Of Sagittarii and Dogs: Two Graphical Representations of the Lope de Vega Brand
This article examines how Lope de Vega proclaimed his literary singularity with two graphical representations: an engraving with a centaur that appeared in several covers of his works between 1604 and 1625, and an allegorical portrait that Lope kept in his study and that was well known in his circle...
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| Format: | Article |
| Language: | Catalan |
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Universitat de Girona; Universitat Autònoma de Barcelona
2016-11-01
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| Series: | Studia Aurea: Revista de Literatura Española y Teoría Literaria del Renacimiento y Siglo de Oro |
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| Online Access: | https://studiaaurea.com/article/view/210 |
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Article |
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doaj-6038718e7b0a4cde8c239fc56121696f2021-02-16T15:25:37ZcatUniversitat de Girona; Universitat Autònoma de BarcelonaStudia Aurea: Revista de Literatura Española y Teoría Literaria del Renacimiento y Siglo de Oro1988-10882016-11-0110015317110.5565/rev/studiaaurea.210129Of Sagittarii and Dogs: Two Graphical Representations of the Lope de Vega BrandAntonio Sánchez Jiménez0Université de NeuchâtelThis article examines how Lope de Vega proclaimed his literary singularity with two graphical representations: an engraving with a centaur that appeared in several covers of his works between 1604 and 1625, and an allegorical portrait that Lope kept in his study and that was well known in his circle of friends. These cases show how Lope used graphic material to promote a certain image of himself and his work, supporting the one he spread through his verses. On the other hand, these examples shed light on opposite aspects of Lope’s career: the centaur shows how he adapted himself to the world of mass production; the allegorical portrait shows how he presented himself in more exclusive circles.https://studiaaurea.com/article/view/210lope de vegagrabadocentauroretratomarca lope |
| collection |
DOAJ |
| language |
Catalan |
| format |
Article |
| sources |
DOAJ |
| author |
Antonio Sánchez Jiménez |
| spellingShingle |
Antonio Sánchez Jiménez Of Sagittarii and Dogs: Two Graphical Representations of the Lope de Vega Brand Studia Aurea: Revista de Literatura Española y Teoría Literaria del Renacimiento y Siglo de Oro lope de vega grabado centauro retrato marca lope |
| author_facet |
Antonio Sánchez Jiménez |
| author_sort |
Antonio Sánchez Jiménez |
| title |
Of Sagittarii and Dogs: Two Graphical Representations of the Lope de Vega Brand |
| title_short |
Of Sagittarii and Dogs: Two Graphical Representations of the Lope de Vega Brand |
| title_full |
Of Sagittarii and Dogs: Two Graphical Representations of the Lope de Vega Brand |
| title_fullStr |
Of Sagittarii and Dogs: Two Graphical Representations of the Lope de Vega Brand |
| title_full_unstemmed |
Of Sagittarii and Dogs: Two Graphical Representations of the Lope de Vega Brand |
| title_sort |
of sagittarii and dogs: two graphical representations of the lope de vega brand |
| publisher |
Universitat de Girona; Universitat Autònoma de Barcelona |
| series |
Studia Aurea: Revista de Literatura Española y Teoría Literaria del Renacimiento y Siglo de Oro |
| issn |
1988-1088 |
| publishDate |
2016-11-01 |
| description |
This article examines how Lope de Vega proclaimed his literary singularity with two graphical representations: an engraving with a centaur that appeared in several covers of his works between 1604 and 1625, and an allegorical portrait that Lope kept in his study and that was well known in his circle of friends. These cases show how Lope used graphic material to promote a certain image of himself and his work, supporting the one he spread through his verses. On the other hand, these examples shed light on opposite aspects of Lope’s career: the centaur shows how he adapted himself to the world of mass production; the allegorical portrait shows how he presented himself in more exclusive circles. |
| topic |
lope de vega grabado centauro retrato marca lope |
| url |
https://studiaaurea.com/article/view/210 |
| work_keys_str_mv |
AT antoniosanchezjimenez ofsagittariianddogstwographicalrepresentationsofthelopedevegabrand |
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1724267053661028352 |