Books by Tanya Tiffany
Diego Velázquez spent his formative years at the center of artistic life in seventeenth-century S... more Diego Velázquez spent his formative years at the center of artistic life in seventeenth-century Seville, a gateway to the New World characterized by intellectual debate, religious fervor, and mounting ethnic tensions. Yet critics have often divorced the painter’s novel style and subject matter from the city’s unique pictorial and cultural traditions. In Diego Velázquez’s Early Paintings and the Culture of Seventeenth-Century Seville, Tanya J. Tiffany demonstrates that Velázquez’s works not only engaged Seville’s social practices but also raised issues of vital importance to seventeenth-century Sevillians. As a young artist, Velázquez contended with such essential questions as women’s place in society, the nature of artistic creativity, the role of religion in everyday life, and the incorporation of racial minorities into Christianity. This study offers close readings of individual paintings with regard to their historical framework, critical context, and early reception. Through this approach, Tiffany illuminates well-known masterpieces and also highlights the fluid boundaries between high art and popular forms of visual expression.
Featuring the work of five prominent scholars, this collection analyzes the paintings of Diego Ve... more Featuring the work of five prominent scholars, this collection analyzes the paintings of Diego Velázquez within the cultural, intellectual, and political frameworks of seventeenth-century Spain. Each essay offers novel insight into the greatest artist of the Spanish Golden Age by bringing a remarkable range of material to bear upon the interpretation of his works. Laura Bass considers painting, poetics, and the Spanish canon of arts and letters in an examination of Velázquez's trenchant portrayal of the writer Luis de Góngora. Turning to the nexus between theory and practice, Giles Knox explores how Velázquez engaged with sculpture both as a young man mastering his craft and as a painter to King Philip IV. Fernando Marías uses sixteenth-and seventeenth-century artistic theory to shed light on the complex narrative structure of a work painted by Velázquez in Italy, Joseph's Bloodied Coat, in which the artist placed himself in competition with the celebrated history painters of Rome. Through an investigation of classical philosophy as understood by Velázquez's contemporaries, Aneta Georgievska-Shine locates his enigmatic Aesop and Menippus within discourse on wisdom, paradox, and humor. Javier Portús places paintings and theatrical productions within the social and political matrix of the Spanish court, offering a powerful new reading of the space for which Velázquez created the Surrender of Breda.
Papers by Tanya Tiffany
Atlante. Revue d'études romanes, special issue "Pacheco en papel" ed. Elena Escuredo, Héctor Ruiz Soto, and Cécile Vincent-Cassy, 2024
Este ensayo se centra en Cristóbal Suárez de Ribera (1620) de Diego Velázquez, un retrato del pre... more Este ensayo se centra en Cristóbal Suárez de Ribera (1620) de Diego Velázquez, un retrato del presbítero sevillano que fundó la ermita de San Hermenegildo. Suárez de Ribera formaba parte del círculo intelectual del maestro y suegro de Velázquez, Francisco Pacheco, y era celebrado en Sevilla por su dedicación al santo visigodo. Examino sus relaciones con varios clérigos elogiados en el Libro de Retratos de Pacheco, incluidos los miembros de la congregación de la Granada, una secta milenarista cuyos miembros compartían el compromiso de Suárez de Ribera con la exaltación de la historia cristiana de España. Los “verdaderos retratos” de estos eclesiásticos en el Libro proporcionan un marco para analizar el cuadro de Velázquez y su función dentro de la ermita, donde colgaba sobre la tumba del presbítero. La iconografía del cuadro también atestiguaba la naturaleza sagrada de la tierra –supuestamente el lugar del martirio de Hermenegildo– en la que Suárez de Ribera había construido su iglesia.
Velázquez. El arte nuevo , 2021
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“Arte y Literatura en el Siglo de Oro: el legado crítico de Emilio Orozco Díaz,” special issue, e-Spania. Revue interdisciplinaire d’études hispaniques médiévales et modernes, 2020
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Sixteenth Century Journal, 2019
“Quid est sacramentum?”: Visual Representation of Sacred Mysteries in Early Modern Europe and the Americas, 1400-1700, ed. Walter S. Melion, Lee Palmer Wandel, and Elizabeth Carson Pastan , 2019
Oxford Bibliographies Online: Renaissance and Reformation, 2014
The Sixteenth Century Journal, 2005
This essay offers a new reading of Diego Velazquez's Christ in the House of Martha and Mary (1618... more This essay offers a new reading of Diego Velazquez's Christ in the House of Martha and Mary (1618) by relating it to religious discourse in the artist's native Seville. Through an analysis of previously unstudied Sevillian writings, this article argues that the painting's compositional structure entreats the beholder to use the corporeal register of the foreground as a means of entry into the spiritual register of the background scene. A consideration of contemporary discussions concerning the interrelation between the art of memory and devotion elucidates the function of Velazquez's picture-within-a picture as a mnemonic device that reminds the viewer to heed his or her duties to Christ, even amid life's toils. Establishing the nexus between text and image, these writings are treated not simply as sources for Velazquez's work, but as tools for reconstructing the religious milieu to which the artist contributed.
En Torno a Santa Rufina Velazquez De Lo Intimo a Lo Cortesano Sevilla Del 10 Al 12 De Marzo De 2008 2008 Isbn 978 84 89895 22 5 Pags 88 93, 2008
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Symposium Internacional Velazquez Actas Sevilla 8 11 De Noviembre De 1999 2004 Isbn 8482664573 Pags 95 108, 2004
Book Reviews by Tanya Tiffany
Bulletin of the Comediantes, 2021
The roles of enslaved peoples and freed Black men and women as both the subjects and producers of... more The roles of enslaved peoples and freed Black men and women as both the subjects and producers of images in early modern Spain have garnered increasing attention in recent decades thanks to the work of scholars such as Victor I. Stoichita, Luis Méndez Rodríguez, and Carmen Fracchia, the author of the book under review. At once drawing upon and going beyond previous, more specialized studies, Fracchia's monograph is the first to analyze slavery and depictions of Blackness in visual culture across imperial Spain. As she states at the outset, Fracchia aims to explore both "hegemonic visions" of Black subjects and to uncover "critical and emancipatory practices by Afro-Hispanic slaves and ex-slaves," but she does not always make clear how she is engaging these opposing perspectives and the tensions between them (1). (Although she never explicitly defines the term, Fracchia uses "Afro-Hispanic" mainly to refer to people of sub-Saharan African heritage, and she occasionally also employs it to discuss Muslim North Africans and their descendants.) In assessing questions of representation, readers will therefore want to consider Fracchia's book alongside contributions-too recent for her to have taken into account-by Nicholas R. Jones, who argues that Black agency can be uncovered even in apparently derogatory portrayals by white Spanish writers (Staging Habla de Negros: Radical Performances of the African Diaspora in Early Modern Spain, Pennsylvania State UP, 2019), and Erin Kathleen Rowe, who has examined "how Afro-Iberians participated in the co-creation of devotional life" across the Catholic world (Black Saints in Early Modern Global Catholicism, Cambridge UP, 2019, 2). Like the book as a whole, Fracchia's chapter 1, "Black but Human," is named for the topos used by Afro-Hispanics to proclaim their humanity when facing a system that treated them as material goods. The author explores emerging theological as well as literary discourses on skin color as mobilized in Iberia and elsewhere, including the equation of whiteness with purity and the idea that pious Christian souls, whether housed in European or African bodies, were white and thus beloved by God. Chapter 2, "What Is Human about Slavery?," considers how the institution was justified by royal and ecclesiastical officials in Spain and Portugal, where hundreds of thousands Copyright of Bulletin of the Comediantes is the property of Bulletin of the Comediantes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use.
Renaissance Quarterly, 2021
Catholic Historical Review, 2020
Renaissance Quarterly, 2018
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Books by Tanya Tiffany
Papers by Tanya Tiffany
Book Reviews by Tanya Tiffany