Bodegon

The term has been used since about 1650. The first to use this word was to call the genre scenes of the early Velazquez , in which the commoners, Francisco Pacheco , are depicted as dining or cooking commoners ^[3] .

Some Spanish genre paintings , apparently, depicted real bodegones pubs. However, according to the association, the name passed to a wide range of genre paintings depicting people of noble origin, often with food and drinks. Already in 1590, Flemish and Italian cuisine images and market scenes were called bodegones.

In his "Arte de la pintura" (1649), Francisco Pacheco describes the bodegon as a naturalistic painting genre of his student and adopted son Velazquez.

In modern Spanish means "still life" ^[4] .

Bodegon appeared at the end of the XVI century on the basis of Italian designs.

Three 'bodegones de Italia' were written in 1592. The earliest known examples of market scenes (Granada, Pal. Carlos V), signed by Juan Esteban, appeared in Ubeda in 1606; first kitchen scene - approx. 1604, belongs to the hand of Vincenzo Campi and is part of the decoration of the ceiling of the gallery of prelates in the palace of Arzobispal in Seville ^[4] .

In Italy, bodegons were spread under the influence of the realistic manner of the artist Michelangelo da Caravaggio . The appeal to the "low" genre was a reaction to the sophistication of Italian mannerism ^[2] . Later, the word "bodegon" was called the still life genre as a whole.

Bodegon reached its peak in the 17th century ^[5] .

Bodegons are divided into two main types:

• still lifes (usually ascetic, on a neutral background);
• the image of scenes in a tavern , on the street, in a shop, with the participation of a small number of characters (mostly common people ), combining elements of a everyday scene and a still life ^[6] .

The Bodegons allowed the artist to combine a genre scene with a still life ^[7] .

Bodegon, in particular, was Diego Velazquez's favorite genre during the first “Seville” period of his work ^[8] . Zurbaran has addressed this genre more than once.

The bodegones genre had its traditional forms - scenes in a darkened room with a dim light source, in which light spots are especially contrasted, volumes and outlines of figures stand out ^[1] .

Bodegon was considered a “low” genre in the hierarchy of genres ^[8] . The paintings were considered “insignificant” and even “defaming” ^[4] . They were openly ridiculed by Velasquez's rival, Vincenzo Carducci, in his Diálogos de la pintura (1633).

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  bodegon Francisco de Zurbaran

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  Bodegon Juan van der Amen and Gomez de Leon

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  bodegon of louis melendez

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  Bodegon

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  Bodegon

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  bodegon Ignacio Arias

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  Bodegon

• Still life with herring
• 17th century Spanish painting
• Juan Sanchez Cotan
• Still life

• V. Carducho: Diálogos de la pintura (Madrid, 1633); ed. FJ Calvo Serraller (Madrid, 1979)
• F. Pacheco: Arte de la pintura (Seville, 1649); ed. B. Bassegoda i Hugas (Madrid, 1990)
• AA Palomino de Castro y Velasco: Museo pictórico (1715-24)
• J. López Navío: 'Velázquez tasa los cuadros de su protector Don Juan de Fonseca', Archv Esp. A., xxxiv (1961), pp. 53-84
• I. Bergström: Maestros españoles de bodegones y floreros (Madrid, 1970)
• M. Haraszti-Takács: Spanish Genre Painting in the Seventeenth Century (Budapest, 1983)
• Pintura española de bodegones y floreros de 1600 a Goya (exh. Cat. By AE Pérez Sánchez, Madrid, Prado, 1983)
• WB Jordan: Spanish Still-life in the Golden Age, 1600-1650 (Fort Worth, 1985)
• D. Kinkead: 'The Picture Collection of Don Nicolás Omazur', Burl. Mag., Cxxviii (1986), pp. 132-44
• J. Brown and RL Kagan: 'The Duke of Alcalá: His Collection and its Evolution', A. Bull., Lxix (1987), pp. 231-55
• B. Wind: Velázquez '' Bodegones': A Study in Seventeenth-century Genre Painting (Fairfax, 1987)
• N. Bryson: Looking at the Overlooked: Four Essays on Still-life Painting (London, 1990)
• P. Cherry: Still-life and Genre Painting in Spain during the First Half of the Seventeenth Century (diss., U. London, Courtauld Inst., 1991)