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The Dukes of Medina Sidonia and Netherlandish Art : On the Artistic Patronage of a Sixteenth-Century Iberian Court

par Lamas Delgado, Eduardo ; [et al.]
Editeur scientifique Van Heesch, Daan, Van Heesch;Janssen, Robrecht, Janssen;Van der Stock, Jan
Référence The Dukes of Medina Sidonia and Netherlandish Art : On the Artistic Patronage of a Sixteenth-Century Iberian Court, Harvey Miller, Turnhout, Vol. Netherlandish Art and Luxury Goods in Renaissance Spain, Ed. 1, Netherlandish Art and Luxury Goods in Renaissance Spain
Publication Publié, 2018-01-10

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Résumé :

The Dukedom of Medina Sidonia was the most powerful, richest andinfluential noble state in Castile, and probably of all the kingdoms andstates in Spain and Portugal during most of the sixteenth andseventeenth centuries. The seigneurial state of the Dukes was one ofthe most densely populated in Castile, and it dominated the Atlanticcoast in Lower Andalusia, exerting a big influence on the commercialcities of Seville, Jerez and Cadiz. Furthermore, the city of Sanlœcar deBarrameda, its capital, the jewel of the ducal crown, was one of thebusiest commercial centres of the Iberian Peninsula. Its harbour hadintensive exchange with other European regions, and particularly withthe Low Countries. The secular sea route connecting Sanlœcar withthe Netherlandish ports enabled the development of an evident tastefor Flemish works of arts and other luxury goods, in imitation of theSpanish Kings. The Dukes of Medina Sidonia exerted from theircourt an intensive artistic patronage which comprehended not onlydirect commissions for their palaces, churches and monasteries, butalso the imports of Flemish works of art on a way we can in fact relate with modern collectionism, as has been pointed out by Urqu’zarHerrera.During the Renaissance, the Dukes commissioned works of art fromFlemish artists established in Spain, as Peter Kempeener orFerdinand Sturm, from the Flemish colony in Seville, or Antoon van den Wijngaerde who was working at the royal court, as well as to otherFlemish artists who remain unknown in the ducal archives. Along with these commissions, the dukes also imported from Flanderstapestries, paintings and altarpieces. This communication will analysethe political, social and economic dynamics of this artistic patronage which has never been the object of a monographic approach for thetime being.