ABSTRACT This paper analyses the art policies deployed by old Spanish nobility in the second half of the nineteenth century, and in particular those who became involved in organising what were then known as retrospective art exhibitions. The old nobility, whose families held titles that dated back to the sixteenth and seventeenth centuries and belonged to the category of Grandes (Grandees) of Spain, joined together in the Diputación de la Grandeza de España – a private association created in opposition to the new nobility. It was a consultative institution attached to the Crown and created in 1815 under the honorary presidency of the King. This paper argues that the distinction sought by this regrouping of the old nobility does not imply lack of engagement in the new artistic model based on the notion of fine arts, in which they were responsible for a number of rather telling nuances. As well as sharing with the bourgeoisie the general idea that the arts were in need of protection, the nobility cultivated the image that patronage of the arts was linked to tradition, and this had consequences for the evaluation of history, the musealisation of their private collections and the public reception of old art.

中文翻译：

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Diputación de la Grandeza 和 19 世纪下半叶“回顾性艺术展”的组织

摘要 本文分析了 19 世纪下半叶西班牙老贵族所采用的艺术政策，特别是那些参与组织当时被称为回顾性艺术展览的艺术政策。古老的贵族，其家族拥有可追溯到 16 和 17 世纪的头衔，属于西班牙的格兰德（Grandees）类别，他们加入了 Diputación de la Grandeza de España，这是一个为反对新法而成立的私人协会。贵族。它是一个附属于王室的咨询机构，于 1815 年在国王的名誉总统下创建。本文认为，这种旧贵族的重组所寻求的区别并不意味着缺乏对基于美术概念的新艺术模式的参与，他们负责一些相当明显的细微差别。除了与资产阶级分享艺术需要保护的总体观念外，贵族还培养了艺术赞助与传统联系在一起的形象，这对历史评估、他们私人收藏的博物馆化产生了影响以及公众对旧艺术的接受。