{"id":6282,"date":"2022-12-31T18:20:48","date_gmt":"2022-12-31T22:20:48","guid":{"rendered":"http:\/\/humanidades.uprrp.edu\/visiondoble\/?p=6282"},"modified":"2025-10-20T15:16:08","modified_gmt":"2025-10-20T19:16:08","slug":"beware-of-the-devils-modes-of-persuasion-still-life-painting-and-religious-rhetoric-in-early-seventeenth-century-spain","status":"publish","type":"post","link":"https:\/\/humanidades.uprrp.edu\/visiondoble\/beware-of-the-devils-modes-of-persuasion-still-life-painting-and-religious-rhetoric-in-early-seventeenth-century-spain\/","title":{"rendered":"Beware of the Devil\u2019s Modes of Persuasion: Still Life Painting and Religious Rhetoric in Early Seventeenth Century Spain."},"content":{"rendered":"\n

Pieter Aertsen, Kitchen Still Life with a Scene of the Supper at Emmaus Beyond<\/em>, c.1551\/53, oil on panel, 65,4 x 92,4 cm, David Owsley Museum of Art, Muncie.<\/p>\n

Texto completo \/ Full text<\/span>
\nPDF<\/a> \/ ePUB<\/a><\/span><\/strong><\/span><\/p>\n

Title:<\/strong> Beware of the Devil\u2019s Modes of Persuasion: Still Life Painting and Religious Rhetoric in Early Seventeenth Century Spain.<\/span><\/p>\n

T\u00edtulo\u00a0<\/strong>: Cuidado con los modos de persuasi\u00f3n\u00a0del diablo: el bodeg\u00f3n y la ret\u00f3rica religiosa en la pintura espa\u00f1ola del temprano siglo XVII<\/span><\/p>\n

Abstract:\u00a0<\/strong>This article discusses the relationship between the nascent art of still life painting in Spain and its connections to visual sophisms recurrent in religious literature. It focuses primarily on the still life paintings of the Toledan artist Juan S\u00e1nchez Cot\u00e1n (1560\u20131627). He is the creator of the first Spanish rendition of these secular artworks which were originally imported to the Iberian Peninsula from Northern Europe. The aim is to explain why his preference for austere compositions, and his achievement of trompe l\u2019oeil in his works aligned with visual cues found in the religious rhetoric of that time.<\/span><\/p>\n

Resumen:\u00a0<\/strong>Este art\u00edculo plantea la relaci\u00f3n entre la pintura de naturaleza muerta en Espa\u00f1a y el empleo de sofismos en la literatura religiosa. El texto se enfoca primordialmente en los bodegones del artista toledano Juan S\u00e1nchez Cot\u00e1n (1560\u20131627), creador de la primera interpretaci\u00f3n espa\u00f1ola de cuadros de naturaleza muerta, un arte secular originalmente importado desde el norte de Europa. El prop\u00f3sito del art\u00edulo es explicar su preferencia por una composici\u00f3n sobria y c\u00f3mo el efecto de trampantojo se relaciona con la ret\u00f3rica religiosa contempor\u00e1nea.<\/span><\/p>\n

Keywords:<\/strong> Still life, trompe l\u2019oeil, sophism, Juan S\u00e1nchez Cot\u00e1n, religious rhetoric \/\u00a0Palabras clave:<\/strong> Naturaleza muerta, trampantojo, sofismo, Juan S\u00e1nchez Cot\u00e1n, ret\u00f3rica religiosa<\/span><\/p>\n

Recibido \/ Received: <\/strong>15 de octubre de 2022 \/\u00a0Aceptado \/ Accepted: <\/strong>19 de diciembre de 2022 \/\u00a0Publicado \/ Published: <\/strong>31 de diciembre de 2022<\/span><\/p>\nCita recomendada<\/strong>: Bernard, Stephanie. \u201cBeware of the Devil\u2019s Modes of Persuasion: Still Life Painting and Religious Rhetoric in Early Seventeenth Century Spain.\u201d Visio\u0301n Doble: Revista de Cri\u0301tica e Historia del Arte<\/em>, 31 de diciembre de 2022, humanidades. uprrp.edu\/visiondoble<\/span>\n","protected":false},"excerpt":{"rendered":"

Abstract:\u00a0This article discusses the relationship between the nascent art of still life painting in Spain and its connections to visual sophisms recurrent in religious literature. It focuses primarily on the still life paintings of the Toledan artist Juan S\u00e1nchez Cot\u00e1n (1560\u20131627). He is the creator of the first Spanish rendition of these secular artworks which were originally imported to the Iberian Peninsula from Northern Europe. The aim is to explain why his preference for austere compositions, and his achievement of trompe l\u2019oeil in his works aligned with visual cues found in the religious rhetoric of that time.<\/p>\n

Resumen:\u00a0Este art\u00edculo plantea la relaci\u00f3n entre la pintura de naturaleza muerta en Espa\u00f1a y el empleo de sofismos en la literatura religiosa. El texto se enfoca primordialmente en los bodegones del artista toledano Juan S\u00e1nchez Cot\u00e1n (1560\u20131627), creador de la primera interpretaci\u00f3n espa\u00f1ola de cuadros de naturaleza muerta, un arte secular originalmente importado desde el norte de Europa. El prop\u00f3sito del art\u00edulo es explicar su preferencia por una composici\u00f3n sobria y c\u00f3mo el efecto de trampantojo se relaciona con la ret\u00f3rica religiosa contempor\u00e1nea.<\/p>\n","protected":false},"author":146,"featured_media":6284,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[1966,1968,1967,1971,1970,1965,1963,1969,1964],"class_list":["post-6282","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articulos","tag-juan-sanchez-cotan","tag-naturaleza-muerta","tag-religious-rhetoric","tag-retorica-religiosa","tag-sofismo","tag-sophism","tag-still-life","tag-trampantojo","tag-trompe-loeil"],"_links":{"self":[{"href":"https:\/\/humanidades.uprrp.edu\/visiondoble\/wp-json\/wp\/v2\/posts\/6282","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/humanidades.uprrp.edu\/visiondoble\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/humanidades.uprrp.edu\/visiondoble\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/humanidades.uprrp.edu\/visiondoble\/wp-json\/wp\/v2\/users\/146"}],"replies":[{"embeddable":true,"href":"https:\/\/humanidades.uprrp.edu\/visiondoble\/wp-json\/wp\/v2\/comments?post=6282"}],"version-history":[{"count":6,"href":"https:\/\/humanidades.uprrp.edu\/visiondoble\/wp-json\/wp\/v2\/posts\/6282\/revisions"}],"predecessor-version":[{"id":7140,"href":"https:\/\/humanidades.uprrp.edu\/visiondoble\/wp-json\/wp\/v2\/posts\/6282\/revisions\/7140"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/humanidades.uprrp.edu\/visiondoble\/wp-json\/wp\/v2\/media\/6284"}],"wp:attachment":[{"href":"https:\/\/humanidades.uprrp.edu\/visiondoble\/wp-json\/wp\/v2\/media?parent=6282"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/humanidades.uprrp.edu\/visiondoble\/wp-json\/wp\/v2\/categories?post=6282"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/humanidades.uprrp.edu\/visiondoble\/wp-json\/wp\/v2\/tags?post=6282"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}