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Disability in Baroque Portraiture V: José de Ribera (1591-1652)

Disability in Baroque Portraiture V: José de Ribera 1591-1652)
Also known as il "Spañoletto" this painter born in Xátiva, Valencia in 1591 developed most of his career in Naples. His style, deeply influenced by Caravaggio, is based on the heavy use of chiaroscuro. We are presenting here two works of him belonging his middle period period: la mujer barbuda (1632) and El tacto (1631)
Melania Moscoso, 2011 ©


This obra by Representations of Disability in Spanish Baroque Portraiture:Velazquez´s jesters is licensed under a Creative Commons Reconocimiento 3.0 Estados Unidos License.
Based on a work at caperucitacoja.blogspot.com.

Disability in Spainsh baroque portraiture -José de Ribera

Also known as il "Spañoletto" this painter born in Xátiva, Valencia in 1591 developed most of his career in Naples. His style, deeply influenced by Caravaggio, is based on the heavy use of chiaroscuro. We are presenting here two works of him belonging his middle period period: la mujer barbuda (1632) and El tacto (1631)
Melania Moscoso, 2011 ©

People with Disabilities creating truth through their own life experiences

Todd Bauer: "I knew that If Idid ´nt go back to what I wanted to do in my life it would be empty and devoid of any purpose

Disability in Baroque Portraiture V: José de Ribera 1591-1652)

Also known as il "Spañoletto" this painter born in Xátiva, Valencia in 1591 developed most of his career in Naples. His style, deeply influenced by Caravaggio, is based on the heavy use of chiaroscuro. We are presenting here two works of him belonging his middle period period: la mujer barbuda (1632) and El tacto (1631)
Melania Moscoso, 2011 ©


This obra by Representations of Disability in Spanish Baroque Portraiture:Velazquez´s jesters is licensed under a Creative Commons Reconocimiento 3.0 Estados Unidos License.
Based on a work at caperucitacoja.blogspot.com.

Sebastián de Morra (1646)

J

Just like Sebastián de Morra, Juan Calabazas, also known as Calabacillas or “El bobo de Coria” served to the Cardinal infant until 1632 before serving as the personal jester of the Queen.[1] He is only registered in the documents of Palace from 1630 to1639. Other sources suggest that he was taken to Palace by de Duke of Alba, then the Marquis of Coria in Extremadura, hence the nickname, the fool of Coria. Being a very young kid, Her true name is disputed and appears in the documents either as Juan Martín Martín[2] or as Juan de Cárdenas . He was very protected by Baltasar Carlos and had an status of privilege, giving orders to other jesters. Velázquez did two separate portraits of him, the firt one in 1628 under the title The jester Calabacillas with a windmill. Like the portrait of Don Juan de Austria, Velázquez places the figure in an architectural setting, standing in what seems to be the Galleries of the Alcazar of Madrid[3] and displays an early attempt of the mastery of perspective achieved in the portrait of Pablo de Valladolid. It’s often considered one of Velázquez most moving portraits, since the fearful expression of the jester gives ground to theories those like Leslie Fiedler’s that insist that disabled people either inspire pity or fear. The ingrained apprehension that this portrait inspires in some viewers would stem from “unconscious impulses, otherwise confessed only in our dreams but which once raised to the level of full consciousness serve as a grid of perception wth we screen the socalled reality”[4]. In a similar

Melania Moscoso, 2009 ©

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[1] Op. Cit p.85.

[2] Lafuente Ferrari, Op.cit. p.220

[3] Francis, Henry S. 1965 “Portrait of the jester Calabazas” Bulletin of the Cleveland Museum of Art,Vol .52, n 9.p.118

[4] Fiedler, Leslie. 1996. Tyranny of the normal : Essays on bioethics, theology & myth Boston : D.R. Godine 1996.P.34

This obra by Representations of Disability in Spanish Baroque Portraiture:Velazquez´s jesters is licensed under a Creative Commons Reconocimiento 3.0 Estados Unidos License.
Based on a work at caperucitacoja.blogspot.com.

Francisco Lezcano “El niño de Vallecas” 1640

Francisco Lezcano served as a buffoon for the infant Baltasar Carlos from 1634 to 1649, what has given form to both speculations about his identity as well as his disability. It has been mentioned that Moreno Villa assumes that Francisco lezcano is the dwarf that accompanies Baltasar Carlos in the portrait at the Boston Museum of Arts, but it seems that the script found in this picture in 1800 excludes this possibility. Either registered as Francisco lezcano, Lezcanillo, “The boy from Vallecas” or “The dwarf from Biscay” as fostered some controversy about the nature of his disability. Those as Justi and heake, who assumed that he was originally from Vallecas , purport the theses that he suffered from cretinism, since the Guadarrama Mountain range fits the conditions of a place devoid of iodine. Others opt for a case of pseudoachondroplasia or pituitary. dwarfism. More recent works point the case as hydrocephalic. Both the nickname “El enano vizcaíno” and the lastname Lezcano, a basque toponym, places his most likely origin in North Spain, but there is no conclusive evidence. He began to serve infant Baltasar Carlos when the prince was five years old, which excludes the possibility of being the one that appears in the Portarit of 1632, as Moreno Villa suggests. Short before she died, the Queen Isabel of France got into caprice of the dwarf of his nephew, the Cardinal infant of Flanders during one of her trips in 1643, and took him as an “ayuda de cámara” for his son the prince Baltasar Carlos, then aged 14. He is assigned the same wage that he had under the Cardinal and he is assigned a butler as a favour. He must have been very loved by the infant because in September while in his deathbed he made explicit that his sword and a carved knife should be given to Sebastián[1]. He survived three year the infant and died in palace in 1649. This is one of the portraits in which the dignified attitude of the jesters is more evident, since the subject is staring back at the observer, even though is true that his sat position might recall the one of a muppet, as has been observed[2]

Melania Moscoso, 2009 ©

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[1] Moreno Villa, Op.cit.p.120

[2] Prater, Andreas, and Hermann Bauer. 1997. Painting of the Baroque. Epochs & styles. Köln: Taschen. P,103


This obra by Representations of Disability in Spanish Baroque Portraiture:Velazquez´s jesters is licensed under a Creative Commons Reconocimiento 3.0 Estados Unidos License.
Based on a work at caperucitacoja.blogspot.com.