Marqués Del Carpio

Il contributo presenta l'identificazione di un dipinto di Casa Martelli a Firenze con l' "Autoritratto di Domenico Tintoretto" già nella collezione del Marchese del Carpio. Il dipinto rappresenta il quarto esempio noto di ritratto multiplo, assommandosi alle tele di Lorenzo Lotto, Philippe de Champaigne e Anton van Dyck.

// Resumen // Con este artículo pretendemos ilustrar la importancia de las colecciones artísticas como inversión de reconocimiento y prestigio en las relaciones entre diplomáticos a finales del siglo XVII. Lo ejemplificamos con el VII marqués del Carpio, gran coleccionista - que fue embajador español ante la Santa Sede entre 1677-1682 y virrey en Nápoles desde 1683 hasta su muerte en 1687- y el Condestable Colonna. Publicamos los intentos de éste por hacerse con una parte de la famosa colección de Carpio en dos ocasiones.
// Abstract // The goal of this article is to illustrate the importance of art collections as a means to gain recognition and prestige in the relationships among diplomats at the end of XVII. It is exemplified by the VII Marquis del Carpio, a great art collector -Spanish ambassador before the Holy See between 1677-1682, and viceroy in Naples from 1683 to his death-, and by the Condestable Colonna. We depict his attempts to get hold of part of Carpio's famous collection.

http://www.tiemposmodernos.org/tm3/index.php/tm/article/view/84/117

The process of collecting drawings in Spain still remains as one of the most relevant but unexplored fields in the history of Western drawing. Its origins can be traced back to the first and most important collection ever gathered in the country, that of the Marqués del Carpio (1629-1687).
An outstanding personality, Carpio was both a skilful politician and a committed patron of the arts. His biography was deeply marked by the cultural policies of the Spanish Court, his family connections―as heir of the great minister Conde Duque de Olivares―and his time as ambassador and viceroy in Italy.
Despite becoming one of the most important collectors in early-modern Europe, his large drawing collection has only been recently studied. The use Carpio made of it illustratesthe value of this activity for cultural, political, and social ends at the time. While collecting drawings had no political implications in Spain―in contrast to that of paintings―Rome offered Carpio an outstanding network to enrich his collection as well as extraordinary channels to use it for political purposes; including that of self-fashioning through gift-giving.
My essay focuses on the novel political use Carpio made of his drawings collection as an intentional element in the formation of his image. I particularly investigate how Carpio incorporated the Roman usage for drawings into the Spanish political practices of self- and institutional propaganda, in the tying of political alliances through the exchange of works of art, and how such a political instrument unusual at the time in Spain paved his own way into an exclusive Roman social circle bound by friendship.

En este artículo se documenta la procedencia de la magnífica Madonna del Latte de Correggio conservada en el Szépmúvészeti Muzeum di Budapest. La obra fue comprada por el VII marqués del Carpio, don Gaspar de Haro y Guzmán (1629-1687), embajador en Roma y gran coleccionista, al nuncio Orsini.