Joanna of Castile - Legacy in Arts and Letters

Legacy in Arts and Letters

The story of Queen Joanna attracted authors, composers and artists of the 19th century romanticist movement, with her qualities of unrequited love and moral fidelity. Later authors often focus on the grief-stricken woman and her mental illness. An incomplete list of these works follows:

  • Felipe el Hermoso (1845) — Eusebio Asquerino and Gregorio Romero. A play in four acts.
  • La Locura de Amor (1855) — Manuel Tamayo y Baus. Play
  • Doña Juana la Loca (late 19th Cent.) — Emilio Serrano. Opera.
  • Juana la Loca (1877) — Francisco Pradilla. Painting (shown above). Currently in the Prado museum of Madrid, Spain.
  • Locura de amor (1948) — Juan de Orduña. Film.
  • The Prisoner of Tordesillas (1959) — Lawrence Schoonover. Novel.
  • La Loca (1979) — Gian Carlo Menotti. Opera.
  • Mariner by the playwright Don Nigro. Play.
  • Las Ruinas del Corazon (1999) — Eric Gamalinda. Poem.
  • Juana la Loca (2001) — directed by Vicente Aranda and starring Pilar López de Ayala as Joanna, was nominated for 12 Goya Awards, and was released in the US as Mad Love. Based on La Locura de Amor by Manuel Tamayo y Baus.
  • El Pergamino de la Seducción (2005) — Gioconda Belli. Novel in Spanish.
  • The Last Queen (2007) — C.W. Gortner. Novel in English and Spanish

Read more about this topic:  Joanna Of Castile

Famous quotes containing the words legacy, arts and/or letters:

    “What is popularly called fame is nothing but an empty name and a legacy from paganism.”
    —Desiderius Erasmus (c. 1466–1536)

    “What ails it, intrinsically, is a dearth of intellectual audacity and of aesthetic passion. Running through it, and characterizing the work of almost every man and woman producing it, there is an unescapable suggestion of the old Puritan suspicion of the fine arts as such—of the doctrine that they offer fit asylum for good citizens only when some ulterior and superior purpose is carried into them.”
    —H.L. (Henry Lewis)

    “American thinking, when it concerns itself with beautiful letters as when it concerns itself with religious dogma or political theory, is extraordinarily timid and superficial ... [I]t evades the genuinely serious problems of art and life as if they were stringently taboo ... [T]he outward virtues it undoubtedly shows are always the virtues, not of profundity, not of courage, not of originality, but merely those of an emasculated and often very trashy dilettantism.”
    —H.L. (Henry Lewis)