NEWS

Murillo paying attention to Jordaens. The composition pattern for "Moses and the Water from the Rock of Horeb" at the Hospital de la Caridad in Seville.

The Instituto Moll wants to join in the homage to Bartolomé Esteban Murillo on the occasion of the 4th centenary of his birth in 1618, which is currently taking place in Seville. This painter was able to assimilate the foreign traditions and he adapted them to his aesthetic concerns, as well as to the artistic tastes of the moment.

Díaz Padrón was the first to link the subject of Moses Striking Water from the Rock by Jacob Jordaens (Antwerp, 1593-1678), preserved in the J. Paul Getty Museum in Los Angeles, with the scene that Murillo raises about the same subject for the Hospital de la Caridad. This theme was depicted by the Flemish painter several times, being that one of Los Angeles what Murillo follows for his painting in the Hospital de la Caridad. The Jordaens’ composition must have been in Seville at an early date, since that one belonging to the Paul Getty left Seville at the beginning of the 20th century. In addition, an old copy of this scene is preserved in El Arahal, a municipality near Seville, so it would not be strange that Murillo had known the scene and took it as a reference for his proposal. The painting by Jordaens dates from around 1645, and that by the Sevillian painter is from 1669-1670.

http://www.getty.edu/art/collection/objects/687/jacob-jordaens-moses-striking-water-from-the-rock-flemish-about-1645-1650/

For further information: M. Díaz Padrón, Jacob Jordaens y España, I, Instituto Moll, 2018, pp. 53-55, y 70-73.

The conference "Magnificence in the 17th Century: Performing Splendour in Catholic and Protestant Context" has been concluded.

Once the conference Magnificence in the 17th Century: Performing Splendour in Catholic and Protestant Context has been concluded, the Instituto Moll thanks the Rey Juan Carlos University and the Leiden University their cooperation in the organization of this international meeting.

The Instituto Moll would also like to express its gratitude to all of the speakers involved in this conference, as well as to congratulate them for their interesting contributions. Their interdisciplinary nature has made it possible to go into detail about the etimology of "Magnificence" and the documentary sources focused on it. Additionally, these researchers have contribute to the knowledge of the private and public spheres in which this objective, attitude or way of life which has been magnificence has been materialised. Among them, it should be mentioned decorum and protocols, palaces and their gardens, art collections, masquerades, "saraos", town halls, cathedrals and funerary monuments.

The details of these studies will be published by the journal Intersections belonging to Brill: https://brill.com/view/serial/INTE

New paintings by Otto van Veen.

We are pleased to announce that our Director, Dr Ana Diéguez-Rodríguez and Dr René Jesús Payo Hernanz have been able to attribute to Otto van Veen the authorship of those paintings on copper originally located in the altarpiece of the chapel in the Nuestra Señora del Rosario Hospital (Briviesca, Burgos), which was commissioned to Vicente Carducho by the 6th Constable of Castile, Mr. Juan Fernández de Velasco, at the beginning of the 17th century.

These researchers have come to this conclusion by comparing the information included in different documents from the period and the style of those paintings, with the inscriptions and marks in the coppers and the manner of whom was the master of Rubens.

Besides, taking the chronology into account, the researchers have also been able to determine that this set is the princeps of the three complete series of paintings of the Rosary by Van Veen, one of them currently preserved in Munich and the other one in Salinas de Añana (Álava).


For further information: Payo Hernanz, R. J. and Diéguez-Rodríguez, A. "Regarding Otto van Veen's coppers in the altarpiece of Our Lady of the Rosary Chapel at the Hospital of Briviesca (Burgos)". Revue Belge d’Archéologie et d’Histoire de l’Art, LXXXVII (2018), pp. 157-186.