000			01308nam a2200193 4500
005			20250730124604.0
008			250730b |||||||| |||| 00| 0 eng d
020			_a082042367 _qhbk
041			_aeng
082			_a700.94609032 _bACK
100			_aAcker, Thomas S.
245			_aThe Baroque Vortex _b: velázquez, calderón and gracián under philip iv _c/ Thomas S. Acker.
260			_aNew York _bP. Lang _cc2000
300			_a152 p. _c; 24 cm.
504			_aBiblio
520			_aIf we look at the plays of Pedro Calderon de la Barca and the paintings of Diego Velazquez, the years 1635 to 1680 arguably mark the creative apex of Spain's "Golden Age." In subtle portraiture and court plays, classical imagery combined with Church orthodoxy connect antiquity's glories to Spain's Habsburg rule. The works of Baltasar Gracian, his allegorical Criticon (1651) and his prescriptive Agudeza y arte de ingenio (1648), offered other examples, and, in the case of the latter, explained this imagery. In these works, Gracian shares many of the same iconographic resources with Calderon and Velazquez. Commonalties in their historical, mythological, and religious subjects reveal the united and vigorous facade that Spain attempted to project through her arts.
650			_aArts, Baroque--spain
942			_cREF
999			_c578041 _d578041