Cloe Cavero de Carondelet
Historian of early modern Iberian art & visual culture. Writing about images of child martyrs and religious conflict in the Spanish world.
Visiting Lecturer in Spanish Art, Princeton University
2025 RSA-Kress Research Fellowship for Renaissance Art History
2024-25 Fellow, Center for Research on Global Catholicism, Saint Louis University
Editorial Board, Boletín del Museo del Prado.
PhD, European University Institute in Florence.
BA, Universidad Autónoma de Madrid.
[email protected]
Visiting Lecturer in Spanish Art, Princeton University
2025 RSA-Kress Research Fellowship for Renaissance Art History
2024-25 Fellow, Center for Research on Global Catholicism, Saint Louis University
Editorial Board, Boletín del Museo del Prado.
PhD, European University Institute in Florence.
BA, Universidad Autónoma de Madrid.
[email protected]
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Articles and Chapters by Cloe Cavero de Carondelet
Across the early modern Iberian world, a unique form of infamy materialized in the sambenito. Mostly known as the penitential garment imposed by the Inquisition on the individuals it condemned, the sambenito was also exhibited in churches and monasteries as a monument of infamy. This article traces the origins, development, and decline of the sambenito, with a particular focus on its material and visual aspects. It argues that displayed sambenitos performed mnemonic and evidentiary roles in societies obsessed with genealogy, while also bringing to light the continuous resistance and opposition to the sambenito on the ground.
OPEN ACCESS at: https://www.journals.uchicago.edu/doi/10.1086/JWCI83010257
Open Access: https://revistas.ucm.es/index.php/CHMO/article/view/70016.
Este artículo parte de numerosa documentación inédita para reconstruir el viaje a Roma de Luis de Oviedo (ca. 1585-1624), uno de los coleccionistas no aristocráticos más significativos de principios del siglo XVII. Expulsado de la catedral de Toledo a causa de su supuesta ascendencia conversa, el clérigo pasó más de cuatro años en Roma negociando su limpieza de sangre. Allí establecería una sólida red de contactos diplomáticos y artísticos de la que formaron parte embajadores, nuncios y pintores como Luis Tristán y Carlo Saraceni. A partir de los itinerarios de Luis de Oviedo, este artículo ofrece una nueva perspectiva sobre las conexiones entre la representación política y la intermediación cultural entre Toledo, Roma, y Madrid durante el reinado de Felipe III.
This article examines the remarkable scene of The Virgin Embracing Our Lady del Sagrario of Toledo represented in a little-known drawing by the royal painter Eugenio Cajés now preserved in the Biblioteca Nacional in Madrid. This unique drawing is the only known image that depicts the moment in which the Virgin honoured one of her sculpted effigies with her touch. After reconstructing the religious and political context of the episode’s invention in sixteenth-century Toledo, the article goes on to analyse the textual and other sources used by the artist to create this new religious iconography. As a detailed case-study, it thus offers a significant new contribution to the debate on the invention and reception of sacred images in post-Tridentine Spain.
https://doi.org/10.1080/14753820.2019.1622876
Please feel free to email me for PDF copies
El objetivo de este estudio es contribuir a la comprensión del uso que las élites eclesiásticas de la edad moderna hacían de las expresiones culturales. Se analizará el corpus de escritos que le fueron dedicados al cardenal Sandoval y Rojas durante su vida, como un primer paso en el proceso de esclarecer su rol de mecenas literario. La multiplicidad de roles y lealtades a las que estaba sujeto el prelado, la fecha de realización y temática de los escritos, o la semblanza de los autores y su relación con el destinatario de las epístolas dedicatorias, son algunas de las cuestiones que se tendrán en cuenta.
In Toledo, as a result of a peculiar historical evolution that has prevented the existence of large urban change until very recently, a number of outstanding cultural landscapes remain to be studied. However, and despite having all kinds of statements of local, national and international protection, an end seems closer than ever due to the approval of a new Municipal Management Plan proposing the construction of new neighbourhoods in places that most assumed were exempt from such Urban development.
The opportunity remains to at least document the evolution of Toledo’s cultural landscapes that have reached the early twenty-first century and these are studied here using different techniques and approaches, an ambitious research project starting with the Cigarrales, the area currently under greatest threat.
This book summarizes archaeological activities carried out within the framework of the project "Cultural landscapes of Toledo: The Cigarrales" developed between 2010 and 2012 . This monograph is intended as a summary of the work, which provides important research, not only for understanding the Cigarralera area, but all urban landscapes.
Across the early modern Iberian world, a unique form of infamy materialized in the sambenito. Mostly known as the penitential garment imposed by the Inquisition on the individuals it condemned, the sambenito was also exhibited in churches and monasteries as a monument of infamy. This article traces the origins, development, and decline of the sambenito, with a particular focus on its material and visual aspects. It argues that displayed sambenitos performed mnemonic and evidentiary roles in societies obsessed with genealogy, while also bringing to light the continuous resistance and opposition to the sambenito on the ground.
OPEN ACCESS at: https://www.journals.uchicago.edu/doi/10.1086/JWCI83010257
Open Access: https://revistas.ucm.es/index.php/CHMO/article/view/70016.
Este artículo parte de numerosa documentación inédita para reconstruir el viaje a Roma de Luis de Oviedo (ca. 1585-1624), uno de los coleccionistas no aristocráticos más significativos de principios del siglo XVII. Expulsado de la catedral de Toledo a causa de su supuesta ascendencia conversa, el clérigo pasó más de cuatro años en Roma negociando su limpieza de sangre. Allí establecería una sólida red de contactos diplomáticos y artísticos de la que formaron parte embajadores, nuncios y pintores como Luis Tristán y Carlo Saraceni. A partir de los itinerarios de Luis de Oviedo, este artículo ofrece una nueva perspectiva sobre las conexiones entre la representación política y la intermediación cultural entre Toledo, Roma, y Madrid durante el reinado de Felipe III.
This article examines the remarkable scene of The Virgin Embracing Our Lady del Sagrario of Toledo represented in a little-known drawing by the royal painter Eugenio Cajés now preserved in the Biblioteca Nacional in Madrid. This unique drawing is the only known image that depicts the moment in which the Virgin honoured one of her sculpted effigies with her touch. After reconstructing the religious and political context of the episode’s invention in sixteenth-century Toledo, the article goes on to analyse the textual and other sources used by the artist to create this new religious iconography. As a detailed case-study, it thus offers a significant new contribution to the debate on the invention and reception of sacred images in post-Tridentine Spain.
https://doi.org/10.1080/14753820.2019.1622876
Please feel free to email me for PDF copies
El objetivo de este estudio es contribuir a la comprensión del uso que las élites eclesiásticas de la edad moderna hacían de las expresiones culturales. Se analizará el corpus de escritos que le fueron dedicados al cardenal Sandoval y Rojas durante su vida, como un primer paso en el proceso de esclarecer su rol de mecenas literario. La multiplicidad de roles y lealtades a las que estaba sujeto el prelado, la fecha de realización y temática de los escritos, o la semblanza de los autores y su relación con el destinatario de las epístolas dedicatorias, son algunas de las cuestiones que se tendrán en cuenta.
In Toledo, as a result of a peculiar historical evolution that has prevented the existence of large urban change until very recently, a number of outstanding cultural landscapes remain to be studied. However, and despite having all kinds of statements of local, national and international protection, an end seems closer than ever due to the approval of a new Municipal Management Plan proposing the construction of new neighbourhoods in places that most assumed were exempt from such Urban development.
The opportunity remains to at least document the evolution of Toledo’s cultural landscapes that have reached the early twenty-first century and these are studied here using different techniques and approaches, an ambitious research project starting with the Cigarrales, the area currently under greatest threat.
This book summarizes archaeological activities carried out within the framework of the project "Cultural landscapes of Toledo: The Cigarrales" developed between 2010 and 2012 . This monograph is intended as a summary of the work, which provides important research, not only for understanding the Cigarralera area, but all urban landscapes.
The program combines object-based learning with a strong historical and theoretical grounding in the early modern period. As is well known, Madrid is an extraordinary place to study the art of this time, both from Spain and other parts of Europe as well as from America and Asia, and the many museums within a short distance of the Royal Academy will serve as an extended classroom.
The MA is aimed at students who wish to gain greater specialized knowledge of the period spanning from the 15th to the early 19th centuries from broad cultural perspectives which include a deeper understanding of the classical tradition but also issues about identity-formation, agency, global circulation and markets, and matters of class, gender and race.
The practical focus of several of its courses, including the seminar “Hands On” and “Doing Art History Today”, is geared to foment the know-how necessary to work with objects in a variety of professional fields, including museums, galleries, auction houses, digital humanities, and high-level tourism, in addition to preparing students who wish to pursue a PhD in Art History.
Classes will take place in Spanish, but an adequate knowledge of English is highly recommended given that many readings as well as the presentations of invited guests and visiting academics will be in English. The MA also makes available a limited number of internships in museums and cultural institutions in Madrid.
The application process for this Masters is open until May 17th.
de episodios de coleccionismo inéditos o poco conocidos que tuvieron la pintura italiana como objeto. Se evoca por igual un extraordinario conjunto de selectas obras hoy disperso, el que conformó la decoración de la iglesia del antiguo convento del Santo Ángel Custodio, llamado antaño “El Escorial pequeño de Granada” en atención a su valioso patrimonio artístico.
El Boletín del Museo del Prado es una publicación de carácter anual que recibe artículos de especialistas españoles y extranjeros. Desde el 1980, año de su fundación, el Boletín del Museo del Prado constituye uno de los principales vehículos a través del cual el Museo da a conocer a la comunidad académica y al público interesado los resultados de las últimas investigaciones sobre las propias colecciones o sobre áreas de la historia del arte relacionadas con ellas. A lo largo de los años han contribuido artículos los directores, conservadores y restauradores del Museo, y colaboradores de otras instituciones nacionales e internacionales.
Early modern objects, images and artworks often served as nodes of discussion and contestation. If images were sometimes contested by external and often competing agencies (religious and secular authorities, image theoreticians, inquisitions, or single individuals), artists and objects were often just as likely to impose their own rules and standards through the continuation or contestation of established visual traditions, styles, iconographies, materialities, reproductions and reframings.
Centering on the capacity of the image as agent - either in actual legal processes or, more generally, in the creation of new visual standards - this volume provides a first exploration of image normativity by means of a series of case studies that focus in different ways on the intersections between the limits of the sacred image and the power of art between 1450 and 1650.
The fourteen contributors to this volume discuss the status of images and objects in trials; contested portraits, objects and iconographies; the limits to representations of ering; the tensions between theology and art; and the significance of copies and adaptations that establish as well as contest visual norms from Europe and beyond.
Authors:
Yoshie Kojima, Chiara Franceschini, Cloe Cavero de Carondelet, Escardiel González Estévez, Mattia Biffis, James Hall, Nina Niedermeier, Steffen Zierholz, Antonia Putzger, Erin Giffin, Piers Baker-Bates, Josephine Neil, Livia Stoenescu and Todd P. Olson.
Partial Open Access now available at this link:
https://doi.org/10.1484/M.SACRIMA-EB.5.122577
A complete paper version of the book will be soon available!
http://www.brepols.net/Pages/ShowProduct.aspx?prod_id=IS-9782503584669-1