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

Fernanda Francés (Valencia, 1862-Madrid, 1939): una vida dedicada a la pintura y la enseñanza 费尔南达frances(巴伦西亚，1862-马德里，1939):一生致力于绘画和教学

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Espacio Tiempo y Forma. Serie VII, Historia del Arte Pub Date : 2022-05-12 DOI: 10.5944/etfvii.10.2022.30292

María José López Terrada

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Pioneros de la historia del arte en España: cartas entre Manuel Gómez-Moreno Martínez y José Gestoso y Pérez 西班牙艺术史的先驱:Manuel gomez - moreno martinez和jose Gestoso y perez之间的信件

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Espacio Tiempo y Forma. Serie VII, Historia del Arte Pub Date : 2022-05-12 DOI: 10.5944/etfvii.10.2022.30757

Carmen De Tena Ramírez

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Arnold Hauser (1892-1978) y la gestación de Manierismo (1964): la precariedad económica del intelectual independiente 阿诺德·豪泽(1892-1978)和矫饰主义的诞生(1964):独立知识分子的经济不稳定

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Espacio Tiempo y Forma. Serie VII, Historia del Arte Pub Date : 2022-05-12 DOI: 10.5944/etfvii.10.2022.30470

César Saldaña Puerto

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El individuo moderno como híbrido entre lo humano y lo tecnológico: creación y experimentación en la vanguardia artística de principios del siglo XX 作为人类和技术混合体的现代个人：20世纪初艺术先锋的创作和实验

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Espacio Tiempo y Forma. Serie VII, Historia del Arte Pub Date : 2021-10-15 DOI: 10.5944/ETFVII.9.2021.27920

J. Hidalgo

{"title":"El individuo moderno como híbrido entre lo humano y lo tecnológico: creación y experimentación en la vanguardia artística de principios del siglo XX","authors":"J. Hidalgo","doi":"10.5944/ETFVII.9.2021.27920","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.27920","url":null,"abstract":"This article presents a reflection on the impact that technology has had in society, analysing one of the most influential historical periods: modernity and the European artistic avant- garde. On account of the presence that hybrid forms in-between the human and the technological has at present, this issue has been established as a constant in the history of human being and, specifically, in the aforementioned historical period. The current revision of this period will be assimilated giving continuity to this line. During the European technological development in the end of 19th century and the beginning of 20th century, the perception of the new avant-garde art on the individual is understood as a hybrid in-between the human and the machine. All of these proposals particularly influenced areas such as technology or science, reaching to the perception that society has on these concerns at present, as a whole. Nowadays, the individual, art, science and technology are involved in a continuous interrelationship and usually merge. Therefore, a study on the implications that the European artistic avant-garde had regarding the paradigm initiated in modernity is presented, being able to contribute in regard to recent research on this issue.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49368642","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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In Search of the Miraculous: la obra y el documento 在寻找奇迹：作品和文件

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Espacio Tiempo y Forma. Serie VII, Historia del Arte Pub Date : 2021-10-15 DOI: 10.5944/ETFVII.9.2021.28745

Pedro de Llano Neira

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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

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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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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":null,"pages":null},"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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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 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":null,"pages":null},"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}

引用次数: 0