Espacio Tiempo y Forma. Serie VII, Historia del Arte最新文献_第6页

La iconografía de la Victoria: Nikoma(chos) en un entalle romano procedente de la ciudad de Magdala (Migdal, Iudaea/Syria Palaestina) 胜利的肖像:来自抹大拉城(Migdal, Iudaea/Syria Palaestina)的罗马缺口上的尼科马(chos)

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Espacio Tiempo y Forma. Serie VII, Historia del Arte Pub Date : 2021-10-15 DOI: 10.5944/etfvii.9.2021.30359

Pablo Ozcáriz-Gil

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Monument Valley 2: el reflejo de la muralla roja del arquitecto Bofill, en un entorno virtual inspirado en los mundos de Escher 纪念碑谷2:建筑师Bofill在虚拟环境中反映的红墙，灵感来自Escher的世界

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Espacio Tiempo y Forma. Serie VII, Historia del Arte Pub Date : 2021-10-15 DOI: 10.5944/ETFVII.9.2021.30971

Diana Mª Espada Torres, Adrián Ruiz Cañero

引用次数: 1

Inmersión sonora y microsonido. Estudio de caso de la obra de Alva Noto y Ryoji Ikeda 声音沉浸和微声。Alva Noto和Ryoji Ikeda的工作案例研究

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Espacio Tiempo y Forma. Serie VII, Historia del Arte Pub Date : 2021-10-15 DOI: 10.5944/etfvii.9.2021.30521

J. A. Vertedor-Romero, J. M. Alonso-Calero

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La capilla de los Huérfanos de París de Germain Boffrand (1746-1750) y la resonancia de la obra de arte pseudo-escénica Germain Boffrand（1746-1750）的巴黎孤儿教堂和伪表演艺术作品的共鸣

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Espacio Tiempo y Forma. Serie VII, Historia del Arte Pub Date : 2021-10-15 DOI: 10.5944/ETFVII.9.2021.30844

Tomas Macsotay Bunt

{"title":"La capilla de los Huérfanos de París de Germain Boffrand (1746-1750) y la resonancia de la obra de arte pseudo-escénica","authors":"Tomas Macsotay Bunt","doi":"10.5944/ETFVII.9.2021.30844","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.30844","url":null,"abstract":"In the history of art, the illusory play that seeks to integrate and fuse different components of construction and representation is usually associated with the devices of the Baroque ecclesiastical interior, while the redefinition of the relationship between architecture and image as a result of a virtuoso display of framing and ornamental transitions coincides in various parts of Europe, albeit in different styles, in the early and mid-eighteenth century. The now vanished orphans’ chapel designed by the important architect Germain Boffrand (1667-1754) offers an example of a singular manifestation of such a taste for pseudo-scenic ecclesiastical interiors. This article will observe that the chapel lends itself to a contextualisation that depends on a series of immersive spaces. It springs from an interplay between ways of understanding architecture, of practising spectacle and of conceptualising emotion in the face of the natural world. The main objective of this contribution will be to follow these paths that suggest the centrality of the spectator, as well as a moment of innovation and dynamisation of spectacular technology.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"53-84"},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47761236","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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La visita al salón: las exposiciones artísticas y la experiencia del cuerpo en los albores de la cultura de masas 参观沙龙:大众文化黎明的艺术展览和身体体验

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Espacio Tiempo y Forma. Serie VII, Historia del Arte Pub Date : 2021-10-15 DOI: 10.5944/ETFVII.9.2021.30972

Isabel Valverde Zaragoza

{"title":"La visita al salón: las exposiciones artísticas y la experiencia del cuerpo en los albores de la cultura de masas","authors":"Isabel Valverde Zaragoza","doi":"10.5944/ETFVII.9.2021.30972","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.30972","url":null,"abstract":"Throughout the 19th century, the official Salons held in Paris became massive events due to the number of exhibited works and visitors hardly imaginable today, constituting thus an early manifestation of mass culture. The format of these large temporary exhibitions, the specificity of the spaces in which there were held, the form of sociability and interaction to which they gave rise, influenced the experience of the spectators, different from that enjoyed in the museum or the private gallery. Based on examples taken from art criticism, literature and journalistic illustration, the article addresses the phenomenon of the Salon as an experience of the body, taking as a starting point the viewers and the multisensory experience fostered not only by the works on display but also by the conditions for their perception that existed during the visit to the exhibition. The audiences of the Salons were overexposed to stimuli that solicited sight, but also hearing, smell and touch. The experience of the Salons was mediated by social practices and exhibition modalities that produced different forms of encounter between the works of art and the body, and the bodies between themselves. The conditions in which contemporary artistic production was shown to the modern public refer to the constitution of the «sensory body» of the spectator in constant negotiation with all kinds of stimuli that are not only aesthetic, such as struggling with the crowd of visitors, shouting and noise, heat, humidity, and dust.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"85-114"},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43085809","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Del sacrilegio al desagravio. Culto y ritual de la imagen sagrada en la Valencia del primer franquismo 从亵渎到和解。第一次佛朗哥统治时期巴伦西亚对神圣形象的崇拜和仪式

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Espacio Tiempo y Forma. Serie VII, Historia del Arte Pub Date : 2021-10-15 DOI: 10.5944/ETFVII.9.2021.28985

Sergi Doménech García

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Gótico y romanticismo: el monasterio toledano de San Juan de los Reyes a través de la literatura romántica 哥特式与浪漫主义：圣胡安·德·洛斯·雷耶斯的托莱多修道院通过浪漫主义文学

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Espacio Tiempo y Forma. Serie VII, Historia del Arte Pub Date : 2021-10-15 DOI: 10.5944/ETFVII.9.2021.30464

Silvia García Alcázar

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On arrêt tout et on réfléchit. La detención del tiempo en el cine del 68 francés: varias paradas para otra erótica de la existencia, otra mirada al cuerpo y otro pensamiento de la Historia 我们停下来想一想。法国68年电影中的时间静止:几次停留，以另一种存在的情色，另一种对身体的看法，另一种对历史的思考

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Espacio Tiempo y Forma. Serie VII, Historia del Arte Pub Date : 2021-10-15 DOI: 10.5944/ETFVII.9.2021.28922

Irene Valle Corpas

{"title":"On arrêt tout et on réfléchit. La detención del tiempo en el cine del 68 francés: varias paradas para otra erótica de la existencia, otra mirada al cuerpo y otro pensamiento de la Historia","authors":"Irene Valle Corpas","doi":"10.5944/ETFVII.9.2021.28922","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.28922","url":null,"abstract":"espanol«Lo paramos todo y reflexionamos» era un lema cantado por los insurrectos del 68 frances. Este episodio no fue solo un ejercicio de frenesi revolucionario sino tambien una llamada a la interrupcion de los ritmos cotidianos del capitalismo desarrollista y una negacion de sus relatos historicos. A partir de una introduccion al fenomeno seguida de un analisis de algunas cintas clave, indagaremos en la idea de la detencion en el imaginario del 68, cuyos ecos resuenan durante la decada siguiente. Las peliculas —L’An 01 de Doillon, Resnais y Rouch; Le Gai Savoir de Godard; In girum imus nocte et consumimur igni de Debord y Le fond de l’air est rouge de Marker— ilustran esa suspension salvifica del tiempo y ejemplifican las virtudes que se le atribuian, a saber, la liberacion de la vida del malsano compas de la produccion, la aspiracion a una mirada responsable y teoricamente informada o, finalmente, la potencia politica que puede contener la memoria. English«We stop everything and we think» was a slogan sung by the French insurrectionists of ‘68. This episode was not only an exercise in revolutionary frenzy but also a call for the interruption of the daily rhythms of developmental capitalism and a denial of its historical narratives. Starting with an introduction to the phenomenon followed by an analysis of some key films, I will investigate this idea of detention in the imaginary of ‘68, whose echoes resonate throughout the following decade. The films —L’An 01 by Doillon, Resnais and Rouch; Le Gai Savoir by Godard; In girum imus nocte et consumimur igni by Debord and Le fond de l’air est rouge by Marker— illustrate this saving suspension of time and exemplify the virtues attributed to it: the liberation of life from the insane tempo of production, the aspiration to a responsible and theoretically informed gaze or, finally, the political potential that memory can contain.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"585-608"},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41335170","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Experiencias inmersivas y nación: la fotografía estereoscópica amateur en Cataluña 1900-1936 沉浸式体验与民族：1900-1936年加泰罗尼亚业余立体摄影

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Espacio Tiempo y Forma. Serie VII, Historia del Arte Pub Date : 2021-10-15 DOI: 10.5944/ETFVII.9.2021.30842

N. Rius

引用次数: 1

Reseña de: Colorado Castellary, Arturo, Arte, botín de guerra. Expolio y diáspora en la posguerra franquista 评论：科罗拉多-卡斯特拉里，阿图罗，艺术，战利品。战后佛朗哥的掠夺和侨民

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Espacio Tiempo y Forma. Serie VII, Historia del Arte Pub Date : 2021-10-15 DOI: 10.5944/ETFVII.9.2021.30984

A. Alberti

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