Costumbrismo - History Lab https://historylab.es Fri, 20 May 2022 07:40:22 +0000 en-US hourly 1 https://wordpress.org/?v=7.0.2 https://historylab.es/wp-content/uploads/2021/06/cropped-icono-historylab-32x32.jpg Costumbrismo - History Lab https://historylab.es 32 32 The gypsy https://historylab.es/the-gypsy/?utm_source=rss&utm_medium=rss&utm_campaign=the-gypsy Sat, 19 Feb 2022 16:32:03 +0000 https://historylab.es/2022/02/19/la-gitana/ Social history

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]]> Portrait by the Dutchman Frans Hals, who spent his career in Haarlem. She looks more like a courtesan than a gypsy. It reflects the Dutch taste for depicting popular types and domestic scenes

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]]> Tavern scenes https://historylab.es/tavern-scenes/?utm_source=rss&utm_medium=rss&utm_campaign=tavern-scenes Sat, 19 Feb 2022 16:31:03 +0000 https://historylab.es/2022/02/19/escenas-de-taberna/ Smokers and other characters depicted by Teniers inside a tavern

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]]> Teniers the Younger depicts the typical scene of smokers in a tavern interior, following the models of Adriaen Brouwer. The artist repeats figures and details from other versions in the composition, with slight variations in the organisation of the space and the configuration of the figures. The villagers in the foreground show a harmonious colour scheme in their clothing. This group represents the different stages of the action, from the preparation to the act of smoking and the pleasure of doing so. Other frequent elements in compositions in this style are the sleeping dog and the pipe mouthpiece on the ground, as well as the exquisite detailing of the vessels and other utensils. The interest of Spanish kings in this type of painting was not only shown by Philip IV and Charles II, but also by the Bourbons of the 18th century, who continued to collect paintings by this artist.

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]]> The game of ball https://historylab.es/the-game-of-ball/?utm_source=rss&utm_medium=rss&utm_campaign=the-game-of-ball Sat, 19 Feb 2022 16:30:26 +0000 https://historylab.es/2022/02/19/el-juego-de-la-pelota-a-pala/ Historical amusement with a ball, possibly the predecessor of another game

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]]> Goya emphasised on the cardboard delivery invoice the large number of figures included, each occupying his exact position in the game (forward, centre-half and fullback), together with twenty-five other figures of different ages and attitudes. Pelota games, of French origin, spread throughout Spain with great success in the Basque Country, where even then every village had its own fronton. Goya depicted the specific moment of the game, when the ball, on the ground, has reached the chaza, the place where the ball stops before it reaches the winning line. The resulting tapestry hung in the dining room of the princes of Asturias (the future Charles IV and Maria Luisa of Parma).

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]]> Boys playing soldiers https://historylab.es/boys-playing-soldiers/?utm_source=rss&utm_medium=rss&utm_campaign=boys-playing-soldiers Sat, 19 Feb 2022 16:30:26 +0000 https://historylab.es/2022/02/19/muchachos-jugando-a-soldados/ Representation of a children's game by Goya in which the youngsters appear in the attitude of soldiers

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]]> This tapestry cartoon by Goya shows children playing at being soldiers, marching with their rifles on their shoulders and beating a drum. The animation of the lead soldier, the martial air and the childlike, graceful pride with which he faces the spectator constitute one of the highest achievements in the depiction of childhood in Goya’s entire oeuvre. The resulting tapestry hung in the dining room of the Princes of Asturias (the future Charles IV and Maria Luisa of Parma).

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]]> The Madrid fair https://historylab.es/the-madrid-fair/?utm_source=rss&utm_medium=rss&utm_campaign=the-madrid-fair Sat, 19 Feb 2022 16:30:19 +0000 https://historylab.es/2022/02/19/la-feria-de-madrid/ A festive scene in 18th-century Madrid featuring a group of majos painted by Goya

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]]> This composition by Francisco de Goya shows two elegant gentlemen and a lady at a fair in Madrid approaching the stall of a vendor who is obsequiously offering his wares. The merchandise consists of metal containers, pieces of furniture, paintings, mirrors, weapons and second-hand clothes. In the background, the silhouette of the town reveals a church whose dome and towers are reminiscent of those of San Francisco el Grande. The resulting tapestry hung in the dining room of the Princes of Asturias (the future Charles IV and Maria Luisa of Parma)

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]]> The wedding https://historylab.es/the-wedding/?utm_source=rss&utm_medium=rss&utm_campaign=the-wedding Sat, 19 Feb 2022 16:30:19 +0000 https://historylab.es/2022/02/19/la-boda/ Representation of social reality in a couple's early marital scenes

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]]> The scene, portrayed by Francisco de Goya, takes place under the arch of a stone bridge, where a wedding procession is presented in a rather unequal manner. The determined and beautiful young woman is to be married to a fat, ugly but wealthy man. The bride’s father, wearing a threadbare coat, follows the bridal party with an obliging gesture. The bride’s friends, the wenches, smile with malicious envy and the priest seems to laugh at the father, while a young man in profile, perhaps a rejected suitor, watches the procession pass by with an altered gesture. Thus Goya presents the marriages of convenience so denounced by the Enlightenment, as in Fernández de Moratín’s comedy, “El sí de las niñas” (“The Girl’s Yes”). The tapestry of this cartoon was intended for the decoration “of country and jocular matters” on the main wall of Charles IV’s office in the palatial area of San Lorenzo de El Escorial.

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]]> Hunting with a lure https://historylab.es/hunting-with-a-lure/?utm_source=rss&utm_medium=rss&utm_campaign=hunting-with-a-lure Sat, 19 Feb 2022 16:30:19 +0000 https://historylab.es/2022/02/19/caza-con-reclamo/ Representation of hunting techniques in the 18th century

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]]> Depicted by Francisco de Goya at the end of the 18th century, the composition shows a hunting stand with two caged birds (an owl and a goldfinch). The scene is completed by a crouching dog and a net over the tree that frames the group. It was part of Goya’s first commission for the Royal Tapestry Factory of Santa Bárbara in 1774-75. The composition was the invention of Francisco Bayeu, who, according to surviving documents, was in keeping with the monarchs’ use of the Royal Site of El Escorial for hunting during the autumn. The resulting tapestry was intended to decorate the overdoor in the dining room of the Princes of Asturias (Charles IV and Maria Luisa of Parma).

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]]> Hunting party https://historylab.es/hunting-party/?utm_source=rss&utm_medium=rss&utm_campaign=hunting-party Sat, 19 Feb 2022 16:30:19 +0000 https://historylab.es/2022/02/19/partida-de-caza/ Hunting scene painted by Goya as an example of the social reality of the 18th century

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]]> The scene depicted by the painter Francisco de Goya shows two different types of hunting: on foot and on horseback (as well as small game). It was part of the first commission the master from Zaragoza received for the Royal Tapestry Factory of Santa Bárbara in 1774-75, although the composition was the invention of Francisco Bayeu. This scene was in keeping with the monarchs’ use of the Royal Site of El Escorial, where they spent the autumn. This composition also formed part of the dining room set for the Princes of Asturias (Charles IV and Maria Luisa of Parma)

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]]> The afternoon snack https://historylab.es/the-afternoon-snack/?utm_source=rss&utm_medium=rss&utm_campaign=the-afternoon-snack Sat, 19 Feb 2022 16:30:19 +0000 https://historylab.es/2022/02/19/la-merienda/ Representation of social recreation reflected through the majos painted by Goya

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]]> Tapestry cartoon by Goya depicting a group of majos, seated on the banks of the Manzanares on the outskirts of Madrid, resting, eating, drinking and smoking while toasting the orange seller who has approached them with his merchandise. On the right, the hermitage of the Virgen del Puerto can be glimpsed, hidden by a group of trees. The tapestry resulting from this cartoon would hang in the dining room of the Princes of Asturias (Charles IV and Maria Luisa of Parma) in the Palacio del Pardo, being one of the ten tapestries that made up the series of “country scenes”

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]]> Dancing on the banks of the Manzanares https://historylab.es/dancing-on-the-banks-of-the-manzanares/?utm_source=rss&utm_medium=rss&utm_campaign=dancing-on-the-banks-of-the-manzanares Sat, 19 Feb 2022 16:30:19 +0000 https://historylab.es/2022/02/19/baile-a-orillas-del-manzanares/ Goya's playful depiction of 18th century society

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]]> A tapestry cartoon by Goya depicting a popular scene of majos and majas dancing seguidillas, a popular dance from the region of Castile la Nueva and Madrid that is less lively than the fandango. The view of the banks of the Manzanares faithfully reflects, in the foreground, the area of the Pontones bridge, from where, according to the Zaragozan painter, “in the distance you can see a little of Madrid through San Francisco”. In addition to this one, there are other drawings of the banks of the Manzanares in Goya’s Italian notebook in the Museo del Prado. The tapestry resulting from this cartoon was intended to hang on one of the panels on the side walls of the dining room of the future Charles IV in the Palacio del Pardo in Madrid

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