In Golden Age Spain, religious art functioned within the boundaries of a time-honoured corpus of ecclesiastical and rhetorical theory on the image, which attempted to prevent immoderate iconic veneration aided by metaphors taken from the well-known world of portraiture, themost imitative of pictorial genres. Counter-Reformation theologians and preachers also sought to reduce the artwork's impact on irrational sensibility by urging artists to avoid the undesirable effects of awkward or lascivious images. This article will explore howthe laws of decorumequipped Post-Tridentine Spanish imagery with aesthetic values meant to reconcile delectare with docere and movere, and how this finally resulted in a dispute between high culture and popular taste, between an art favored by royal collectors (painting) and another much more generalized as a result of ecclesiastical patronage (sculpture).
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February 2014
Research Article|
February 01 2014
Retórica del decoro y censura de las imágenes en el Barroco temprano español
Juan Luis González García
Juan Luis González García
Investigador Postdoctoral “Juan de la Cierva”, Departamento de Historia y Teoría del Arte, Facultad de Filosofía y Letras - Universidad Autónoma de Madrid, C/Francisco Tomás y Valiente, no 1, 28049 - Madrid, ESPAÑA. [email protected]
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Rhetorica (2014) 32 (1): 47–61.
Citation
Juan Luis González García; Retórica del decoro y censura de las imágenes en el Barroco temprano español. Rhetorica 1 February 2014; 32 (1): 47–61. doi: https://doi.org/10.1525/RH.2014.32.1.47
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