Potosí Global. Viajando con sus primeras imágenes (1550-1650).

TY - BOOK

T1 - Potosí Global. Viajando con sus primeras imágenes (1550-1650).

AU - Barragàn, Rossana

PY - 2019

Y1 - 2019

N2 - This book is a journey along the descriptions and depictions of Potosí and the entangled connections between Seville, Antwerp, Frankfurt and Constantinople. The first images, of Cieza de León and Agustín de Zárate of 1553 and 1555, printed in Seville and Antwerp, travelled and influenced several images paint in Istanbul. Later on, one of the best known engraving of Potosi was printed in 1601-1602 in the ninth volume of the monumental collection of twenty-seven volumes on European expeditions to the overseas world edited by de Bry in Frankfurt. This image is put in contrast with those made in Peru: of Guamán Poma de Ayala, Martín de Murúa and Diego de Ocaña). Last, but not least, the author analyses how Potosí was part of the work of Peter Paul Rubens, one of the most renowned artists of the time. Rubens used the Potosi mountain as an official representation during the royal entrance of the Spanish authorities into the city of Antwerp in 1639. Potosí was both part of the scenario and a symbolic means of recovering the city of Antwerp’s glory. In sum, this book is a history of Potosi in the world and particularly a history of interconnections.

AB - This book is a journey along the descriptions and depictions of Potosí and the entangled connections between Seville, Antwerp, Frankfurt and Constantinople. The first images, of Cieza de León and Agustín de Zárate of 1553 and 1555, printed in Seville and Antwerp, travelled and influenced several images paint in Istanbul. Later on, one of the best known engraving of Potosi was printed in 1601-1602 in the ninth volume of the monumental collection of twenty-seven volumes on European expeditions to the overseas world edited by de Bry in Frankfurt. This image is put in contrast with those made in Peru: of Guamán Poma de Ayala, Martín de Murúa and Diego de Ocaña). Last, but not least, the author analyses how Potosí was part of the work of Peter Paul Rubens, one of the most renowned artists of the time. Rubens used the Potosi mountain as an official representation during the royal entrance of the Spanish authorities into the city of Antwerp in 1639. Potosí was both part of the scenario and a symbolic means of recovering the city of Antwerp’s glory. In sum, this book is a history of Potosi in the world and particularly a history of interconnections.

M3 - Boek

SN - 978-99954-1-925-7

BT - Potosí Global. Viajando con sus primeras imágenes (1550-1650).

PB - Plural

CY - La Paz

ER -