Diego VelázquezIn addition to great make paintings for history, also he treasured collection when he worked for the Spanish royal house that did take care of everything beyond simple pictorial elements. Dinnerware, curtains and endless likely to be art objects were in charge of the icon of the seventeenth century to form all those works which today can be seen in museums like El Prado. ‘Las Meninas‘, For example, it could not have been possible before, had not seen Velázquez’s work Jan van Eyck, ‘The Arnolfini Marriage’, Canvas joined the Spanish royal collection with Felipe II and then was inherited by his grandson, Felipe IV. His compositional structure directly influenced the design Velazquez planned in ‘Las Meninas’. In the first the painter is reflected in the mirror, in the second to kings, impassive witnesses of the everyday scene or not being represented.
We could also mention the great Rubens devoted part of his life to copy the pictures from the also prestigious Tiziano, becoming economically valued in the same way. Because they are many the curiosities and anecdotes that hide the great icons of the history of art, hence Angel Rodriguez Rebollo, art historian member of the Spanish University Foundation, Ars Magazine writer, curator and writer of books on art inventory of the royal house in the XVII century, Is in charge now, along with Ana Rodríguez Dieguez-Moll and the Institute, to bring a series of lectures the next 23 and 24 (‘The artists and collectors: models and variants’) To the Spanish University Foundation, where he will discuss painters and art collectors.
Outside of the typical role of historian, expert, young, father and athlete, speaks with zeal and devotion of all those works that served as an example to painters, sculptors … from Sixteenth to the nineteenth and what about the people and foot paths including visits to the Prado Museum and the San Fernando AcademyWithin the framework of the conference on the collections of artists and their role in the creative process
– An artist who collects art is like a writer who devours books?
– No. We at these conferences, which mark is a broad historical process, then taste, forms … everything changes. Congress we propose, which is international, does not touch only Spain, Europe plays full. Not the same Spanish court that English or French, there is a conglomerate.
The artist who works for royal households are more likely to access most important pieces and make a financial career that if allowed to own some pieces, others never collect. It is a very diverse world. How to collect and why.
I speak of a minor artist, Francisco SolisWhich however has the best collection of drawings from the seventeenth century Spain. He wants to make a history of art collecting drawings of all artists from Italy, Michelangelo, Leonardo, the whole school of the XVI and then others like Navarrete, Berruguete and some of his contemporaries and teachers. He seeks to make a biography, record their portraits and drawings also have to teach in their schools. He wants to illustrate and teach their students. Many of these drawings are made in red pencil, they are anatomical, of Academies.
“Many artists copy of their collections, others like Alonso Cano’s are based and make different things”
What is collected or what is not? It is difficult to say. We try to give to know in these conferences. One speaks of Impressionist painters who collect their own fellow Impressionists.
– To what extent do other authors and their works influence artists’ work?
– The collections of artists we know them through their inventories ‘post mortem’, all that is sold to pay off debts or in some cases leave themselves tested who want to quit. Cases of Velázquez and Alonso Cano They are exceptional, they have a lot of engraving to be inspired when painting. Many copied literally others like Alonso Cano’s are based and make different things. This is a purely practical function. In some cases it is true that they have paintings of others, but With eagerness collector? It depends.
Many times what we see in inventories is what was in their workshops. In the case of the GrecoHis son Jorge Manuel makes inventory and get a bunch of pinturitas of all compositions in small format, that means that had as a model for other compositions or sign for when would anyone shop.
– What has been a collection of an artist who has most surprised you?
– I am very biased because I studied the figure of Vicente Carducho long, and it is a very interesting inventory because his collection was many drawings, established in folders, And also had a exceptional librarySurely the best in the seventeenth century Spanish and especially since the count Duke Manda buy some paintings from his collection to form the of the Prince Baltasar Carlos. It is a very exceptional collection. It is a very intellectual inventory. It covers an important part and is the basis for painters of later generations.
Tmbién is the inventory of Alonso Cano, which is interesting for Use of pictures and its library as well. Antonio de Pereda, for example, could not read, but had a very interesting libraryAlthough it is shocking to all these treaties are full of illustrations he takes as models for his paintings, he is an exceptional painter.
Bansky and a Byzantine Christ
– Who would you say is the artist / collector par excellence?
– Bufff … is a very difficult question. What is collecting in each century? Who had a good paint collection? For a collection as such, we have to go to the nineteenth century Valentin Carderera. It is a pretty mediocre painter, but works as a historian, also for the Academy of San Fernando at the time of the seizure when making drawings of all buildings that are being lost. Draw many buildings throughout Spain, and some are recorded and printed in Paris. Besides working for the Duke of Villahermosa and brings together one of the best collections of drawing and painting of the moment, to the point that his collection is the basis of the drawings collection of the National Library of Spain, the best in the world in Spanish drawing.
– Do you have any collection?
– (Laughter) This costs a lot of money … I have some things but I don’t do collection, Especially since the prices are astronomical. I have been studying the royal collection for years, working with paintings by Velázquez, Titian … and that’s unattainable. Nor do I intend to collect this at home with two young children (laughs). I prefer to see in a museum.
– As for the collections in palaces, private houses … what has been the place where you see more art together?
– I’ve seen a lot. A particular collection for which I have been fortunate to work with which I have been very impressed, but I can’t tell you who it was from (Laughs). A very important art collection now is the Abelló, for example.
“I’ve seen private collections where classical art alongside contemporary pieces together you could not imagine”
– If we imagine … Have you ever thought about what art could collect Banksy?
– One thing is what he does and one you can like him. There are two different lines: you can have a kind of painting you like, and maybe they are dedicated to breaking something, and then can be lovers of Gothic painting and you walk into your home and is full of Byzantine icons. It’s like painting want to see. You can see it as something formal, but he thinks the pop end paint colors and all are looking at a Byzantine Christ of the twelfth century. Yes, it is a Christ, but has a very gold gold, some red very red … and if clean image and you stay in the essence looks like. I saw collections where there classical art alongside contemporary pieces you could not imagine together, but when you see it does not clash.
– How you approach art to ordinary people?
– The conference will be things very varied and objective is to be able to get into the time, focus on the eyes and hands of the artist. Which you can go see how the artist develops. There are many reading levels. We offer two exceptional things: visit to the Museum of the Prado with Commissioner Leticia Ruiz and the next day we will go to the Academy of San FernandoWhere the recesses are in plaster, sculptures. Many when you look sound, so you will live when you could not have a Roman marble sculpture, plaster replica could bring grew, as did Velazquez to Felipe IV in the Alcázar.
– If you had to compare national news with some artistic work, what would it be?
– The cry ‘Munch (Laughs). What we esperpento between one thing and another … what a pity that there is no dialogue, be with this stress when we pay … definitely ‘The Scream’.