- Tytuł:
-
Percepcja barokowych dzieł sztuki w Hiszpanii w świetle Travels through Spain in the Years 1775 and 1776 Henry’ego Swinburne’a.
Perception of works of Baroque art in Spain in view of Henry Swinburne’s Travels through Spain in the Years 1775 and 1776. - Autorzy:
- Wyrzykowska, Małgorzata
- Powiązania:
- https://bibliotekanauki.pl/articles/560137.pdf
- Data publikacji:
- 2012
- Wydawca:
- Uniwersytet Wrocławski. Instytut Historii Sztuki
- Tematy:
-
Henry Swinburne
Hiszpania w XVIII wieku - Opis:
- Henry Swinburne’s Travels through Spain in the Years 1775 and 1776, in which Several Monuments of Roman and Moorish Architecture are illustrated by Accurate Drawings Taken on the Spot, published in print in London in 1787, is one of many examples of interest in Spain in English travel literature evinced mostly by English travellers in the second half of 18th century. Swinburne was a thoroughly educated traveller, exquisite writer and art connoisseur, and his writing focused mainly on descriptions and analysis of ancient architecture and Moorish architectural monuments. Works of Baroque art were left on the margins of his interest. As a representative of the Enlightenment thought he considered these monuments as synonyms of a bad taste. In the article an analysis of the works of Spanish Baroque art – city planning, architecture, sculpture and painting – which were mentioned by Swinburne in his text, has been introduced. Next to the edifices in Seville, Granada, Málaga, Barcelona, royal residences – Palacio Real in Aranjuez and Palacio Real de la Granja de San Ildefonso near Segovia, the most extended is an analysis of architecture in Madrid. Madrid, which reached the rank of a capital city in 1561, was actually a Baroque city, which Swinburne was not enthusiastic about, so he reported that there were not many places worth visiting there. Swinburne was interested also, except for architecture, in collections of sculpture and painting. He named every painter whose works he had seen and noted down the titles worth seeing with his comment. He expressed his admiration not only for the best known Italian, Flemish and French painters, but also for the newly discovered ones, the representatives of a mystic trend in Seville school, among others.
- Źródło:
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Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2012, 4(26); 70-90
1896-4133 - Pojawia się w:
- Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
- Dostawca treści:
- Biblioteka Nauki
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