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This article argues that Carlos Saura's 1964 film biography of the 1830s Andalusian bandit El Tempranillo, Llanto por un bandido, provides an insight into the impact of the War of Independence (1808–1814) and its aftermath on bandits in terms of physical and mental trauma, their involvement in politics and their interaction with civil society. Saura and his co-screenwriter used the French authors Théophile Gautier and Prosper Mérimée in their research on the period, thus incorporating views of Spain emanating from the culture of the Napoleonic aggressor. This, combined with the fact that the incorporation of outlaws into militia resistance was a common feature of the Napoleonic wars, produces a very complex backdrop for the film. If we add to this considerations relevant to censorship of the arts in Spain in the early 1960s, a flawed film which has not been seen as important in Saura's oeuvre becomes a very interesting witness to a century and a half of Spanish history. Key words: Carlos Saura, Llanto por un bandido, bandido, War of Independence, Censorship, National Catholicism

This article examines Franco-Spanish political relations in the period from 1610 to 1625 as represented in Spanish poetry and paintings produced in Spain or in the Spanish theatre of influence. The early seventeenth century was a time of cautious rapprochement and powerful underlying tensions between these nations. Two events of major significance are explored: the assassination of Henry IV of France in May 1610 and the reciprocal Bourbon-Habsburg marriages of 1615. The assassination is reflected in funeral sonnets by Góngora, Quevedo, Lope de Vega, and the Conde de Villamediana, while Henri himself and the marriages were portrayed by Rubens, envoy of the Infanta Isabel Clara Eugenia, Governor of Flanders, in his series on the life of Henri’s widow, Marie de Médicis (1625). This article considers the interplay of poetry and politics in these two complementary art forms and their effect on the legacy of Henri IV in Habsburg lands.

More than a guide for painters, Vicente de Carducho's Diálogos de la pintura has long been recognized to promote painting as a liberal art and to advocate for the creation of an academy of painting in seventeenth-century Madrid. But questions of patriotic belonging and prestige are also at stake in this erudite treatise. In his prologue, Carducho prioritizes his allegiance to his adopted city even while acknowledging his debts to his native Florence. The first part of this article argues that the treatise serves to showcase that allegiance as it participates in a project to make the young political capital a great cultural centre. The second part makes the case for Carducho as a practitioner who understood the debt he owed to the visual culture of his adopted homeland while remaining true to the aesthetic principles of his Florentine training. His late depictions of saints in adoration of the crucifix provide a focus for examining a religious sensibility subtly informed by Spanish devotional literature.

More than a guide for painters, Vicente de Carducho's Diálogos de la pintura has long been recognized to promote painting as a liberal art and to advocate for the creation of an academy of painting in seventeenth-century Madrid. But questions of patriotic belonging and prestige are also at stake in this erudite treatise. In his prologue, Carducho prioritizes his allegiance to his adopted city even while acknowledging his debts to his native Florence. The first part of this article argues that the treatise serves to showcase that allegiance as it participates in a project to make the young political capital a great cultural centre. The second part makes the case for Carducho as a practitioner who understood the debt he owed to the visual culture of his adopted homeland while remaining true to the aesthetic principles of his Florentine training. His late depictions of saints in adoration of the crucifix provide a focus for examining a religious sensibility subtly informed by Spanish devotional literature.

This article examines Franco-Spanish political relations in the period from 1610 to 1625 as represented in Spanish poetry and paintings produced in Spain or in the Spanish theatre of influence. The early seventeenth century was a time of cautious rapprochement and powerful underlying tensions between these nations. Two events of major significance are explored: the assassination of Henry IV of France in May 1610 and the reciprocal Bourbon-Habsburg marriages of 1615. The assassination is reflected in funeral sonnets by Góngora, Quevedo, Lope de Vega, and the Conde de Villamediana, while Henri himself and the marriages were portrayed by Rubens, envoy of the Infanta Isabel Clara Eugenia, Governor of Flanders, in his series on the life of Henri’s widow, Marie de Médicis (1625). This article considers the interplay of poetry and politics in these two complementary art forms and their effect on the legacy of Henri IV in Habsburg lands.

This article argues that Carlos Saura's 1964 film biography of the 1830s Andalusian bandit El Tempranillo, Llanto por un bandido, provides an insight into the impact of the War of Independence (1808–1814) and its aftermath on bandits in terms of physical and mental trauma, their involvement in politics and their interaction with civil society. Saura and his co-screenwriter used the French authors Théophile Gautier and Prosper Mérimée in their research on the period, thus incorporating views of Spain emanating from the culture of the Napoleonic aggressor. This, combined with the fact that the incorporation of outlaws into militia resistance was a common feature of the Napoleonic wars, produces a very complex backdrop for the film. If we add to this considerations relevant to censorship of the arts in Spain in the early 1960s, a flawed film which has not been seen as important in Saura's oeuvre becomes a very interesting witness to a century and a half of Spanish history. Key words: Carlos Saura, Llanto por un bandido, bandido, War of Independence, Censorship, National Catholicism

This article examines Franco-Spanish political relations in the period from 1610 to 1625 as represented in Spanish poetry and paintings produced in Spain or in the Spanish theatre of influence. The early seventeenth century was a time of cautious rapprochement and powerful underlying tensions between these nations. Two events of major significance are explored: the assassination of Henry IV of France in May 1610 and the reciprocal Bourbon-Habsburg marriages of 1615. The assassination is reflected in funeral sonnets by Góngora, Quevedo, Lope de Vega, and the Conde de Villamediana, while Henri himself and the marriages were portrayed by Rubens, envoy of the Infanta Isabel Clara Eugenia, Governor of Flanders, in his series on the life of Henri’s widow, Marie de Médicis (1625). This article considers the interplay of poetry and politics in these two complementary art forms and their effect on the legacy of Henri IV in Habsburg lands.

This article argues that Carlos Saura's 1964 film biography of the 1830s Andalusian bandit El Tempranillo, Llanto por un bandido, provides an insight into the impact of the War of Independence (1808–1814) and its aftermath on bandits in terms of physical and mental trauma, their involvement in politics and their interaction with civil society. Saura and his co-screenwriter used the French authors Théophile Gautier and Prosper Mérimée in their research on the period, thus incorporating views of Spain emanating from the culture of the Napoleonic aggressor. This, combined with the fact that the incorporation of outlaws into militia resistance was a common feature of the Napoleonic wars, produces a very complex backdrop for the film. If we add to this considerations relevant to censorship of the arts in Spain in the early 1960s, a flawed film which has not been seen as important in Saura's oeuvre becomes a very interesting witness to a century and a half of Spanish history. Key words: Carlos Saura, Llanto por un bandido, bandido, War of Independence, Censorship, National Catholicism

More than a guide for painters, Vicente de Carducho's Diálogos de la pintura has long been recognized to promote painting as a liberal art and to advocate for the creation of an academy of painting in seventeenth-century Madrid. But questions of patriotic belonging and prestige are also at stake in this erudite treatise. In his prologue, Carducho prioritizes his allegiance to his adopted city even while acknowledging his debts to his native Florence. The first part of this article argues that the treatise serves to showcase that allegiance as it participates in a project to make the young political capital a great cultural centre. The second part makes the case for Carducho as a practitioner who understood the debt he owed to the visual culture of his adopted homeland while remaining true to the aesthetic principles of his Florentine training. His late depictions of saints in adoration of the crucifix provide a focus for examining a religious sensibility subtly informed by Spanish devotional literature.

This article examines Franco-Spanish political relations in the period from 1610 to 1625 as represented in Spanish poetry and paintings produced in Spain or in the Spanish theatre of influence. The early seventeenth century was a time of cautious rapprochement and powerful underlying tensions between these nations. Two events of major significance are explored: the assassination of Henry IV of France in May 1610 and the reciprocal Bourbon-Habsburg marriages of 1615. The assassination is reflected in funeral sonnets by Góngora, Quevedo, Lope de Vega, and the Conde de Villamediana, while Henri himself and the marriages were portrayed by Rubens, envoy of the Infanta Isabel Clara Eugenia, Governor of Flanders, in his series on the life of Henri’s widow, Marie de Médicis (1625). This article considers the interplay of poetry and politics in these two complementary art forms and their effect on the legacy of Henri IV in Habsburg lands.

More than a guide for painters, Vicente de Carducho's Diálogos de la pintura has long been recognized to promote painting as a liberal art and to advocate for the creation of an academy of painting in seventeenth-century Madrid. But questions of patriotic belonging and prestige are also at stake in this erudite treatise. In his prologue, Carducho prioritizes his allegiance to his adopted city even while acknowledging his debts to his native Florence. The first part of this article argues that the treatise serves to showcase that allegiance as it participates in a project to make the young political capital a great cultural centre. The second part makes the case for Carducho as a practitioner who understood the debt he owed to the visual culture of his adopted homeland while remaining true to the aesthetic principles of his Florentine training. His late depictions of saints in adoration of the crucifix provide a focus for examining a religious sensibility subtly informed by Spanish devotional literature.

This article argues that Carlos Saura's 1964 film biography of the 1830s Andalusian bandit El Tempranillo, Llanto por un bandido, provides an insight into the impact of the War of Independence (1808–1814) and its aftermath on bandits in terms of physical and mental trauma, their involvement in politics and their interaction with civil society. Saura and his co-screenwriter used the French authors Théophile Gautier and Prosper Mérimée in their research on the period, thus incorporating views of Spain emanating from the culture of the Napoleonic aggressor. This, combined with the fact that the incorporation of outlaws into militia resistance was a common feature of the Napoleonic wars, produces a very complex backdrop for the film. If we add to this considerations relevant to censorship of the arts in Spain in the early 1960s, a flawed film which has not been seen as important in Saura's oeuvre becomes a very interesting witness to a century and a half of Spanish history. Key words: Carlos Saura, Llanto por un bandido, bandido, War of Independence, Censorship, National Catholicism

More than a guide for painters, Vicente de Carducho's Diálogos de la pintura has long been recognized to promote painting as a liberal art and to advocate for the creation of an academy of painting in seventeenth-century Madrid. But questions of patriotic belonging and prestige are also at stake in this erudite treatise. In his prologue, Carducho prioritizes his allegiance to his adopted city even while acknowledging his debts to his native Florence. The first part of this article argues that the treatise serves to showcase that allegiance as it participates in a project to make the young political capital a great cultural centre. The second part makes the case for Carducho as a practitioner who understood the debt he owed to the visual culture of his adopted homeland while remaining true to the aesthetic principles of his Florentine training. His late depictions of saints in adoration of the crucifix provide a focus for examining a religious sensibility subtly informed by Spanish devotional literature.

This article examines Franco-Spanish political relations in the period from 1610 to 1625 as represented in Spanish poetry and paintings produced in Spain or in the Spanish theatre of influence. The early seventeenth century was a time of cautious rapprochement and powerful underlying tensions between these nations. Two events of major significance are explored: the assassination of Henry IV of France in May 1610 and the reciprocal Bourbon-Habsburg marriages of 1615. The assassination is reflected in funeral sonnets by Góngora, Quevedo, Lope de Vega, and the Conde de Villamediana, while Henri himself and the marriages were portrayed by Rubens, envoy of the Infanta Isabel Clara Eugenia, Governor of Flanders, in his series on the life of Henri’s widow, Marie de Médicis (1625). This article considers the interplay of poetry and politics in these two complementary art forms and their effect on the legacy of Henri IV in Habsburg lands.

This article argues that Carlos Saura's 1964 film biography of the 1830s Andalusian bandit El Tempranillo, Llanto por un bandido, provides an insight into the impact of the War of Independence (1808–1814) and its aftermath on bandits in terms of physical and mental trauma, their involvement in politics and their interaction with civil society. Saura and his co-screenwriter used the French authors Théophile Gautier and Prosper Mérimée in their research on the period, thus incorporating views of Spain emanating from the culture of the Napoleonic aggressor. This, combined with the fact that the incorporation of outlaws into militia resistance was a common feature of the Napoleonic wars, produces a very complex backdrop for the film. If we add to this considerations relevant to censorship of the arts in Spain in the early 1960s, a flawed film which has not been seen as important in Saura's oeuvre becomes a very interesting witness to a century and a half of Spanish history. Key words: Carlos Saura, Llanto por un bandido, bandido, War of Independence, Censorship, National Catholicism

This article argues that Carlos Saura's 1964 film biography of the 1830s Andalusian bandit El Tempranillo, Llanto por un bandido, provides an insight into the impact of the War of Independence (1808–1814) and its aftermath on bandits in terms of physical and mental trauma, their involvement in politics and their interaction with civil society. Saura and his co-screenwriter used the French authors Théophile Gautier and Prosper Mérimée in their research on the period, thus incorporating views of Spain emanating from the culture of the Napoleonic aggressor. This, combined with the fact that the incorporation of outlaws into militia resistance was a common feature of the Napoleonic wars, produces a very complex backdrop for the film. If we add to this considerations relevant to censorship of the arts in Spain in the early 1960s, a flawed film which has not been seen as important in Saura's oeuvre becomes a very interesting witness to a century and a half of Spanish history. Key words: Carlos Saura, Llanto por un bandido, bandido, War of Independence, Censorship, National Catholicism