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Manufactured in the United States of America
First printing
DESIGNER : Mandy McDonald Scallan
TYPEFACE : Arno Pro
PRINTER AND BINDER: Sheridan Books, Inc.
Jacket illustration: Alonso Snchez Coello, Juana of Austria, ca. 1566, oil on canvas, 110 x 84.5 cm. Madrid, Patrimonio Nacional, Monasterio de las Descalzas Reales. Patrimonio Nacional.
Portions of Ana Garca Sanzs essay first appeared in Jeanne dAutriche, fondatrice des Dchausses royales de Madrid, in La Dame de Coeur: Patronage et mecenat religieux des femmes de pouvoir dans lEurope des XIVeXVIIe sicles, ed. M. Gaude-Ferragu and C. Vincent-Cassy (Rennes: Presses Universitaires de Rennes, 2016), 27994, and are used by permission of Presses Universitaires de Rennes.
Library of Congress Cataloging-in-Publication Data
Names: Garca Prez, Noelia, editor. | Art, Power, and Gender (Conference) (2nd : 2018 :
Universidad de Murcia)
Title: The making of Juana of Austria : gender, art, and patronage in early modern Iberia / edited by Noelia Garca Prez.
Other titles: Gender, art, and patronage in early modern Iberia
Description: Baton Rouge : Louisiana State University Press, [2021] | Series: New Hispanisms : cultural and literary studies | This volume is the result of the conference Art, Power, and Gender: Juana of Austria and the Patronage of Art in Renaissance Europe held in the Department of Art History at the Universidad de Murcia in 2018. | Includes bibliographical references and index.
Identifiers: LCCN 2021020592 (print) | LCCN 2021020593 (ebook) | ISBN 978-0-8071-7593-4 (cloth) | ISBN 978-0-8071-7687-0 (pdf) | ISBN 978-0-8071-7688-7 (epub)
Subjects: LCSH: Juana, of Austria, Princess of Portugal, 15351573. | Juana, of Austria, Princess of Portugal, 15351573Art patronage. | Monasterio de las Descalzas Reales (Madrid, Spain) | Art PatronageSpainHistory16th century.
Classification: LCC N5277.2.J83 M35 2021 (print) | LCC N5277.2.J83 (ebook) | DDC 707.5094609/031dc23
LC record available at https://lccn.loc.gov/2021020592
LC ebook record available at https://lccn.loc.gov/2021020593
ACKNOWLEDGMENTS
The making of a collective volume like the one the reader is holding is the result of the generosity and support of many people and institutions. For this reason, it is a great pleasure to express my gratitude to all those who have taken the lead in bringing this work to publication; without them, it would not have come to fruition.
My first words of gratitude are dedicated to the contributors of this volume, first, for their enthusiastic willingness to participate in the conference Art, Power, and Gender: Juana of Austria and the Patronage of Art of in Renaissance Europe, held in the Department of Art History at the Universidad de Murcia in 2018, and second, for then agreeing to develop their papers into the extended essays that make up this book, thereby sharing their scholarship on Juana of Austria with a wider audience. This volume has been a truly collaborative work and would not have been possible without the generosity and cooperation of all their authors. Each of them, from their respective disciplines, has contributed to make the first-ever collection of essays about Juana of Austria. This is a work that reveals her multiple contexts and facetsprincess of Portugal, regent of Castile, the only female Jesuit in history, and, most importantly, an art patron who constructed her own art collection and used it to her own advantage to make a visual statement of her lineage, power, and religious leadership. It has been an honor to work with and learn from these peers and colleagues, who will always have my admiration and affection. Collaborating with them has been an experience for which I am deeply grateful.
Furthermore, this project could not have reached a productive conclusion without financial and institutional support, for which considerable thanks is due. The combined cooperation of Grupo LGB, the Fundacin Sneca, the Campus Mare Nostrum, and the Direccin General de Bienes Culturales de la Comunidad de Murcia is deeply appreciated.
Deserving of special mention is Anne Cruz, editor of New Hispanisms: Cultural and Literary Studies, the Louisiana State University Press series of which this book is a part, who was enthusiastic about this project from the outset. This volume has benefited immeasurably from her constant guidance and support at every stage. It has been a true privilege to work with her and learn from her magisterium, counting on her willingness and absolute generosity. I am also especially indebted to Ma Rodrguez-Salgado, not only for sharing her expertise on Juana de Austria but also for her generosity and warm support. Leaning on her advice, kindness, and encouragement as thoughtful critic and close friend has been fundamental for me. Beyond that, Anne Cruz and Ma Rodrguez-Salgado have provided crucial support in the translation and stylistic revision of the manuscript. Since English is not the native language of most of the contributors, their help has been absolutely essential. I feel deeply fortunate to have had the expertise, guidance, and friendship of these prominent scholars.
My gratitude extends also to Alisa Plant, the director of Louisiana State University Press; James W. Long, acquisitions editor; Catherine L. Kadair, managing editor; Sunny Rosen, copywriter and publicity coordinator; and to freelance copyeditor Susan Murray. This project could not have been completed without their skills and support. To the anonymous reviewers of our book proposal, we owe thanks for their constructive suggestions and comments, which improved the manuscript significantly.
I would also like to thank a variety of scholars who were enthusiastic about this topic and offered advice, comments, and suggestions, including Andrea Pearson, Dagmar Eichberger, Sheryl Reiss, Alexander Nagel, Alejandra Franganillo, Almudena Prez de Tudela, Ignacio J. Garca Pinilla, Jane Simpkiss, Consuelo lvarez, Rosa M. Iglesias, Pablo Piqueras, Jos Ramn Villar, Sheila Barker, Caroline zum Kolk, Elizabeth Lehfeldt, David Harris Sacks, Kathleen Wilson-Chevalier, Adriana Concin, Katie Stirling-Harris, Erin Rowe, Katrina Olds, Mara Morrs, Pablo Ords, Patrick Lenaghan, Markus Burke, Florian Kugler, Hugo Miguel Crespo, Flix Labrador Arroyo, Jos Luis Sancho Gaspar, Bruce Edelstein, Martin Malcolm Elbl, the Community of Poor Clares of the Descalzas Reales, Sister Mara Almudena Pintos, Mara Grin, Alejandro Garca Avils, Mara Garca, Ignacio Olea Polo, Melania Soler, Emma L. Cahill, and Jos Fernando Vzquez. All of them have offered invaluable guidance at every level and continue to share our enthusiasm for this project.
