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	<title>Jan Cossiers - History Lab</title>
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		<title>The fortune teller of Buenaventura</title>
		<link>https://historylab.es/the-fortune-teller-of-buenaventura/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=the-fortune-teller-of-buenaventura</link>
		
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		<pubDate>Sat, 19 Feb 2022 16:31:28 +0000</pubDate>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Adivinación]]></category>
		<category><![CDATA[Buenaventura]]></category>
		<category><![CDATA[Gitanas]]></category>
		<category><![CDATA[Gitanos]]></category>
		<category><![CDATA[Guerra de los Treinta años]]></category>
		<category><![CDATA[Jan Cossiers]]></category>
		<category><![CDATA[Lesgislación anti gitana]]></category>
		<category><![CDATA[Marginales]]></category>
		<category><![CDATA[Marginalidad]]></category>
		<category><![CDATA[Mendicidad]]></category>
		<category><![CDATA[Pintura barroca]]></category>
		<category><![CDATA[Pintura Siglo XVII]]></category>
		<category><![CDATA[Quiromancia]]></category>
		<category><![CDATA[Siglo XVII]]></category>
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					<description><![CDATA[<p>The Fortune Teller by the Frenchman Jan Cossiers, executed around 1630</p>
<p>The post <a href="https://historylab.es/the-fortune-teller-of-buenaventura/">The fortune teller of Buenaventura</a> first appeared on <a href="https://historylab.es">History Lab</a>.</p>]]></description>
										<content:encoded><![CDATA[<p>Jan Cossiers (1600-1671), a painter of Flemish origin, produced several versions of the same subject of the gypsy fortune-teller. The present situation can be traced back to the two paintings on the same theme by Caravaggio (1571-1610) at the end of the 16th century, but with a more complex scheme involving various figures. In this image, a languid, confident-looking boy has allowed himself to be persuaded to be read by a gypsy woman with two children in tow, who uses a second to steal his hand. The exuberant and even luxurious costumes of the gypsies of Nicolas Regnier (1591-1667) or Georges de la Tour (1593-1652) have been dispelled here, leaving room for ragged clothes at the ends, this gives them a ragged appearance that can be explained by the demographic reality and the poverty that plagued much of Europe in the aftermath of the Thirty Years&#8217; War (1618-1648), but which also finds its raison d&#8217;être in the implementation of harsh anti-Gypsy legislation, which classified them as marginalised and even criminal beings. Despite this, such circumstances do not prevent the women in Cossiers&#8217;s work from wearing one of the most striking and unique elements of their clothing, the bern, that circular hat with a wicker frame made by interweaving different coloured fabrics. The scene is completed by two other figures, namely a girl with her hand held out in a gesture of silence and a large-mustached gypsy wearing a wide-brimmed hat with a sword in his hand. This leaves open the possibility that we are dealing with a group in which everyone, through their gestures and movements, is linked to the action.</p><p>The post <a href="https://historylab.es/the-fortune-teller-of-buenaventura/">The fortune teller of Buenaventura</a> first appeared on <a href="https://historylab.es">History Lab</a>.</p>]]></content:encoded>
					
		
		
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