MARC Record from marc_columbia

LEADER: 04194fam a2200457 a 4500
001 1429446
005 20220602033232.0
008 930106s1994 enkaf b 001 0 eng
010 $a 93006504
020 $a0521413443 (hardback)
035 $a(OCoLC)27380705
035 $a(OCoLC)ocm27380705
035 $9AHU5722CU
035 $a(NNC)1429446
035 $a1429446
040 $aDLC$cDLC$dDLC
043 $ae-sp---
050 00 $aN7962.S36$bM86 1994
082 00 $a704.9/482/094641$220
100 1 $aMulcahy, Rosemarie.$0http://id.loc.gov/authorities/names/nr88010671
245 14 $aThe decoration of the royal basilica of El Escorial /$cRosemarie Mulcahy.
260 $aCambridge [England] ;$aNew York :$bCambridge University Press,$c1994.
300 $axvi, 258 pages, 8 unnumbered pages of plates :$billustrations (some color) ;$c26 cm
336 $atext$2rdacontent
337 $aunmediated$2rdamedia
338 $avolume$2rdacarrier
504 $aIncludes bibliographical references (p. 248-255) and index.
505 0 $a1. The Paintings for the Low Altars. Pt. I. The Spanish Contribution: Juan Fernandez de Navarrete "el Mudo," Alonso Sanchez Coello, Luis de Carvajal, and Diego de Urbina. Pt. II. The Italian Contribution: Luca Cambiaso and Pellegrino Tibaldi -- 2. A Matter of Iconography: Philip II's Rejection of El Greco's Martyrdom of St. Maurice and the Theban Legion -- 3. The Choir Frescoes: Luca Cambiaso and Romulo Cincinato -- 4. The Reliquary Altars and Federico Zuccaro -- 5. The Sagrario Frescoes and Pellegrino Tibaldi -- 6. The High Altarpiece. Pt. I. The Paintings and the Painters. Pt. II. The Sculpture and the Leoni Workshop -- 7. The Entierros: The Funerary Monuments and Pompeo Leoni -- Appendix I Note on the Use of the Term Basilica -- Appendix II Key to the Location of Painting and Sculpture in the Basilica.
520 $aThe Decoration of the Royal Basilica of El Escorial examines one of the most important creative endeavors of late sixteenth-century Spain, and indeed, Europe as a whole. Conceived as a mausoleum for the Spanish Habsburgs, designed as both monastery and palace, the Escorial was closely supervised by King Philip II.
520 8 $aThe basilica itself was the spiritual center of this royal foundation and the king wished it to exemplify the spirit of the Counter-Reformation through observance of new decrees relating to Church ritual and religious imagery. The body of artworks commissioned by Philip II for it was unique in volume, scale, and coherence. On the basis of the extensive documentation related to this unusual structure, Rosemarie Mulcahy provides the first thorough reconstruction of the king's grand design for the basilica, whose altarpieces, murals, and sculptures form a seamless iconographic program.
520 8 $aAmong the painters who were commissioned to contribute works were such Italians as Titian, Tintoretto, Cambiaso, Federico Zuccaro, and Pelegrino Tibaldi, and Spaniards Navarrete "El Mudo," Alonso Sanchez Coello, and Luis de Carvajal. The Milanese, Leone and Pompeo Leoni, struggled against formidable odds to create some of the most impressive bronze sculpture of the late Renaissance.
520 8 $aChallenging some of the current views that argue for a definable Counter-Reformation style, The Decoration of the Royal Basilica of El Escorial also raises important questions regarding Philip II's patronage practices, particularly his requirements for religious art and the extent to which they were met by artists.
650 0 $aChristian art and symbolism$zSpain$zSan Lorenzo del Escorial$yModern period, 1500-
650 0 $aArt, Renaissance$zSpain$zSan Lorenzo del Escorial.
650 0 $aArt, Spanish$zSpain$zSan Lorenzo del Escorial.
650 0 $aArt, Italian$zSpain$zSan Lorenzo del Escorial.
650 0 $aCounter-Reformation in art.$0http://id.loc.gov/authorities/subjects/sh85033437
650 0 $aChurch decoration and ornament$zSpain$zSan Lorenzo del Escorial$xHistory$y16th century.
610 20 $aBasílica (Escorial)$0http://id.loc.gov/authorities/names/n93003058
600 00 $aPhilip$bII,$cKing of Spain,$d1527-1598$xArt patronage.
852 80 $bfax$hN7124$iM89