Resumen de Deseando a la mujer fuerte: presencias y ausencias iconográficas de las Mujeres Fuertes del Antiguo Testamento
- español
El presente trabajo pretende estudiar las presencias y ausencias iconográfica de las mujeres fuertes del Antiguo Testamento en la pintura española realizada durante el Seiscientos, entendiendo dicha invisibilidad como un producto directo de una sociedad marcadamente patriarcal y cerrada que relegó a la mujer a un segundo plano. A través del estudio de la pintura desde una perspectiva de género, como construcción cultural, podemos comprender los modelos de masculinidad y feminidad que eran impuestos a la población española de la Edad Moderna; modelos que han condicionado el modo de pensar el género y la feminidad, y cuya herencia podría llegar a rastrearse hasta nuestros días.
- galego
Este traballo ten como obxectivo estudar as ausencias e presenzas iconográfica das mulle- res fortes do Antigo Testamento na pintura española realizada entre 1600 e 1700, entendendo dita invisibilidade como un resultado directo dunha sociedade fortemente patriarcal e pechada, que relegou ás mulleres a un segundo plano.
A falta de intelixencia da muller, a súa debilidade de espírito, a súa natureza tendente ao pecado, foron ideas que se trataron de integrar como sentido común dunha sociedade maiori- tariamente analfabeta e iso, unido á compresión da imaxe como o medio eficaz de propaganda cultural para a transmisión dos valores e ideais do discurso patriarcal dominante, contribuíu a que os pintores españois levasen a cabo unha produción iconográfica que ofrecía os modelos de comportamento femininos que o xénero masculino considerou adecuados para a muller, censu- rándose ou autocensurándose aqueles que representaban unha ameaza para as crenzas impostas pola ideoloxía dominante: os das mulleres fortes e intelixentes.
Por iso, este traballo, a través, en primeiro lugar, levará unha análise da concepción da na- tureza da muller e os roles de comportamento impostos ao xénero feminino, mediante o estudo dos tratados de filosofía natural, os tratados para a instrución das mulleres –obra dos humanistas cristiáns–, os tratados de pintura e a iconografía feminina maioritaria entre os pintores espa- ñois, por ser a aceptada e imposta polas institucións no poder que marcaban o decoro moral das imaxes; en segundo lugar, mediante a análise de bases de datos, tratarase de comprender cal foi o gusto dos mecenas ou coleccionistas de arte da época, a través do estudo dos seus inventarios;
e, en terceiro lugar, mediante a análise das presenzas iconográficas que se conservan ou das que se ten noticia de mulleres fortes veterotestamentarias producidas polos pintores españois;
a presente investigación pretende lanzar luz sobre os motivos da exigüidade de iconografías veterotestamentarias no pintura española do século XVII, e dentro desta escaseza xeral, analizar as ausencias dalgunhas destas figuras femininas de gran importancia nas Sacras Escrituras e na produción cultural doutros países durante o mesmo período, no seo dunha sociedade onde o catolicismo foi o aglutinante que a alianza entre Iglesia e Monarquía empregaron para manter unido o vasto territorio español.
- English
The present work intends to study the iconographic presences and absences of the strong women of the Old Testament in Spanish painting made during the 17th century, understanding their iconographical lack as a direct product of a markedly patriarchal and closed society that relegated women to the background. Through the study of painting from a gender perspective, as a cultural construction, we can understand the models of masculinity and femininity that were imposed on the Spanish population in the Modern Age; models that have conditioned the way of thinking about gender and femininity, and whose inheritance could be traced to the present day.
The lack of intelligence of women, their weakness of spirit, their nature prone to sin, were ideas that they tried to integrate as common sense of a mostly illiterate society and this, toge- ther with the compression of the image as an effective means of propaganda. cultural for the transmission of the values and ideals of the dominant patriarchal discourse, contributed to the Spanish painters carrying out an iconographic production that offered the models of feminine behavior that the masculine gender considered appropriate for women, censoring or self-censo- ring those who represented a threat to the beliefs imposed by the dominant ideology: those of strong and intelligent women.
For this reason, this work, through, in the first place, will carry out an analysis of the con- ception of the nature of women and the behavioral roles imposed on the female gender, through the study of natural philosophy treatises, treatises for instruction of women –the work of Chris- tian humanists–, the treatises on painting and the female iconography that is the majority among Spanish painters, as it is accepted and imposed by the institutions in power that set the moral de- corum of the images; secondly, through the analysis of databases, it will try to understand what was the taste of the patrons or art collectors of the time, through the study of their inventories;
and, thirdly, through the analysis of the iconographic presences that are preserved or of which there is news of strong Old Testament women produced by Spanish painters; this research aims to shed light on the reasons for the scarcity of Old Testament iconographies in seventeenth-cen- tury Spanish painting, and within this general scarcity, analyze the absences of some of these female figures of great importance in the Holy Scriptures and in the production culture of other countries during the same period, within a society where Catholicism was the glue used by the alliance between the Church and the Monarchy to hold together the vast Spanish territory.
