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2023-02-13
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info:eu-repo/semantics/openAccess
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Universidad Nacional de Educación a Distancia (España). Espacio Tiempo y Forma. Serie VII, Historia del Arte
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Resumen
El objetivo de este artículo es conocer la trayectoria artística de los principales bordadores durante el reinado de Carlos IV y María Luisa de Parma. Partiendo de los estudios previos iniciados por María Luisa Barreno Sevillano y Pilar Benito García, haremos un breve repaso acerca de la organización de los artífices de la confección y las distinciones entre aquellos que trabajaban para casa y cámara, ya que se diferencian en ocupación, sueldo y posición dentro de la jerarquía palatina. Analizaremos qué bordados de vestidos se diseñaron para la reina, además de una de las obras más trascendentales, el álbum de diseños realizado entre 1800 y 1808 atribuido a Robredo. Por último, presentaremos el entorno de ambos bordadores, que habían aprendido su oficio a través de sus respectivas familias Los clanes Robredo y Pandeavenas se conocían muy bien, puesto que los cabezas de familia habían trabajado para Carlos III. Las fuentes primarias consultadas revelan datos inéditos hasta el momento, que permiten estudiar las familias artesanas y su producción de obras textiles para la monarquía.
The objective of this article is to know the artistic trajectory of the main embroiderers during the reign of Carlos IV and Maria Luisa de Parma. Departing from previous studies initiated by Maria Luisa Barreno and Pilar Benito, we will make a brief review about the organization of the garment makers, it differed from those who worked for the house and camera, since they differ in occupation, salary and position within the palatine hierarchy. We will analyze the dress embroideries designed for the queen, as well as one of most transcendental works, the album of designs made between 1800 and 1808 and attributed to Robredo. Finally, we will present their background. Both embroiderers had learned their trade through their respective families. The Robredo and Pandeavenas clans knew each other very well, since the heads of the families had worked for Carlos III. The primary sources consulted reveal unpublished data up to now, that allow us to study the artisan families and their production of textile works for the monarchy.
The objective of this article is to know the artistic trajectory of the main embroiderers during the reign of Carlos IV and Maria Luisa de Parma. Departing from previous studies initiated by Maria Luisa Barreno and Pilar Benito, we will make a brief review about the organization of the garment makers, it differed from those who worked for the house and camera, since they differ in occupation, salary and position within the palatine hierarchy. We will analyze the dress embroideries designed for the queen, as well as one of most transcendental works, the album of designs made between 1800 and 1808 and attributed to Robredo. Finally, we will present their background. Both embroiderers had learned their trade through their respective families. The Robredo and Pandeavenas clans knew each other very well, since the heads of the families had worked for Carlos III. The primary sources consulted reveal unpublished data up to now, that allow us to study the artisan families and their production of textile works for the monarchy.
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Categorías UNESCO
Palabras clave
Bordador, Pandeavenas, Robredo, bordados, obras, siglo XVIII, vestidos, 18th century, Embroiderer, Pandeavenas, Robredo, dresses, embroidery, works