Issued also as thesis, Paris, 1965, under title: La culture symbolique, la peinture et la société espagnole du siècle d'or. / Illustrated cover. Bibliography: p. [265]-279.

Thesis (M.A.)--University of Wyoming, 2009. / Title from PDF title page (viewed on July 2, 2010). Includes bibliographical references (p. 77-79).

Texte remanié de : Tesis doctoral : Historia del arte : Universidad Complutense de Madrid : 2005. / En appendice : choix de documents. Bibliogr. p. 321-330. Notes bibliogr. Index.

Typescript. Includes vita and abstract. Includes bibliographical references (leaves 91-102). Also available online.

The taste for all things Spanish that swept France in the 1860s had profound, if misunderstood, effects on modern French and Spanish art. French artists were fascinated by both the perceived exoticism of contemporary Spain as well as the newly popular paragons of its art historical past. The lessons of Velázquez and Goya, in prevailing accounts of modernism, were learned best by avant-garde artists like Édouard Manet (1832–1883), whom a contemporary critic went so far as to call the “Spaniard of Paris.” My dissertation contends, instead, with the other Spaniards of Paris, successful expatriate artists who worked between the French capital, Rome, and Madrid. These artists, led by Mariano Fortuny (1838–1874), considered themselves the rightful interpreters of the Spanish tradition. I argue that Fortuny and his circle shrewdly positioned their work in relation to French ideas about Spanish art, both avant-garde and conservative, as well as Spain’s developing national art historical narratives, even though they often lived beyond their nation’s borders. I demonstrate that these artists, whose seemingly unassuming genre paintings were undergirded by a pronounced but hitherto unexamined nationalism, sought to shape the Spanish art historical tradition; present themselves as its inheritors; and influence the collecting of Spanish art, especially in the United States, in the final third of the nineteenth century.

Orientador: Luciano Migliaccio / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-10T17:16:28Z (GMT). No. of bitstreams: 1 DelFabbro_ChristineGiseleDecarli_M.pdf: 137114848 bytes, checksum: ab2969ef192a060768d43677a090707d (MD5) Previous issue date: 2008 / Resumo: O objeto de estudo da dissertação é a obra Aparição do Menino Jesus a Santo Antônio de Pádua, 1627-1630, pintada pelo espanhol Francisco de Zurbarán (1598-1664) e conservada pelo Museu de Arte de São Paulo 'Assis Chateaubriand¿. A tela mostra um santo no sublime momento de sua visão mística. As características da fisionomia da figura geraram opiniões contrárias quanto a sua identidade, estabelecendo uma dúvida entre a representação dos dois mais populares santos franciscanos: Santo Antônio de Pádua e São Francisco de Assis. A dissertação apresenta uma análise iconográfica comparativa da obra em questão com outros quadros de mesma temática pintados por Zurbarán, com o objetivo de esclarecer qual é o santo representado na tela. A iconografia de ambos os santos apresenta algumas variações no século XVII que visaram adequá-las à uma nova iconografia religiosa que demonstrava uma clara preferência para a representação de santos em momentos de êxtase. O texto comenta alguns aspectos relativos a essas mudanças, dando especial atenção à evolução observada nas representações da aparição do Menino Jesus a Santo Antônio de Pádua, do final do XVI até o fim do século XVII / Abstract: The object of this study is the painting Aparição do Menino Jesus a Santo Antônio de Pádua, 1627-1630, executed by the Spanish painter Francisco de Zurbarán (1598- 1664), and kept at the Museu de Arte de São Paulo 'Assis Chateaubriand¿. This canvas depicts a saint at the sublime moment of his mythic vision. The character¿s physiognomy has given rise to opposite opinions about his identity, which therefore generated a doubt about the representation of the two most popular Franciscan priests: Saint Anthony of Padua and Saint Francis of Assis. This thesis presents a comparative iconographical analysis of this painting and of other paintings of the same theme by Zurbarán in order to find out which saint has been depicted. The iconography of both saints presented some variations throughout the seventeenth century, which aimed at adjusting it to a new iconography favoring the depiction of saints in moments of trance. This text discusses some aspects of this change, with special attention to the evolution of the representations of the apparition of Infant Jesus to Saint Anthony of Padua, from the end of the sixteenth century until the end of the seventeenth century / Mestrado / Historia da Arte / Mestre em História