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                <text>Museo Sorolla, Madrid, España&lt;br /&gt;&lt;a href="https://www.culturaydeporte.gob.es/msorolla/colecciones/colecciones-del-museo/pintura/trata-de-blancas.html"&gt;https://www.culturaydeporte.gob.es/msorolla/colecciones/colecciones-del-museo/pintura/trata-de-blancas.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20210227021107/https://www.culturaydeporte.gob.es/msorolla/colecciones/colecciones-del-museo/pintura/trata-de-blancas.html"&gt;https://web.archive.org/web/20210227021107/https://www.culturaydeporte.gob.es/msorolla/colecciones/colecciones-del-museo/pintura/trata-de-blancas.html&lt;/a&gt;</text>
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&lt;li&gt;Bibliografía&lt;br /&gt;&lt;br /&gt;María Dolores Caparrós Masegosa and Esperanza Guillén Marcos, "Prensa católica y pintura española en el último cuarto del siglo XIX: Aproximaciones a una crítica integrista (segunda parte)," Cuadernos de Arte de la Universidad de Granada 39 (2008): 113-29,&lt;br /&gt;&lt;br /&gt;Reyes Carrasco Garrido, "Arte, moral y prostitución: Un asunto escabroso en la Nacional de 1897," Anuario del Departamento de Historia y Teoría del Arte 9-10 (1997-1998): 379-86.&lt;/li&gt;&#13;
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Joven desnuda y alcahueta de la que solo se ve una mano y la silueta</text>
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                <text>En subasta de 2005 en internet. 5.11.2005. Galerie Gloggner Lucerna.&lt;br /&gt;Encontrado en la p&amp;aacute;gina web&amp;nbsp;Basler-Kopp:&lt;br /&gt;&lt;a href="http://www.basler-kopp.ch/Bildbeschreibungen/Bei_der_Kupplerin.htm"&gt;http://www.basler-kopp.ch/Bildbeschreibungen/Bei_der_Kupplerin.htm&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20201224170920/http://www.basler-kopp.ch/Bildbeschreibungen/Bei_der_Kupplerin.htm"&gt;https://web.archive.org/web/20201224170920/http://www.basler-kopp.ch/Bildbeschreibungen/Bei_der_Kupplerin.htm&lt;/a&gt;</text>
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Otro título: Kuppeleiszene</text>
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                <text>Wikigallery:&lt;br /&gt;&lt;a href="http://www.wikigallery.org/wiki/painting_333746/Jan-Havicksz.-Steen/The-Procuress"&gt;http://www.wikigallery.org/wiki/painting_333746/Jan-Havicksz.-Steen/The-Procuress&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Sothebys:&lt;br /&gt;&lt;a href="http://www.sothebys.com/en/auctions/ecatalogue/2010/important-old-master-paintings-and-sculpture-n08610/lot.188.html"&gt;http://www.sothebys.com/en/auctions/ecatalogue/2010/important-old-master-paintings-and-sculpture-n08610/lot.188.html&lt;/a&gt;&lt;a href="http://www.wikigallery.org/wiki/painting_333746/Jan-Havicksz.-Steen/The-Procuress"&gt;&lt;br /&gt;&lt;/a&gt;</text>
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                <text>Retrato de mujer en estilo expresionista</text>
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                <text>Grabdo inglés cuyo  título completo es "The Harlot´s Nurse or Modern Procuress". Incluye 8 líneas en verso: "Behold the practis'd Baud explore, / The Nymph from head to foot all O'er, / For Cupers whom shes dress'd w'th Care, / (A bait to Catch some Money'd Heir) / etc."  (véase la imagen para el resto).&#13;
&#13;
El grabado contiene una cortesana vistiéndose con ayuda de una mujer mayor que es identificada en la imagen como su criada o alcahueta. Se incluye un gato jugando con un ratón y dos cuadros en el fondo en la pared, uno de Danae y otros de una mujer con los pechos desnudos y una ardilla en la mano,</text>
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                <text>Aguafuerte y grabado. 23.7 x 15.1 cm.</text>
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&#13;
Por gentileza del autor.</text>
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                <text>&lt;p id="firstHeading" class="firstHeading" lang="es"&gt;Galería Nacional de Arte de Karlsruhe, Alemania&lt;br /&gt;&lt;a href="https://www.kunsthalle-karlsruhe.de/kunstwerke/Jan-van-Hemessen/Lockere-Gesellschaft/F89E75D645149E3B2802E7B7FE79755C/"&gt;https://www.kunsthalle-karlsruhe.de/kunstwerke/Jan-van-Hemessen/Lockere-Gesellschaft/F89E75D645149E3B2802E7B7FE79755C/&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20201226144651/https://www.kunsthalle-karlsruhe.de/kunstwerke/Jan-van-Hemessen/Lockere-Gesellschaft/F89E75D645149E3B2802E7B7FE79755C/"&gt;https://web.archive.org/web/20201226144651/https://www.kunsthalle-karlsruhe.de/kunstwerke/Jan-van-Hemessen/Lockere-Gesellschaft/F89E75D645149E3B2802E7B7FE79755C/&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Número de inventario: &lt;span&gt;152&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Encontrado en Wikimedia Commons:&lt;br /&gt;&lt;a href="https://commons.wikimedia.org/wiki/File:Jan_Sanders_van_Hemessen_002.jpg"&gt;https://commons.wikimedia.org/wiki/File:Jan_Sanders_van_Hemessen_002.jpg&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20200626174022/https://commons.wikimedia.org/wiki/File:Jan_Sanders_van_Hemessen_002.jpg"&gt;https://web.archive.org/web/20200626174022/https://commons.wikimedia.org/wiki/File:Jan_Sanders_van_Hemessen_002.jpg&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;También en Wikipedia:&lt;br /&gt;&lt;a href="https://en.wikipedia.org/wiki/Genre_art#/media/File:Jan_Sanders_van_Hemessen_002.jpg"&gt;https://en.wikipedia.org/wiki/Genre_art#/media/File:Jan_Sanders_van_Hemessen_002.jpg&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20200624232701/https://en.wikipedia.org/wiki/Genre_art"&gt;https://web.archive.org/web/20200624232701/https://en.wikipedia.org/wiki/Genre_art&lt;/a&gt;&lt;/p&gt;&#13;
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&#13;
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&#13;
Otros títulos: A Merry Company, Det glada sällskapet</text>
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                <text>Museo Nacional de Bellas Artes, Estocolmo, Suecia&amp;nbsp;&lt;br /&gt;&lt;a href="http://collection.nationalmuseum.se/eMP/eMuseumPlus?service=direct/1/ResultListView/result.t1.collection_list.$TspTitleImageLink.link&amp;amp;sp=10&amp;amp;sp=Scollection&amp;amp;sp=SfieldValue&amp;amp;sp=0&amp;amp;sp=0&amp;amp;sp=3&amp;amp;sp=SdetailList&amp;amp;sp=0&amp;amp;sp=Sdetail&amp;amp;sp=0&amp;amp;sp=F&amp;amp;sp=T&amp;amp;sp=0"&gt;http://collection.nationalmuseum.se/eMP/eMuseumPlus?service=direct/1/ResultListView/result.t1.collection_list.$TspTitleImageLink.link&amp;amp;sp=10&amp;amp;sp=Scollection&amp;amp;sp=SfieldValue&amp;amp;sp=0&amp;amp;sp=0&amp;amp;sp=3&amp;amp;sp=SdetailList&amp;amp;sp=0&amp;amp;sp=Sdetail&amp;amp;sp=0&amp;amp;sp=F&amp;amp;sp=T&amp;amp;sp=0&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;A&lt;span&gt;rchivado en:&lt;/span&gt;&lt;br /&gt;&lt;a href="https://web.archive.org/web/20200505183911/http://collection.nationalmuseum.se/eMP/eMuseumPlus?service=ExternalInterface&amp;amp;module=collection&amp;amp;objectId=19721&amp;amp;viewType=detailView"&gt;https://web.archive.org/web/20200505183911/http://collection.nationalmuseum.se/eMP/eMuseumPlus?service=ExternalInterface&amp;amp;module=collection&amp;amp;objectId=19721&amp;amp;viewType=detailView&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Wikimedia Commons:&lt;br /&gt;&lt;a href="https://commons.wikimedia.org/wiki/File:A_Merry_Company_(Jan_Massys)_-_Nationalmuseum_-_19721.tif?uselang=es"&gt;https://commons.wikimedia.org/wiki/File:A_Merry_Company_(Jan_Massys)_-_Nationalmuseum_-_19721.tif?uselang=es&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;N&amp;uacute;mero de inventario:&lt;/span&gt;&amp;nbsp;NM 2661</text>
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                <text>Escena de música y banquete, un tema del que este pintor tiene varios cuadros. Nótese la vieja a la derecha y el vino.</text>
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                <text>Galeria Borghese, Roma, Italia.&lt;br /&gt;&lt;br /&gt;Encontrado en Wikimedia Commons:&lt;br /&gt;&lt;a href="https://commons.wikimedia.org/wiki/File:Gerrit_van_Honthorst_cat02.jpg"&gt;https://commons.wikimedia.org/wiki/File:Gerrit_van_Honthorst_cat02.jpg&lt;/a&gt;</text>
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                <text>Óleo sobre lienzo. &#13;
Dimensiones: 168 × 202 cm</text>
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                  <text>&lt;p&gt;Pinturas y grabados inspirados en la tradici&amp;oacute;n de &lt;em&gt;La Celestina&lt;/em&gt;&amp;nbsp;&lt;/p&gt;&#13;
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                <text>Alegre compañía, de Honthorst  (1625)</text>
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                <text>Honthorst, Gerrit van (1592-1656)</text>
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                <text>Escena inspirada en la tradición del hijo pródigo. Influencias de Caravaggio. &lt;br /&gt;&lt;br /&gt;"La pintura de género de Honthorst se relaciona con el tema retratado por su compañero Utrecht Caravaggisti. Representa una escena provocativa de un estudiante desenfrenado (¿el hijo pródigo?) en compañía de dos prostitutas y una alcahueta que lleva un bebé. Las páginas de un inmenso folio abierto sobre la mesa están brillantemente iluminadas por la luz de las velas, al igual que el torso semidesnudo de la prostituta tocando el theorbo. Una de las páginas ilustra a un hombre mayor y un niño desnudo, probablemente Cupido, golpeando a una mujer que sostiene un libro grande. La página opuesta muestra un poema en latín." (Descripción traducida de&amp;nbsp;la&amp;nbsp;Galería de Arte de la Web,&amp;nbsp;&lt;a href="https://www.wga.hu/html_m/h/honthors/2/03prodig.html"&gt;https://www.wga.hu/html_m/h/honthors/2/03prodig.html&lt;/a&gt;&lt;span&gt;,&amp;nbsp;Archivado en:&amp;nbsp;&lt;/span&gt;&lt;a href="https://web.archive.org/web/20200605160008/https://www.wga.hu/html_m/h/honthors/2/03prodig.html"&gt;https://web.archive.org/web/20200605160008/https://www.wga.hu/html_m/h/honthors/2/03prodig.html&lt;/a&gt;&lt;span&gt;&lt;span&gt;)&lt;br /&gt;&lt;br /&gt;Otro título: &lt;/span&gt;&lt;/span&gt;Der liederliche Student</text>
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                <text>&lt;span&gt;Bayerische Staatsgemäldesammlungen - Alte Pinakothek München, Alemania&lt;br /&gt;&lt;a href="https://www.sammlung.pinakothek.de/en/artwork/wq4jXaELWo"&gt;https://www.sammlung.pinakothek.de/en/artwork/wq4jXaELWo&lt;/a&gt;&amp;nbsp;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20210610192218/https://www.sammlung.pinakothek.de/en/artwork/wq4jXaELWo/gerard-van-honthorst/der-liederliche-student"&gt;https://web.archive.org/web/20210610192218/https://www.sammlung.pinakothek.de/en/artwork/wq4jXaELWo/gerard-van-honthorst/der-liederliche-student&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;Número de inventorio: &lt;span&gt;391&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Encontrado en la Galería de Arte de la Web:&lt;br /&gt;&lt;a href="http://www.wga.hu/html_m/h/honthors/2/03prodig.html"&gt;http://www.wga.hu/html_m/h/honthors/2/03prodig.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20200605160008/https://www.wga.hu/html_m/h/honthors/2/03prodig.html"&gt;https://web.archive.org/web/20200605160008/https://www.wga.hu/html_m/h/honthors/2/03prodig.html&lt;/a&gt;</text>
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                <text>Óleo sobre lienzo. &#13;
Dimensiones: 125 × 156 cm</text>
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                <text>Escena de cena con prostitutas inspirada en la historia bíblica del hijo pródigo, un tema común en la pintura holandesa de la época. Cf. con cuadros de Murillo del mismo tema, que no presentan estas escenas sino más bien la reconciliación.</text>
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                <text>Alte Pinakothek, Múnich, Alemania.&lt;br /&gt;&lt;a href="https://www.sammlung.pinakothek.de/en/artwork/wq4jE3mGWo"&gt;https://www.sammlung.pinakothek.de/en/artwork/wq4jE3mGWo&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20210428005237/https://www.sammlung.pinakothek.de/en/artwork/wq4jE3mGWo"&gt;https://web.archive.org/web/20210428005237/https://www.sammlung.pinakothek.de/en/artwork/wq4jE3mGWo&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Web Gallery of Art &lt;br /&gt;&lt;a href="http://www.wga.hu/html_m/h/honthors/1/index.html"&gt;http://www.wga.hu/html_m/h/honthors/1/index.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20160410123404/http://www.wga.hu/html_m/h/honthors/1/index.html"&gt;https://web.archive.org/web/20160410123404/http://www.wga.hu/html_m/h/honthors/1/index.html&lt;/a&gt;</text>
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                <text>Galeria Saatchi, Londres&lt;br /&gt;&lt;a href="http://www.saatchigallery.com/artists/artpages/rego_paula_celestina_house.htm"&gt;http://www.saatchigallery.com/artists/artpages/rego_paula_celestina_house.htm&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;Archivado en&lt;/span&gt;:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20190622103549/http://www.saatchigallery.com/artists/artpages/rego_paula_celestina_house.htm"&gt;https://web.archive.org/web/20190622103549/http://www.saatchigallery.com/artists/artpages/rego_paula_celestina_house.htm&lt;/a&gt;</text>
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                <text>"Paula Rego pinta un mundo de cuentos de hadas oscuros donde las historias de la infancia son disfraces de intriga y tabú psico-sexual, donde gobierna el realismo mágico, donde nada es seguro excepto los poderes brujos del feminismo y la noción subyacente de que nada es lo que parece. La imagen comienza con la historia de Celestina, un personaje que aparece en la literatura española a finales del siglo XV. Celestina era una alcahueta y Paula Rego la representa como representa a todas sus mujeres: dura, práctica, despiadada. La imagen usa la historia de Celestina para explorar las edades de las mujeres, aunque como Paula Rego comenta irónicamente, si hay siete edades de mujeres como de hombres, entonces su Celestina ya ha vivido al menos trece."&lt;br /&gt;&lt;br /&gt;De &lt;a href="http://www.saatchigallery.com/artists/artpages/rego_paula_celestina_house.htm"&gt;http://www.saatchigallery.com/artists/artpages/rego_paula_celestina_house.htm&lt;/a&gt;</text>
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                <text>Bibliografía&lt;br /&gt;•Weissberger, Barbara F. "The Genesis of Paula Rego's &lt;em&gt;A Casa de Celestina&lt;/em&gt;." &lt;em&gt;La pluma es lengua del alma: Ensayos en honor de E. Michael Gerli.&lt;/em&gt; Eds. E. Michael Gerli y José Manuel Hidalgo. Newark, Del.: Juan de la Cuesta, 2011. 407-32.&#13;
&lt;p&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp; (Trata de la pintora portuguesa Paula Rego y de cómo ha interpretado y se ha relacionado con LC -en particular con el personaje de la medianera, en su obra pictórica titulada A Casa de Celestina. Tras un análisis del cuadro, la estudiosa señala cómo este representa el estadio más alto de una crítica feminista en contra de una sociedad represiva que la artista había empezado ya en otras obras suyas anteriores. Por último, dedica un apartado al posible papel de Celestina como experta en el proceso de abortar)&lt;br /&gt;•Rego, Paula, and Abbot Hall Art Gallery. &lt;em&gt;Paula Rego&lt;/em&gt;, Celestina’s House: Abbot Hall Art Gallery, Kendal. 12 June - 7 October 2001 ; Yale Center for British Art, New Haven, 18 April - 30 June 2002. Abbot Hall Art Gallery, 2001.&lt;br /&gt;&lt;strong&gt;&lt;br /&gt;Rare memorabilia.&lt;/strong&gt;&amp;nbsp;&lt;strong&gt;Paperback:&lt;/strong&gt;&amp;nbsp;72 pages&lt;/p&gt;&#13;
&lt;p&gt;&lt;strong&gt;Publisher:&lt;/strong&gt;&amp;nbsp;Abbot Hall Art Gallery (12 Jun. 2001)&lt;br /&gt;&lt;strong&gt;Language:&lt;/strong&gt;&amp;nbsp;English&lt;br /&gt;&lt;strong&gt;ISBN-10:&lt;/strong&gt;&amp;nbsp;1902498054&lt;br /&gt;&lt;strong&gt;ISBN-13:&lt;/strong&gt;&amp;nbsp;978-1902498058&lt;br /&gt;&lt;strong&gt;Product Dimensions:&lt;/strong&gt;&amp;nbsp;29.6 x 24.2 x 1 cm1st edition from 2001 to accompany the exhibition at Abbot Hall Art Gallery. Preface by Edward King, Director, Abbot Hall Art Gallery; Fiona Bradley on&amp;nbsp;&lt;em&gt;Paula Rego Recent Works&lt;/em&gt;; Paula Rego interviewed by Edward King, February 2001; Catalogue with titles and sizes of pictures. 73 colour illustrations.&amp;nbsp;&lt;/p&gt;</text>
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                <text>Museo de Bellas Artes, Boston, Estados Unidos&lt;br /&gt;&lt;a href="http://www.mfa.org/collections/object/duchessa-di-montejasi-with-her-daughters-elena-and-camilla-397941"&gt;http://www.mfa.org/collections/object/duchessa-di-montejasi-with-her-daughters-elena-and-camilla-397941&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20200625003054/https://collections.mfa.org/objects/397941"&gt;https://web.archive.org/web/20200625003054/https://collections.mfa.org/objects/397941&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;N&amp;uacute;mero de inventario:&amp;nbsp;&lt;span&gt;2003.250&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;</text>
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                <text>Aunque es un retrato, la disposici&amp;oacute;n de conjunto con la madre y las hijas de edad casadera recuerda algunas composiciones de alcahuetas o madamas y sus pupilas. &lt;br /&gt;&lt;br /&gt;"Este es el &amp;uacute;ltimo de los grandes retratos familiares de Degas. Tambi&amp;eacute;n se encuentra entre los m&amp;aacute;s sorprendentes. La representaci&amp;oacute;n de la t&amp;iacute;a Fanny del artista es sin adulaciones, delicadamente equilibrada entre austeridad y empat&amp;iacute;a. Su imagen frontal, est&amp;aacute;tica y enfocada contrasta con el porte animado de sus hijas, cuya sensaci&amp;oacute;n de movimiento se ve incrementada por la forma en que el artista pint&amp;oacute; y luego borr&amp;oacute; sus retratos." (Descripci&amp;oacute;n traducida del Museo de Bellas Artes, Boston, Estados Unidos,&amp;nbsp;&lt;a href="http://www.mfa.org/collections/object/duchessa-di-montejasi-with-her-daughters-elena-and-camilla-397941"&gt;http://www.mfa.org/collections/object/duchessa-di-montejasi-with-her-daughters-elena-and-camilla-397941&lt;/a&gt;, Archivado en:&amp;nbsp;&lt;a href="https://web.archive.org/web/20200625003054/https://collections.mfa.org/objects/397941"&gt;https://web.archive.org/web/20200625003054/https://collections.mfa.org/objects/397941&lt;/a&gt;)</text>
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                <text>Museo del Prado, Madrid. &lt;br /&gt;&lt;br /&gt;Wikimedia&lt;br /&gt;&lt;span style="text-decoration: underline;"&gt;&lt;span style="color: #0066cc;"&gt;&lt;a href="https://es.wikipedia.org/wiki/El_paseo_por_Andaluc%C3%ADa#/media/File:Paseo_por_Andalucia.jpg"&gt;https://es.wikipedia.org/wiki/El_paseo_por_Andaluc%C3%ADa#/media/File:Paseo_por_Andalucia.jpg&lt;/a&gt;&lt;/span&gt;&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Para m&amp;aacute;s informaci&amp;oacute;n, consulte al art&amp;iacute;culo de Rachel Schmidt: "Celestinas y majas en la obra de Goya, Alenza y Lucas Vel&amp;aacute;squez." &lt;em&gt;Celestinesca&lt;/em&gt;, 39&amp;nbsp; (2015): 275-328.&lt;br /&gt;&lt;em&gt;&lt;a href="http://parnaseo.uv.es/Celestinesca/Celestinesca39/08_Schmidt_Rachel.pdf"&gt;http://parnaseo.uv.&lt;span style="color: #000000;"&gt;es&lt;/span&gt;/Celestinesca/Celestinesca39/08_Schmidt_Rachel.pdf&lt;/a&gt;&lt;/em&gt;</text>
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                <text>"Esta pintura de&amp;nbsp;Giulio Romano es una narrativa visual de Alexander, su amante Roxanne y una vieja (o alcahueta). En la pintura, podemos ver a los dos amantes abrazándose a punto de intercambiar un tierno beso&amp;nbsp;mientras la vieja echa una ojeada, comprobando como la situación progresa, desde la esquina con sus llaves tintineantes. Los amantes se encuentran entrelazados en una mirada sensual de la que nada les puede liberar. La iconografía de esta pintura está llena de narrativa y una fuerza impulsora sensual. Mientras Roxanne intenta colocar las sábanas sobre su amante, Alexander la acerca recogiéndola con sus brazos perfectos y cuerpo idealizado. Las pantuflas en el banquillo y el batín cerca de la cama de los amantes le dan a la habitación una atmosfera apasionada reflejando el acalorado momento. Mientras los amantes se acercan, la espectadora casi puede escuchar el crujido de la cama de madera mientras se intercambian los pesos en ella y las sábanas arrugadas debajo de los cuerpos esculturales. Romano detalla casa momento sensorial de la escena desde los pliegues de las cortinas, hasta los mechones finos del pelo de Roxanne que flotan sobre el pecho de Alexander." (Texto traducido de:&amp;nbsp;&lt;a href="http://mossinthefur.tumblr.com/post/3708260344/due-amanti-giulio-romano-1523-this-painting-done"&gt;http://mossinthefur.tumblr.com/post/3708260344/due-amanti-giulio-romano-1523-this-painting-done&lt;/a&gt;)</text>
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                    <text>Entre las varias composiciones con la misma modelo y el brasero, 'ésta es la única que presenta un personaje misterioso al fondo, una vieja cubierta que parece un fantasma y que encaja con la representación típica de uan celestina.</text>
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                <text>&lt;p id="firstHeading" class="firstHeading" lang="es"&gt;Galer&amp;iacute;a Nacional de Arte Antiguo,&amp;nbsp;&lt;span&gt;Palazzo Barberini&lt;/span&gt;, Roma&lt;br /&gt;&lt;a href="https://www.barberinicorsini.org/en/opera/judith-beheading-holofernes/"&gt;https://www.barberinicorsini.org/en/opera/judith-beheading-holofernes/&lt;br /&gt;&lt;/a&gt;&lt;/p&gt;&#13;
Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20200418183517/https://www.barberinicorsini.org/en/opera/judith-beheading-holofernes/"&gt;https://web.archive.org/web/20200418183517/https://www.barberinicorsini.org/en/opera/judith-beheading-holofernes/&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Wikimedia Commons: &lt;br /&gt;&lt;a href="https://commons.wikimedia.org/wiki/File:Judith_Beheading_Holofernes-Caravaggio_%28c.1598-9%29.jpg"&gt;https://commons.wikimedia.org/wiki/File:Judith_Beheading_Holofernes-Caravaggio_%28c.1598-9%29.jpg&lt;br /&gt;&lt;br /&gt;&lt;/a&gt;N&amp;uacute;mero de inventario: 2533</text>
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                <text>Aunque evidentemente la criada no es una celestina o alcahueta, est&amp;aacute; representada con los rasgos t&amp;iacute;picos de este personaje. El trio mujer joven, mujer vieja y hombre es el t&amp;iacute;pico de las escenas de celestina con el cliente y la protegida. &lt;br /&gt;&lt;br /&gt;"Esta sirvienta tambi&amp;eacute;n cambia su apariencia y deberes de un per&amp;iacute;odo y de un siglo a otro, de la misma manera que Judith y David lo hacen, como veremos. En la Edad Media por lo general se la muestra como una joven doncella o mujer al lado de Judith a menudo cargando un saco; durante el Renacimiento viste ropas de moda de la &amp;eacute;poca (pero menos coloridas que las de Judith) y a menudo se la retrata como una negra o mulata al lado de su se&amp;ntilde;ora sosteniendo abierto el saco mientras Judith deposita la cabeza cortada en &amp;eacute;l. A finales de los siglos XVI y XVII, se la representa como una vieja bruja (a menudo con la apariencia de una alcahueta) o como una igual que ayuda a Judith a sujetar el cuerpo de Holofernes mientras Judith lo asesina cruelmente. En el siglo XVIII, por lo general, est&amp;aacute; detr&amp;aacute;s de Judith en un papel subsidiario, mientras que en el siglo XIX desaparece por completo de las im&amp;aacute;genes a medida que los artistas se concentran en los aspectos m&amp;aacute;s abiertamente sexuales de la historia." (Cita traducida de&amp;nbsp;&lt;span&gt;Philpot, E. (1999).&amp;nbsp;&lt;/span&gt;&lt;em&gt;A comparative study between the images of Judith and Holofernes and David and Goliath in the history of European art with special reference to the period 1400-1700.&lt;/em&gt;&lt;span&gt;&amp;nbsp;(&lt;/span&gt;&lt;span&gt;N&amp;uacute;mero de publicaci&amp;oacute;n.&lt;/span&gt;&lt;span&gt;&amp;nbsp;10392503) [Tesis de Maestr&amp;iacute;a, Universidad de Glasgow].&amp;nbsp;ProQuest LLC. pp. 40-41).&lt;br /&gt;&lt;br /&gt;"A diferencia de las pinturas espacialmente expansivas del Renacimiento, Caravaggio coloca las figuras de su escena mucho m&amp;aacute;s cerca del plano de la imagen en un interior oscurecido, no solo para enfatizar la naturaleza clandestina de su operaci&amp;oacute;n, sino tambi&amp;eacute;n para realzar la presencia f&amp;iacute;sica y psicol&amp;oacute;gica de los personajes. Los presenta como opuestos fuertes, tanto en edad como en apariencia, en consonancia con la teor&amp;iacute;a del &lt;em&gt;contrapposto&lt;/em&gt; del Renacimiento tard&amp;iacute;o. (17) En el hombro izquierdo de Judith se encuentra una vieja bruja arrugada que sostiene su falda lista para recibir la cabeza del general, en agudo contraste con la digna Judith, que a su vez es la ant&amp;iacute;tesis del musculoso y viril Holofernes. En esta yuxtaposici&amp;oacute;n de anciana y fea con joven y bella Caravaggio segu&amp;iacute;a las recomendaciones expuestas por Gregorio Comanini en su tratado &lt;em&gt;Il Figino&lt;/em&gt; de 1591, que dice: "Y como el poeta juega con la ant&amp;iacute;tesis, o con el contrapposti, as&amp;iacute; el pintor contrapone en uno pintando figuras de mujeres y hombres, infantes y ancianos .... junto a una hermosa ni&amp;ntilde;a una mujer fea." (18) Lo que tambi&amp;eacute;n ha hecho Caravaggio es retratar a la sirvienta en el papel de una alcahueta." (Cita traducida de&amp;nbsp;Philpot, E. (1999).&amp;nbsp;&lt;em&gt;A comparative study between the images of Judith and Holofernes and David and Goliath in the history of European art with special reference to the period 1400-1700.&lt;/em&gt;&amp;nbsp;(N&amp;uacute;mero de publicaci&amp;oacute;n.&amp;nbsp;10392503) [Tesis de Maestr&amp;iacute;a, Universidad de Glasgow].&amp;nbsp;ProQuest LLC. pp. &lt;span&gt;131-132&lt;/span&gt;).&lt;/span&gt;</text>
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                <text>Museo de Bellas Artes de Sevilla, Sevilla, España.&lt;br /&gt;&lt;br /&gt;Encontrado en la Red Digital de Colecciones de Museos de España (Ministerio de Cultura y Deporte):&lt;br /&gt;&lt;a href="http://ceres.mcu.es/pages/Viewer?accion=4&amp;amp;AMuseo=MBASE&amp;amp;Ninv=CE1224P"&gt;http://ceres.mcu.es/pages/Viewer?accion=4&amp;amp;AMuseo=MBASE&amp;amp;Ninv=CE1224P&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Número de inventario: &lt;span&gt;CE1224P&lt;/span&gt;</text>
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                <text>Una mujer joven sentada en una silla. Una mujer vieja a su lado la mira. &lt;br /&gt;&lt;br /&gt;&lt;span&gt;Aguafuerte de la serie&amp;nbsp;&lt;/span&gt;&lt;em&gt;Los&lt;/em&gt;&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;em&gt;Caprichos&lt;/em&gt;&lt;span&gt;&amp;nbsp;número 15.&lt;/span&gt;&lt;br /&gt;&lt;span&gt;De Wikiepedia&amp;nbsp;&lt;/span&gt;&lt;a href="https://es.wikipedia.org/wiki/Bellos_consejos"&gt;https://es.wikipedia.org/wiki/Bellos_consejos&lt;/a&gt;&lt;br /&gt;&lt;span&gt;"Explicación de esta estampa del manuscrito del Museo del Prado: Los consejos son dignos de quien los da. Lo peor es que la señorita va a seguirlos al pie de la letra. ¡Desdichado del que se acerque!.&lt;/span&gt;&lt;br /&gt;&lt;span&gt;2 Manuscrito de Ayala: Idem, salvo el final: Desdichado de aquel que cargue con ella.&lt;/span&gt;&lt;br /&gt;&lt;span&gt;Manuscrito de la Biblioteca Nacional: Las madres suelen ser alcahuetas de sus mismas hijas llevándolas a aciertos paseos y concurrencias."&lt;/span&gt;</text>
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