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In early seventeenth-century Spain, the Castilian parliament voted to elevate the newly beatified Teresa of Avila to co-patron saint of Spain alongside the traditional patron, Santiago. Saint and Nation examines Spanish devotion to the cult of saints and the controversy over national patron sainthood to provide an original account of the diverse ways in which the early modern nation was expressed and experienced by monarch and town, center and periphery. By analyzing the dynamic interplay of local and extra-local, royal authority and nation, tradition and modernity, church and state, and masculine and feminine within the co-patronage debate, Erin Rowe reconstructs the sophisticated balance of plural identities that emerged in Castile during a central period of crisis and change in the Spanish world.
Christian church history --- History of civilization --- History of Spain --- Teresa of Avila --- James [Greater] --- Santiago de Compostela --- Christian patron saints --- Saints patrons chrétiens --- James, --- Teresa, --- Spain --- Espagne --- Church history --- Histoire religieuse --- History --- -235.3 TERESA DE JESUS DE AVILA --- 27 <460> "16" --- Christian saints, Patron --- Patron Christian saints --- Patron saints --- Patron saints, Christian --- Christian saints --- -Hagiografie--TERESA DE JESUS DE AVILA --- Kerkgeschiedenis--Spanje--17e eeuw. Periode 1600-1699 --- Ahumada, Teresa de Cepeda y, --- Cepeda, Theresa de, --- Cepeda y Ahumada, Teresa de, --- De Cepeda, Theresa, --- De Cepeda y Ahumada, Teresa, --- Sanchez de Cepeda y Ahumada, Teresa, --- Teresa de Jesús, --- Teresa di Gesù, --- Teresia a Jesu, --- Tereza, --- Theresa de Jesus, --- Theresa, --- Thérèse, --- Thérèse de Jésus, --- Therese, --- Theresia a Jesu, --- Theresia, --- Theresia von Jesus, --- Giacomo, --- Iacopo, --- Iakov, --- Jacobus, --- Jacopo, --- Jacques, --- Jago, --- Jakob, --- Jakobus, --- Jakub, --- Santiago, --- -Christian patron saints --- -Christian church history --- Saints patrons chrétiens --- Espanja --- Spanien --- Hiszpania --- Spanish State --- España --- Estado Español --- Hispania --- Sefarad --- Sepharad --- Shpanye --- Shpanie --- Reino de España --- Kingdom of Spain --- Reino d'Espanya --- Reinu d'España --- Espainiako Erresuma --- Regne d'Espanya --- Reiaume d'Espanha --- Espanya --- Espanha --- スペイン --- Supein --- イスパニア --- Isupania --- 235.3 TERESA DE JESUS DE AVILA --- Hagiografie--TERESA DE JESUS DE AVILA --- Christian patron saints - Spain - History - 17th century --- Iacobus Maior apostolus --- Teresia a Iesu --- James, - the Greater, Saint --- Teresa, - of Avila, Saint, - 1515-1582 --- Spain - Church history - 17th century
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"Examines the controversy in early seventeenth-century Spain over the elevation of Saint Teresa of Avila to co-patron saint alongside the traditional patron, Santiago. Assesses the crucial role of sanctity in the symbolic representation of the nation in early modern Europe"--
Christian patron saints --- Christian saints, Patron --- Patron Christian saints --- Patron saints --- Patron saints, Christian --- Christian saints --- History --- James, --- Teresa, --- Ahumada, Teresa de Cepeda y, --- Cepeda, Theresa de, --- Cepeda y Ahumada, Teresa de, --- De Cepeda, Theresa, --- De Cepeda y Ahumada, Teresa, --- Sanchez de Cepeda y Ahumada, Teresa, --- Teresa de Jesús, --- Teresa di Gesù, --- Teresia a Jesu, --- Tereza, --- Theresa de Jesus, --- Theresa, --- Thérèse, --- Thérèse de Jésus, --- Therese, --- Theresia a Jesu, --- Theresia, --- Theresia von Jesus, --- Giacomo, --- Iacopo, --- Iakov, --- Jacobus, --- Jacopo, --- Jacques, --- Jago, --- Jakob, --- Jakobus, --- Jakub, --- Santiago, --- Spain --- Espagne --- Espainiako Erresuma --- España --- Espanha --- Espanja --- Espanya --- Estado Español --- Hispania --- Hiszpania --- Isupania --- Kingdom of Spain --- Regne d'Espanya --- Reiaume d'Espanha --- Reino de España --- Reino d'Espanya --- Reinu d'España --- Sefarad --- Sepharad --- Shpanie --- Shpanye --- Spanien --- Spanish State --- Supein --- イスパニア --- スペイン --- Church history
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"In the spring of 2015, I found myself standing outside the walls that led to a courtyard in front of a local church. The doors were supposed to be open according to the hours provided by the tourist office; after waiting a while, I went in search of help. Around the corner was a municipal library, where a librarian offered assistance. As he attempted to find more up-to-date information about the church (in the custody of a confraternity), he asked: "Why do you want to go inside the church?" I told him that I was writing a book about black saints and that I wanted to see the image of Benedict of Palermo inside. Before I finished talking, the man began shaking his head: "No, no, no, there is no black saint in that church. There are no black saints in Antequera." Despite this disappointing news, I decided to go back and wait longer. Eventually, a man with the keys unlocked the door and told me I could go in. And there it was in plain sight - a spectacular sculpture of Benedict of Palermo painted in a monochromatic black pigment. [Plate 1] Plate 1 Saint Benedict of Palermo, Altar of San Diego de Alcalá, eighteenth century. Andalusian school, gilded wood sculpture, 80 x 25 x 25 cm. Andalusia, Spain. Photo: Richard R. Rowe. This incident would not be the only time someone in Spain or Portugal insisted that there was no black saint in a church that housed one. I began to bring a Xerox of the image when I had one to show the person who insisted there was no black saint in that church or museum. Upon viewing the photo, the person would sometimes exclaim: "Oh that image!" as though it had never occurred to him that the sculpture in question was a black saint, despite the dark pigment"--
Christian saints. --- Santos cristianos --- Saints --- Canonization --- Blacks --- Religion. --- Catholic Church. --- Christian special devotions --- Christian church history --- Black persons --- Negroes --- Ethnology --- Black people --- Church of Rome --- Roman Catholic Church --- Katholische Kirche --- Katolyt︠s︡ʹka t︠s︡erkva --- Römisch-Katholische Kirche --- Römische Kirche --- Ecclesia Catholica --- Eglise catholique --- Eglise catholique-romaine --- Katolicheskai︠a︡ t︠s︡erkovʹ --- Chiesa cattolica --- Iglesia Católica --- Kościół Katolicki --- Katolicki Kościół --- Kościół Rzymskokatolicki --- Nihon Katorikku Kyōkai --- Katholikē Ekklēsia --- Gereja Katolik --- Kenesiyah ha-Ḳatolit --- Kanisa Katoliki --- כנסיה הקתולית --- כנסייה הקתולית --- 가톨릭교 --- 천주교 --- Blacks - Religion. --- Saints noirs
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Iberia stands at the center of key trends in Atlantic and world histories, largely because Portugal and Spain were the first European kingdoms to 'go global'. The Early Modern Hispanic World engages with new ways of thinking about the early modern Hispanic past, as a field of study that has grown exponentially in recent years. It focuses predominantly on questions of how people understood the rapidly changing world in which they lived - how they defined, visualized, and constructed communities from family and city to kingdom and empire. To do so, it incorporates voices from across the Hispanic World and across disciplines. The volume considers the dynamic relationships between circulation and fixedness, space and place, and how new methodologies are reshaping global history, and Spain's place in it.
Social change --- Change, Social --- Cultural change --- Cultural transformation --- Societal change --- Socio-cultural change --- Social history --- Social evolution --- Historiography. --- Spain --- Portugal --- History --- Colonies --- Social conditions --- HISTORY / Europe / General. --- Portuguese colonies. --- Spanish colonies. --- Historiography --- 1385-1799. --- Portugal. --- Spain. --- History of Spain --- anno 1500-1799 --- Portugalii︠a︡ --- República Portuguesa --- Portugalia --- Portogalia --- Portogallo --- Portugali --- Sefarad --- Lusitania (Portugal) --- Espanja --- Spanien --- Hiszpania --- Spanish State --- España --- Estado Español --- Espagne --- Hispania --- Sepharad --- Shpanye --- Shpanie --- Reino de España --- Kingdom of Spain --- Reino d'Espanya --- Reinu d'España --- Espainiako Erresuma --- Regne d'Espanya --- Reiaume d'Espanha --- Espanya --- Espanha --- スペイン --- Supein --- イスパニア --- Isupania --- Portuguese Republic --- البرتغال --- al-Burtughāl --- برتغال --- Burtughāl --- الجمهورية البرتغالية --- al-Jumhūrīyah al-Burtughālīyah --- جمهورية البرتغالية --- Jumhūrīyah al-Burtughālīyah --- 葡萄牙 --- Putaoya --- 葡萄牙共和国 --- Putaoya Gongheguo --- Portugalsko --- Portugalská republika --- République portugaise --- Portugiesische Republik --- Portugál Köztársaság --- Repubblica Portoghese --- ポルトガル共和国 --- Porutogaru Kyōwakoku --- 포르투갈 --- P'orŭt'ugal --- 포르투갈공화국 --- P'orŭt'ugal Konghwaguk --- پرتغال --- Purtughāl --- جمهوري پرتغال --- Jumhūrī-i Purtughāl --- Republika Portugalska --- Португалия --- Португальская Республика --- Portugalʹskai︠a︡ Respublika --- Portekiz --- Portekiz Cumhuriyeti --- Republica Portugheză --- ポルトガル --- Porutogaru --- פורטוגל
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"This exhibition offers an unprecedented look at the life and artistic achievements of seventeenth-century Afro-Hispanic painter Juan de Pareja (ca. 1608-1670). Largely known today as the subject of The Met's iconic portrait by Diego Velázquez, Pareja was enslaved in Velázquez's studio for over two decades before becoming an artist in his own right. This presentation is the first to tell his story and examine the role of enslaved artisanal labor and a multiracial society in the art and material culture of Spain's so-called "Golden Age." Representations of Spain's Black and Morisco populations in works by Francisco de Zurbarán, Bartolomé Esteban Murillo, and Velázquez join works that chart the ubiquity of enslaved labor across media, from sculpture to silver. The Met's portrait, executed by Velázquez in Rome in 1650, is contextualized by his other portraits from this period and the original document whereby Pareja was freed upon return to Madrid. The exhibition culminates in the first gathering of Pareja's rarely seen paintings, some of enormous scale, which engage with the canons of Western art while reverberating throughout the African diaspora. Harlem Renaissance collector and scholar Arturo Schomburg was vital to the recovery of Pareja's work and serves as a thread connecting seventeenth-century Spain with twentieth-century New York, providing a lens through which to view the multiple histories that have been written about Pareja."--
Painting --- slavery --- easel paintings [paintings by form] --- figures [representations] --- Spanish Renaissance-Baroque styles --- Pareja, Juan de --- anno 1600-1699 --- Artistes noirs --- Velázquez, Diego --- Influence. --- zwarten --- slavernij; lijfeigenen en slaven --- de Pareja, Juan --- Velázquez, Diego Rodriguez de Silva y --- Schomburg, Arturo --- 17de eeuw --- Spanje --- Painters, Black --- Artists, Black --- Painting, Spanish --- Slavery in art --- Black people in art --- Portrait painters --- Peintres noirs --- Peinture espagnole --- Personnes noires dans l'art --- Portraitistes --- Employees --- Pareja, Juan de, --- Velázquez, Diego, --- Influence --- 1600-1699 --- Christian art and symbolism --- Esclavage dans l'art --- Art et symbolisme chrétiens --- zwarten. --- slavernij; lijfeigenen en slaven. --- de Pareja, Juan. --- Velázquez, Diego Rodriguez de Silva y. --- Schomburg, Arturo. --- 17de eeuw. --- Spanje. --- onderzoek. --- caravaggisme. --- Museum voor Schone Kunsten Gent. --- Sint-Sebastiaan. --- de la Mars, Melchior. --- 16de eeuw.
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