{"id":1534,"date":"2025-04-21T11:23:49","date_gmt":"2025-04-21T11:23:49","guid":{"rendered":"https:\/\/hsa.merry.plus\/main-court\/"},"modified":"2025-04-28T08:24:45","modified_gmt":"2025-04-28T08:24:45","slug":"main-court","status":"publish","type":"page","link":"https:\/\/hsa.merry.plus\/es\/visit\/galleries\/main-court\/","title":{"rendered":"Patio Central"},"content":{"rendered":"\r\n
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\r\n Patio Central <\/h2>\r\n \r\n
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Nada m\u00e1s entrar en la Hispanic Society, los visitantes acceden a un patio espa\u00f1ol de estilo renacentista hecho de terracota arquitect\u00f3nica ricamente decorada que alcanza una altura de 35 pies (m\u00e1s de 10 metros). Realizados por la Perth Amboy Terra Cotta Company de Nueva Jersey, los dise\u00f1os que se observan en las columnas de la arquer\u00eda est\u00e1n basados en las tallas que rodean las ventanas del patio de principios del siglo xvi del castillo de V\u00e9lez-Blanco, en la provincia de Almer\u00eda, ahora instalado en el Metropolitan Museum of Art. Otros rasgos decorativos, tales como los roleos de hojas, los grutescos y los trofeos romanos, se adaptaron a partir de ornamentos t\u00edpicos asimismo de comienzos del siglo xvi, mientras que los blasones situados sobre cada uno de los arcos muestran las armas de distintas provincias y ciudades espa\u00f1olas. Los suelos est\u00e1n pavimentados con baldosas hexagonales de arcilla roja sin vidriar producidas en los talleres de la Moravian Pottery and Tile Works de Doylestown, Pensilvania, fundada por Henry Chapman Mercer, un destacado miembro del movimiento americano Arts and Crafts. Las mismas baldosas se mantienen tambi\u00e9n en las galer\u00edas y la Sala de Lectura.<\/p>\n

Ocupando un lugar destacado en el Patio Central se encuentra el cuadro m\u00e1s famoso de la Hispanic Society, el retrato de cuerpo entero de La Duquesa de Alba <\/em>(1797), de Francisco de Goya y Lucientes. El ic\u00f3nico retrato de Goya se halla acompa\u00f1ado por obras maestras de la pintura latinoamericana, entre las que se incluyen San Miguel luchando con los \u00e1ngeles rebeldes <\/em>(M\u00e9xico, hacia 1650), de Sebasti\u00e1n L\u00f3pez de Arteaga; Do\u00f1a Mar\u00eda Catalina de Urrutia <\/em>(Puerto Rico, 1788), de Jos\u00e9 Campeche; y El coste\u00f1o <\/em>(M\u00e9xico, hacia 1843), de Jos\u00e9 Agust\u00edn Arrieta. Asimismo, se exhibe una soberbia selecci\u00f3n de esculturas de terracota y madera policromada de los siglos xvi al xviii procedentes de Espa\u00f1a, M\u00e9xico y Ecuador, entre las cuales figuran Santiago el Mayor <\/em>(M\u00e9xico, 1575-1600); Virgen de la Inmaculada Concepci\u00f3n <\/em>(Ecuador, 1700-1725); San Miguel Arc\u00e1ngel <\/em>(Ecuador, 1700-1755); San Acisclo <\/em>(hacia 1680), de Pedro de Mena; y El descanso en la huida a Egipto <\/em>(hacia 1690), El \u00e9xtasis de Mar\u00eda Magdalena <\/em>(hacia 1690) y Los desposorios m\u00edsticos de Santa Catalina <\/em>(hacia 1690), de Luisa Rold\u00e1n. Completando la exposici\u00f3n del Patio Central, encontramos magn\u00edficos ejemplares de mobiliario espa\u00f1ol e indoportugu\u00e9s, as\u00ed como una extraordinaria pila bautismal de estilo mud\u00e9jar, hecha de loza vidriada al esta\u00f1o, que data de principios del siglo xv y proviene de Toledo. En el Patio Central, los visitantes tambi\u00e9n podr\u00e1n contemplar exposiciones temporales de obras seleccionadas de la Colecci\u00f3n.<\/p>\n

Expuestos bajo la galer\u00eda porticada del Patio Central descubrimos retablos de la Baja Edad Media y el siglo xvi, estatuas policromadas y esculturas funerarias de alabastro, as\u00ed como plater\u00eda de los siglos xv al xviii, procedentes de Espa\u00f1a, Latinoam\u00e9rica, Portugal y Goa. En la arcada este, los sepulcros con paredes de alabastro de comienzos del siglo xvi de Gutierre de la Cueva, Obispo de Palencia, y Menc\u00eda Enr\u00edquez de Toledo, Duquesa de Alburquerque, procedentes ambos del Monasterio de San Francisco de Cu\u00e9llar, muestran la transici\u00f3n del G\u00f3tico al Renacimiento experimentada por el arte y la arquitectura espa\u00f1olas. La arcada oeste, que conduce a la galer\u00eda Visi\u00f3n de Espa\u00f1a <\/em>de Sorolla, presenta destacados ejemplos de obras en plata originarias de Espa\u00f1a, incluyendo una custodia procesional, fechada en 1585, obra de Crist\u00f3bal Becerril y procedente de la iglesia parroquial de San Juan, en Alarc\u00f3n (Cuenca, Espa\u00f1a), as\u00ed como plater\u00eda de car\u00e1cter laico y origen colonial proveniente del Alto Per\u00fa, M\u00e9xico y Goa. Menci\u00f3n especial merecen dos exquisitos ejemplos de trabajo en plata del siglo xviii originarios de Bolivia: una bandeja repujada, decorada con motivos florales y chinchillas, que procede de la colecci\u00f3n de la Reina Carlota, esposa de Jorge iii; y un aguamanil para agua caliente con forma de le\u00f3n. Tambi\u00e9n expuestos en la arquer\u00eda oeste encontramos esculturas y retablos de la Baja Edad Media y el Renacimiento: un relieve en madera policromada de La Resurrecci\u00f3n <\/em>(hacia 1490) atribuido al escultor Gil de Silo\u00e9; una estatua tambi\u00e9n de madera policromada de San Mart\u00edn <\/em>(Cacabelos, Le\u00f3n, hacia 1475-1500); el Panel de la Ascensi\u00f3n del Retablo de los Santos Vicente y Gil <\/em>(Valencia, hacia 1408), de Miguel Alca\u00f1iz; y el Retablo de los dos San Juanes <\/em>(Cuenca, hacia 1550), de Mart\u00edn G\u00f3mez el Viejo.<\/p>\n

See Temporary Exhibitions here<\/a><\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\n\n\r\n

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Explorar m\u00e1s<\/h3>
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\n Galer\u00edas de Cer\u00e1mica <\/div>\n
\n <\/div>\n <\/div>\n \n Read\n <\/a>\n <\/article>\n
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\n \"\" <\/div>\n
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\n Galer\u00eda Visi\u00f3n de Espa\u00f1a de Sorolla <\/div>\n
\n <\/div>\n <\/div>\n \n Read\n <\/a>\n <\/article>\n
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\n \"\" <\/div>\n
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\n Escultura de la Explanada <\/div>\n
\n <\/div>\n <\/div>\n \n Read\n <\/a>\n <\/article>\n <\/div>\n <\/div>\r\n\n\n\n

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