Locvs Amoenvs最新文献

{"title":"Entre Madrid, Londres et Berlin : fragments d’un triptyque du Groupe Isenbrant provenant d’Espagne","authors":"Didier Martens","doi":"10.5565/REV/LOCUS.336","DOIUrl":"https://doi.org/10.5565/REV/LOCUS.336","url":null,"abstract":"A Flemish Virgin and Child in a Landscape attributed to a follower of the Bruges master Adriaen Isenbrant (ca 1490-1551) is preserved in the Museo Lazaro Galdiano in Madrid (MLG 3016). The unpainted edges have been removed on all four sides, indicating that it has been cut. It is a fragment of the central panel of a domestic triptych, which can be reconstructed on the basis of a triptych of the Virgin and Child with Saints Catherine and Barbara in Oviedo by the archaising Antwerp painter Marcellus Coffermans (ca 1525-1581). Another fragment, an image of Saint Barbara in the Schorr Collection in London, comes from the right wing, while a photograph of a Saint Catherine in the Friedlander Archive at The Hague is the only surviving record of what was a fragment of the left wing.","PeriodicalId":33015,"journal":{"name":"Locvs Amoenvs","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47038954","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}

{"title":"La iglesia de San Vicente en San Sebastián: los contratos, trazas y artífices del proyecto edilicio (1507-1548)","authors":"María Josefa Tarifa Castilla","doi":"10.5565/rev/locus.316","DOIUrl":"https://doi.org/10.5565/rev/locus.316","url":null,"abstract":"Aquest article aborda el projecte edilici de l’esglesia de Sant Vicenc, a Sant Sebastia (Guipuscoa), durant la primera meitat del segle XVI, el monument mes antic conservat a la ciutat. El treball s’ha fet mitjancant la consulta de la documentacio i dels dissenys grafics inedits localitzats a l’Arxiu Diocesa de Saragossa. A traves d’aquest es donen a coneixer els diversos contractes d’obra que es van fer per construir l’esglesia entre 1507 i 1548, els mestres picapedrers que van ser al capdavant d’aquesta —Miguel de Santa Celay, Juan de Urrutia, Lope de Izturizaga i Domingo de Eztala— i les diferents supervisions de la fabrica efectuades per destacats artifexs. Aquesta informacio es complementa amb dos planols que mostren la planimetria de l’edifici que es volia construir, dissenys anonims duplicats d’originals a menor escala que van ser duts a la practica, tal com es pot continuar apreciant avui dia.","PeriodicalId":33015,"journal":{"name":"Locvs Amoenvs","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71042259","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}

{"title":"El Arxiu Mas de Barcelona. El ojo, la cámara y el arte español","authors":"Carmen Perrotta","doi":"10.5565/REV/LOCUS.333","DOIUrl":"https://doi.org/10.5565/REV/LOCUS.333","url":null,"abstract":"Des de l’aparicio del daguerreotip, els fotografs de bens artistics es van anar situant, progressivament, entre els agents necessaris en el proces de construccio dels nous inventaris grafics destinats al sector dels estudis patrimonials. L’entrada d’Adolf Mas Ginesta en el gremi fotografic va marcar l’inici d’una nova etapa per a aquest tipus de fotografia a Espanya, la qual cosa va donar lloc a la construccio d’un nou relat (fotografic) sobre el patrimoni peninsular. Tanmateix, la importancia del llegat de l’Arxiu Mas no resideix unicament en el seu inestimable fons fotografic, sino que tambe es materialitza en el seu avantguardista sistema arxivistic, basat en fitxes grafiques, i en el seu extens fons documental. El present article —fruit de la recent tesi doctoral gracies a la qual s’ha dut a terme una reconstruccio biografica completa del fotograf i del seu establiment— preten aproximar el lector a la historia d’aquest important estudi fotografic, centrant-nos en les seves caracteristiques mes notables, en la seva especialitzacio, en el seu sistema de documentacio i, finalment, en la seva relacio amb alguns artistes contemporanis que van crear interessants logotips que van esdevenir elements representatius de l’empresa fotografica.","PeriodicalId":33015,"journal":{"name":"Locvs Amoenvs","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45947868","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}

{"title":"Reflexiones sobre el pintor Lluís Dalmau a propósito de un retablo para Molins de Rei (1451)","authors":"Mercedes Gómez-Ferrer","doi":"10.5565/REV/LOCUS.325","DOIUrl":"https://doi.org/10.5565/REV/LOCUS.325","url":null,"abstract":"El presente texto plantea una serie de reflexiones sobre la figura del pintor Lluis Dalmau, uno de los introductores de la pintura gotica flamenca en la Corona de Aragon. El analisis surge a partir de la presentacion de un nuevo documento inedito sobre un retablo contratado en 1451 por Isabel de Requesens, esposa del gobernador de Cataluna, Galceran de Requesens, para la baronia de Molins de Rei (Barcelona). El documento situa al pintor realizando este encargo en Valencia, lo que supone un regreso hasta ahora desconocido a su ciudad natal tras haber realizado la tabla de la Mare de Deu dels Consellers, de Barcelona (1443-1445), y el retablo de san Baudilio, de Sant Boi de Llobregat (1448).","PeriodicalId":33015,"journal":{"name":"Locvs Amoenvs","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41412355","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}

{"title":"From Patinir's Workshop to the Monastery of Pedralbes : a Virgin and Child in a Landscape","authors":"Rafael Cornudella i Carré","doi":"10.5565/REV/LOCUS.323","DOIUrl":"https://doi.org/10.5565/REV/LOCUS.323","url":null,"abstract":"espanolEntre las pinturas de los Paises Bajos importadas a Cataluna a lo largo de la primera mitad del siglo XVI que se conservan en el monasterio de Pedralbes, se encuentra una pequena tabla con la Virgen y el Nino dentro de un paisaje que aqui se atribuye al taller de Patinir, sin descartar una intervencion autografa del maestro. El presente articulo pretende situar la pieza tanto dentro del contexto de su produccion como en el contexto de su recepcion, es decir, una comunidad de monjas clarisas. El interes de esta obra aparentemente modesta reside sobre todo en el hecho de que combina una serie de ingredientes tipicos de Patinir dentro de una composicion que, no obstante, resulta atipica dentro de su produccion conocida, sobre todo por lo que respecta a la relacion entre la figura y el paisaje, pero tambien por su aparente simplicidad iconografica. En la ultima seccion del articulo se discute la pieza en relacion con el problema, siempre controvertido —y todavia no bien resuelto—, de la autoria de las figuras en las obras de Patinir. catalaEntre les pintures dels Paisos Baixos importades a Catalunya al llarg de la primera meitat del segle XVI que es conserven al monestir de Pedralbes, hi ha una petita taula amb la Verge i l’Infant dins d’un paisatge que aqui s’atribueix al taller de Patinir, sense descartar una intervencio autografa del mestre. El present article preten situar la peca tant dins del context de la seva produccio com en el context de la seva recepcio, es a dir, una comunitat de monges clarisses. L’interes d’aquesta obra aparentment modesta rau sobretot en el fet que combina una serie d’ingredients tipics de Patinir dins d’una composicio que, tanmateix, resulta atipica dins de la seva produccio coneguda, sobretot pel que fa a la relacio entre la figura i el paisatge, pero tambe per la seva aparent simplicitat iconografica. En l’ultima seccio de l’article es discuteix la peca en relacio amb el problema, sempre controvertit —i encara no ben resolt—, de l’autoria de les figures en les obres de Patinir. EnglishAmong the paintings of netherlandish origin imported into Catalonia during the first half of the 16th century, preserved at the Monastery of Pedralbes, there is a small panel featuring the Madonna and Child in a landscape which is attributed here to Patinir’s workshop, not excluding the possibility of some autograph intervention by the master. Whatever the case, this article sets out to situate the piece both in the context of its production and in that of its reception, that is, the community of nuns of Saint Claire of Pedralbes. What is interesting about this apparently modest work is the fact that it combines a set of ingredients typical of Patinir in a composition that is otherwise atypical as regards his known output as a whole, above all in terms of the relationship between the figure and the landscape, although also of its presumed iconographic simplicity. The final section of the article examines the piece in relation to","PeriodicalId":33015,"journal":{"name":"Locvs Amoenvs","volume":"16 1","pages":"0019-57"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71042271","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}