This study aims to shed light on the political and cultural strategies that Beatriz Pacheco, 1st Countess of Medellin, used to assert her role as ruler of her estates and member of a distinguished lineage in a context shaped by criticism of her which argued that she held too much power, was cruel and was born from an illegitimate union. The article will thus examine the images that she decided to project of herself to both her contemporaries and future generations through her monumental tomb in the Hieronymite monastery of El Parral, Segovia. The text explores various aspects relating to the commission of Beatriz Pacheco's mausoleum, including its intellectual and material authorship, here attributed to Juan Guas and Sebastian de Almonacid, and its reception by spectators. Finally, a comprehensive reconstruction of the monument is proposed, based on the study of several elements, some of them previously unpublished.
This article presents a study of the importance and value given to landscapes in the early years of the Real Academia de Bellas Artes de San Fernando, particularly those that depicted or evoked real locations. It has been undertaken on the basis of the works of painting, sculpture and drawing housed at the Academia which were awarded prizes in competitions organised by that institution, in addition to those sent to the Academia in Madrid by provincial artists in order to obtain the title of academician, and various others sent by Spanish students training in Rome in order to demonstrate their progress.
This article examines the work of the painter Delhy Tejero in relation to avant-garde movements such as Surrealism and Abstraction, particularly her approach to Informalism, to which she made a notable and unique contribution known as "perlismo". The article also looks at how her work and thought were influenced by Theosophy and Orientalism. Analysing Tejero's diaries and her artistic practice assists in determining her aspirations and desires, revealing her as a key figure in the struggle for women's rights, particularly in terms of achieving professional recognition and emancipation despite the conservative context of her time.
Continuing with his endeavour to bring the myths of Spanish liberalism to the stage, Marcos Zapata premiered Patria y libertad in 1886, devoted to the events of the 2(nd) of May 1808. Years later, in several poems he offered "the true painting" of a series of events whose representation dramatised the image and meaning of history painting. The arts forged the myth of the 2nd of May and are combined in Zapata's work as an expression of the national story that structures the construction of liberal Spain.
This article presents various pen and grey wash drawings depicting the departure of Gaspar de Haro y Guzman, 7th Marquis of El Carpio, for Naples from Rome on 2 January 2, 1683, following his appointment as viceroy. The drawings are contained in a military treatise by Guglielmo di Rampone. It seems highly likely that they are the work of the set designer and decorator Philipp Schor, who worked for Carpio during his ambassadorship in Rome and viceroyalty in Naples.
