Carlos Iv De Espaãƒâ±a Y Su Familia Art Style
From Artdaily.org (7 March 2010)
Regal Splendor in the Enlightenment: Charles Iv of Spain, Patron and Collector
Meadows Museum, Southern Methodist University, Dallas, TX, 7 March — 18 July 2010
Francisco de Goya, "Carlos IV," 1789 (Madrid: Regal University of History), Inv. No. 76
The Meadows Museum at Southern Methodist University will present "Royal Splendor in the Enlightenment: Charles IV of Spain, Patron and Collector", the starting time major exhibition to showcase the exceptional art collection and refined taste of King Charles IV of Spain (1748-1819), from March 7 through July 18, 2010.
The Meadows Museum will be the only venue outside of Spain for the exhibition, the upshot of a unique collaboration between the museum and Patrimonio Nacional, the Spanish authorities establishment that manages the artistic holdings created through the patronage and sponsorship of the Castilian monarchs. The exhibition is curated by Patrimonio Nacional curators Dr. Javier Jordán de Urríes y de la Colina and Dr. José Luis Sancho.
Charles Four and his wife, Queen María Luisa, reigned from 1788 to 1808 (when they were forced into exile by Napoleon), at the finish of the Enlightenment period. They had a special passion for the arts and collected avidly throughout their lives.
Imperial Workshops, "Sedan Chair of Queen María Luisa of Parma," 1795 (Madrid: Majestic Palace, National Heritage), Inv. No. 10008050
"During his reign, Charles 4 created a highly sophisticated, refined and cosmopolitan court for which the arts played a major role," said Dr. Mark Roglán, museum director. "The combination of collecting works from the past as well every bit investing in those of the nowadays, especially in the field of decorative arts, became part of the daily life of this king, whose artistic gustation was among the finest in his time and in the history of the Spanish monarchy. The exhibition besides shows the development of Charles' creative interests; he was not but influenced by the Castilian tradition, but had a special fondness for Italian art considering of his babyhood origins in Naples, and for French art, due to the dense network of dynastic relations that linked the Bourbons of Versailles to those of Madrid in the 18th century."
The exhibition includes more than than 80 examples of furniture, textiles, clocks, porcelains, paintings and sculptures selected from the casas de campo (state estates) and royal palaces of Madrid, Aranjuez, El Escorial and El Pardo. The majority of works are from Patrimonio Nacional (the Castilian National Heritage), and most of them accept never before traveled to the U.Due south. The collection includes some of the finest examples of fine art styles of the solar day, from Rococo paintings to a stunning Neoclassical dessert centerpiece of semi-precious stones, lapis lazuli, gilded bronze and enamel. Other highlights include the queen's ceremonial throne with its 18-foot-tall awning, an elaborate sedan chair in which she was carried by footmen, a gilded bronze, porcelain and enamel bird muzzle clock, and a shotgun of wood, steel, aureate and argent belonging to the king, an gorging hunter. Also included are works past Francisco de Goya, the first court painter under Charles IV; his 1789 portrait of the king is making its only appearance outside of Madrid in 200 years. A painting by Diego Velázquez, Portrait (miniature) of the Count-Duke of Olivares, c. 1638, collected past Charles, will also be featured, also as paintings past Luis Meléndez, Juan de Flandes, Anton Mengs and Giovanni Panini, among others.
The exhibition, which will be shown in the Jake and Nancy Hamon Galleries, will be accompanied by a scholarly, fully illustrated catalogue in English language produced past the Meadows Museum. Also included will exist a documentary that will feature, in Hard disk video, the rooms and gardens of the palaces highlighted in the exhibition, bringing to life the splendid residences of the Male monarch.
Charles IV, "King of Kingdom of spain and Emperor of the Indies," as he was officially known, was built-in in Portici (Naples) in 1748. He married his first cousin María Luisa de Borbón-Parma, a granddaughter of the French King Louis Xv, in 1765, and became ruler on December xiv, 1788, upon the death of his father, Charles Three. In 1808 the king and queen were forced into exile past Napoleon. They eventually settled in Rome, where they died, merely a few days apart, in 1819.
Thanks to the neat administrative and economic reforms of his father, Spain was still one of the swell world powers and enjoyed considerable prestige internationally when Charles Iv ascended to the throne. As a result of its support for the cause of American independence, Spain had broadened its control over the greater part of the American continent, including extensive Due north American territories, in the area so known as the Viceroyalty of New Spain. (The complementary exhibition Contours of Empire: The World of Charles Iv in the first floor galleries, featuring maps and books from SMU's DeGolyer Library, will explore and analyze the territories that comprised the Castilian Empire during this catamenia.)
Spain was likewise at the forefront of the Enlightenment during the 18th century. Throughout Europe, the enlightened monarchies, through their Royal Academies of the Arts, used works of architecture, sculpture, and painting to express their ideals of government and to develop new, more rational ideas in accordance with the prevalent neoclassical aesthetic. The new tastes and ideals of the Enlightenment were adult in both public monuments and palaces, where they could be seen and appreciated on a mean solar day-to-day basis by both the general public and the Crown. As a effect, the arts became an instrument of propaganda and prestige. In this respect, the Castilian Crown became one of the most of import courts of its time, particularly during the reign of Charles IV.
The Spanish courtroom moved about from flavor to season amidst several royal sites, including palaces and land estates with gardens and pavilions where Charles would spend part of the 24-hour interval relaxing and eating in the visitor of his most intimate circle. Charles took slap-up pleasance in supervising the furnishing and decoration of his residences, which came to epitomize 18th-century opulence and fine artistic gustatory modality.
Two of them – the royal residences at El Pardo and El Escorial in the area of Madrid, built when he was still a prince – are landmark constructions of Spanish Neoclassical compages. Their lavish interior decorations are nevertheless intact. The richest of his casas de campo is the Casa del Labrador (Farmer's Cottage) in Aranjuez, congenital and decorated by Charles Four from 1794 onward. Information technology is famous for its magnificent platinum room, designed by French architect Charles Percier and produced in Paris with mahogany, aureate bronzes, platinum, and paintings, anticipating what was to become the Empire way.
Furnishings from each of these residences are included in the exhibition, illustrating the great interest in classical artifact that was prevalent throughout Europe at the time. Charles had a special passion for French decorative objects, peculiarly works in silk, bronze, and porcelain, as well as pieces of article of furniture, and employed a number of artisans who had left Paris during the French Revolution seeking piece of work in Spain. These works not only ready a cosmopolitan tone inside the Spanish palaces and casas de campo, but also exerted a strong influence on the piece of work of Spanish artists, thereby helping to bring the fine art of the court of Madrid into line with that of the rest of Europe. From artists such as the French designer Jean-Démosthène Dugourc and the Spanish builder Isidro Velázquez to silk manufacturers in Lyon, statuary smiths in Paris and Madrid, and woodworkers from the "Royal Workshop," all contributed to the elaboration of a coherent collection of works that may now be seen outside of Spain for the starting time time.
Source: https://enfilade18thc.com/2010/03/12/spanish-enlightenment-the-collection-of-carlos-iv/
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