Presentation

In the medium of drawing, Antonio del Castillo (1616-1668) is the most important artist of the period known as the Spanish Golden Age due to his versatility, inventiveness and the number of his drawings that have been preserved, particularly in view of the quality that his drawings still retain. Inexplicably, Castillo is a forgotten master, a great unknown who is absent from the landscape of international historiographical critique.

The research work carried out by Benito Navarrete and Fuensanta García de la Torre from 2007-2008 was complicated; the drawings were scattered in various locations, most of them outside of Spain – Florence, Hamburg, New York, Paris, London, etc. -, but their efforts were rewarded with important discoveries, new locations and attributions.

Comprehensive study of Castillo’s oeuvre reveals an artist whose drawings display a broad, varied and innovative register, with a distinctive partiality to narration, to describing the landscape, as well as an inclination towards the rustic and the popular.

The exhaustive study carried out enabled the researchers to confirm their thesis that Castillo’s drawings categorically influence his paintings; they are often treated as repertoire material and anticipate many of the solutions that he later gave shape to in his paintings.

This research enables us to conclude that no Spanish artist drew as much as Castillo, nor did any of our artists maintain such an absolute and genuine identity in both their designs and their paintings. For this reason, Antonio del Castillo is considered one of the most versatile and talented masters of the Spanish Baroque.

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Antonio del Castillo (1616-1668) Dibujos

One volume, hardcover with book jacket. 734 pages. 2008.

ISBN 978-84-96655-19-5.

Texts by Benito Navarrete, Fuensanta García de la Torre, Priscilla E. Muller and Mindy Nancarrow, catalogue cards of 190 drawings considered to be the artist’s work, timeline and bibliography. Texts in Spanish and English.

Antonio del Castillo (1616-1668). Dibujos. Catálogo Razonado is the second volume in this collection, and it reflects the fruitful research work conducted by Benito Navarrete and Fuensanta García de la Torre with respect to the drawings of the brilliant artist from Cordoba.

The research of Benito Navarrete, Fuensanta García de la Torre, Priscilla Muller and Mindy Nancarrow and the exhaustive catalogue cards of the 190 drawings considered to be the work of Antonio del Castillo, along with the timeline and biography included in the publication, offer a complete reference tool that reveals the evolution of one of the Baroque’s least known painters, who had a deep knowledge of Flemish and Italian sources and was, without a doubt, the Spanish Golden Age’s most versatile and prolific artist in the medium of drawing.

He had an innate talent for drawing and understood the process of graphic conceptualisation as something inherent to art itself, without the development of which his painting would not have evolved in the same manner.

Research's Responsables

Benito Navarrete Prieto

A Doctor of Art History, in recent years he has combined his work as a professor at the University of Alcalá de Henares, where he directs the History and Philosophy Department, with his work as a scientific consultant and member of various committees. His particular research focus is on Spanish Baroque painting and drawing, and he has curated and authored the catalogues for various exhibitions. He has also given lectures and presentations for various specialised scientific forums, courses, master's degrees and seminars. In terms of editorial endeavours, of particular note is his oversight of the collection Ars Hispanica, which is devoted to publishing monographs on Spanish artists, and Arte y Forma, which focuses on research work, with the Arco Libros publishing house. Among his publications, El Album Alcubierre dibujos. De la Sevilla ilustrada del conde del Águila a la colección Abelló is particularly noteworthy. The book was co-authored with Pérez Sánchez in 2009 and received an award from the Spanish Ministry of Culture, taking second place in the ministry's Best Edited Art Book of the Year award category. He recently curated and headed the research project sponsored by the Mapfre Foundation: I Segni nel Tempo. Dibujos Españoles de los Uffizi (2016).

Fuensanta García de la Torre

A graduate of the University of Seville's Philosophy and Literature degree (in the Art History concentration), she served as director of the Museum of Fine Arts of Córdoba from 1981 to 2012.

She is a member of the International Council of Museums (ICOM) and the Professional Association of Museologists of Spain (APME), and also directed the Preventive Conservation in Andalusian Museums programme implemented by the Ministry of Culture of the Regional Government of Andalusia.
Her research and publications focus on the history of Spanish drawing, the collections of the Museum of Fine Arts of Córdoba, Antonio del Castillo (Córdoba, 1616-1668), Julio Romero de Torres (Córdoba, 1874-1930) and preventive conservation of cultural goods.

She has authored countless scientific articles, chapters in collective works and exhibition catalogues and has given presentations in conferences and other research meetings.
She is a member of the Andalusian Museums Commission (Ministry of Culture of the Regional Government of Andalusia) and of the Andalusian Academy of History.

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