: The authors studied the textual references to painting and perspective in Calderon's play El principe constante within the context of contemporaneous scenography and art theory, and argued that the ultimate goal of such a manipulation is didactic: the playwright's attempt is to show his spectators the way of looking beyond the verisimilar for an allegorical message that conveys Christian doctrines.
Abstract: The article studies the textual references to painting and perspective in Calderon's play El principe constante within the context of contemporaneous scenography and art theory. It explores the possibility of a parallel between the textual references and the actual application of painting and perspective in stage design. This parallel leads to a further understanding of Calderon's interest in painting and his view on its function in theater. The play of El principe constante reveals the dual effect of visual verisimilitude: it is poignant and convincing and, at the same time, misleading and deceptive. The study intends to clarify how Calderon presents characters' optical experiences as a reflection ofthe audience's reception of the theatrical stage, and to argue that the ultimate goal of such a manipulation is didactic: the playwright's attempt is to show his spectators the way of looking beyond the verisimilar for an allegorical message that conveys Christian doctrines. Calderon offers the play to the public as a spiritual exercise rather than simply a representation of factual truth. (YS)
1 citations
TL;DR: The stage cave of Calderon's mythological or romance plays does not actually lead to the traditional underworld, but it still has an implied association with tomb, crypt, or supernatural place as mentioned in this paper.
Abstract: The cave, frequently a scene of action in tales of romance, was also a stock scene in seventeenth-century court scenography, and much used by Calderon in his palace plays. The romance topos of the cave involves the idea of an entrance to the underworld. Used dramatically, it functions as a frame for emblems, prophecies or dreams, and sometimes a mirror implemented by a magician who wishes to project these supernatural happenings. This essay maintains that, while the stage cave of Calderon's mythological or romance plays does not actually lead to the traditional underworld, it still has an implied association with tomb, crypt, or supernatural place. Whatever happens within the cave, and whatever its scenographic variations and inventions, the scene is still, even if unconsciously, imbued with traditional mortuary associations. (MH)
1 citations
[...]
TL;DR: The second death from Romeo & Juliet is that of Romeo, who drinks a fatal dose of poison he bought from an apothecary after learning of Juliet's ‘death’ as mentioned in this paper .
Abstract: The second death from Romeo & Juliet is that of Romeo, who drinks a fatal dose of poison he bought from an apothecary after learning of Juliet’s ‘death’. The poison is not named by Shakespeare, but is now thought to be aconite, otherwise known as “wolfsbane” or “monkshood”. Aconite species contain several poisonous chemicals, the most deadly of which is aconitine. Aconitine can kill by dramatically slowing down the heart, leading to cardiac arrest. Aconite has been used in fiction (and for real) since classical times and its association with goddesses and magic continues to this day in the Harry Potter books. Aconite is still an ingredient in Traditional Chinese and Hindu medicines, and so accidental poisonings are most commonly seen by forensic toxicologists in Asia.