{"title":"La cultura urbana como espectáculo: la experiencia de modernidad en la Exposición Internacional de Barcelona 1929","authors":"Ana Rodríguez Granell","doi":"10.3989/AEARTE.2021.04","DOIUrl":"https://doi.org/10.3989/AEARTE.2021.04","url":null,"abstract":"This article looks anew at The 1929 Barcelona International Exposition, focusing on its material and visual culture, its commercial pavilions, its attractions, and its configuration of space in order to demonstrate how the design of this event connects with the dynamics of urban culture and the experience of modernity. Through it, we will see the centrality of sensory experience, the visual regime of the fair as related to the circulation of knowledge in the 19th century, and the participation of consumerism in the creation of new urban spaces, new forms of entertainment, and modern styles such as Art Deco. The objective will be to demonstrate the extent to which the 1929 event made urban culture and the emergence of consumer society more concrete, as first suggested in the Exposition of 1888.","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79040250","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Fortunato de Selgas y San Julián de los Prados. La síntesis del debate de la restauración monumental en España a principios del siglo XX","authors":"María Pilar García Cuetos","doi":"10.3989/AEARTE.2021.03","DOIUrl":"https://doi.org/10.3989/AEARTE.2021.03","url":null,"abstract":"The restoration by Fortunato de Selgas in San Julian de los Prados summarises the debate about heritage restoration in Spain at the beginning of the 20th century. It integrates a combination of elements from restoration in style limited by archaeological rationalism, the progress of Italian historical and Boitian theories, and the influence of Ruinist aesthetics together with the so-called archaeological sincerity. Several unpublished photographs dated in 1932 return the lost image of the church after the intervention and allow us to know one of the most interesting examples of Spanish restoration at the beginning of the 20th century, unfortunately altered by following interventions.","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78005722","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"El Colegio de niños desamparados de Santa Isabel la Real de Madrid: origen, construcción y primera ornamentación (1592-1610)","authors":"Roberto Muñoz Martín","doi":"10.3989/AEARTE.2021.01","DOIUrl":"https://doi.org/10.3989/AEARTE.2021.01","url":null,"abstract":"The years that pass from the creation by Felipe II of the Colegio de Santa Isabel, until the arrival of the community of nuns that inhabit it, is quite unknown and confusing. Through the documentation, especially an unpublished inventory of 1601, relevant information is provided about the operation of the hospice and some works of art that are still kept on its walls today. The description of the church of the foundation stands out, which was believed to have never existed as such, and data are provided about the movable assets that were there.","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89968264","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Un madrileño en la revista Bauhaus. Los carteles de Gecé","authors":"Josenia Hervás y Heras","doi":"10.3989/AEARTE.2021.05","DOIUrl":"https://doi.org/10.3989/AEARTE.2021.05","url":null,"abstract":"In the late twenties, Ernesto Gimenez Caballero became a binder of all avant-garde movements through his magazine La Gaceta Literaria, his Cinema-club, his shop La Galeria and his own creations. His eagerness for knowledge and prominence prompted him to travel and contact leading European people and institutions in terms of art and architecture of the Modern Movement, and he even wrote in the magazine published by the Bauhaus school. His adherence to fascist ideology in the 1930s led him to disown and even hide past experiences.","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82130611","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Ceán Bermúdez, Juan Agustín: Sobre el conocimiento de las pinturas originales y de las copias, eds. Elena Mª Santiago Páez y Javier González Santos, Oviedo: KRK Ediciones, 2020, 510 pp. Ilus. b/n. [ISBN: 978-84-8367-677-6]","authors":"J. Barrientos","doi":"10.3989/AEARTE.2021.V94.I373","DOIUrl":"https://doi.org/10.3989/AEARTE.2021.V94.I373","url":null,"abstract":"","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70808161","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"El salón del trono de Carlos IV en el Palacio Real de Madrid por Francisco Sabatini","authors":"José-Luis Sancho Gaspar, Raúl Gómez Escribano","doi":"10.3989/aearte.2020.24","DOIUrl":"https://doi.org/10.3989/aearte.2020.24","url":null,"abstract":"Dentro de la renovación decorativa del Palacio Real de Madrid encargada por Carlos IV a su arquitecto Francisco Sabatini a principios de la década de 1790, la sala más espectacular iba a ser, lógicamente, el Salón del Trono, todo de mármoles españoles y bronce dorado a fuego. El proyecto, iniciado al parecer en 1794 pero definitivamente aprobado en 1796, empezó a realizarse, pero se interrumpió en 1798 cuando gran parte del mármol estaba en Madrid y el trabajo en metal iniciado por Giardoni y Leprince. Aunque los diseños originales se han perdido, la minuciosa memoria de Sabatini para el broncista ha permitido elaborar una exacta reconstitución gráfica que rescata del olvido lo que hubiera sido el más magnífico interior neoclásico español. Palabras clave: arquitectura de interiores; neoclasicismo; Palacio Real de Madrid; Carlos IV; reconstitución gráfica; Francisco Sabatini; Louis Leprince; José Giardoni.","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73018565","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Un escultor indio del barroco limeño: Rodrigo Chafal y su Crucificado de La Agonía en Copacabana","authors":"Rafael Ramos Sosa","doi":"10.3989/aearte.2020.28","DOIUrl":"https://doi.org/10.3989/aearte.2020.28","url":null,"abstract":"Se da a conocer a un nuevo artista indígena, Rodrigo Chafal, del que se identifica una obra, el Crucificado de la Agonía en el monasterio de Copacabana de Lima. Esto permite asignarle también otro Crucificado ya conocido en el monasterio del Prado.","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77169481","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Juan Carlos Gómez Aragüete, Teresa Zapata Fernández de la Hoz
{"title":"Cuatro dibujos de Sebastián Muñoz para La Mantería","authors":"Juan Carlos Gómez Aragüete, Teresa Zapata Fernández de la Hoz","doi":"10.3989/aearte.2020.22","DOIUrl":"https://doi.org/10.3989/aearte.2020.22","url":null,"abstract":"Los frescos de la Iglesia de Santo Tomás de Villanueva de Zaragoza, conocida como La Mantería, constituyen el mayor conjunto decorativo conservado de Claudio Coello. Según Antonio Palomino, el pintor trabajó en ellos más de un año, si bien cuando su discípulo Sebastián Muñoz regresó de su estancia en Italia se fue a Zaragoza a ayudarle. En este artículo se estudia una serie de dibujos preparatorios para dichos frescos, que confirman las palabras de Palomino y obligan a reconsiderar el papel jugado por Muñoz en la elaboración de la obra.","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76569999","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Los artistas cortesanos en la concepción del nuevo trono de la Virgen del Sagrario de Toledo: revisando tópicos","authors":"Laura Illescas Díaz","doi":"10.3989/aearte.2020.23","DOIUrl":"https://doi.org/10.3989/aearte.2020.23","url":null,"abstract":"El trono de la Virgen del Sagrario se alza como un testimonio único de la platería barroca en nuestra geografía. Por decisión del prelado, Baltasar de Moscoso y Sandoval, en su concepción y posterior hechura participaron artistas del prestigio de Alonso Cano, Pedro de la Torre, Francisco Bautista, Sebastián de Herrera Barnuevo y Virgilio Fanelli, habiendo sido objeto de estudio en numerosas publicaciones. No obstante, el hallazgo de documentación inédita en el Archivo Capitular de Toledo nos ha brindado la oportunidad de subsanar ciertos errores que se cernían sobre la secuencia de hechos acaecidos, así como de matizar con mayor rigor en qué consistió la intervención de cada uno de los citados maestros y la fase en que esta se produjo.","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74219625","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Dibujos preparatorios para el grupo escultórico de los Cuatro Santos de Santa María de Gracia de Cartagena","authors":"Ignacio José García Zapata","doi":"10.3989/aearte.2020.29","DOIUrl":"https://doi.org/10.3989/aearte.2020.29","url":null,"abstract":"Miguel Martí Esteve (1869-1939) fue un destacado coleccionista que reunió a lo largo de su vida un importante conjunto de obras de arte. A su muerte, esta colección fue adquirida por diferentes compradores, como Mateu y Fortuny de Barcelona y el Ayuntamiento de Valencia, que en 1951 se hizo con gran parte de la misma2. En 2016 salieron a la venta algunos de los dibujos que formaban parte de su legado, enriqueciendo el panorama del dibujo español de la Edad Moderna, especialmente valenciano, con obras atribuidas a Juan Conchillos y Falcó (1641-1711), Vicente Salvador Gómez (1637-1678), Mosén Domingo Saura (c. 1650-1715), Hipólito Rovira Meri (16931765), Ignacio Vergara Gimeno (1715-1776), José Vergara (1726-1799), José Camarón Bonanat (1731-1803), José Juan Camarón Meliá (1760-1819), Manuel Camarón Meliá (1763-1806), Rafael Esteve Vilella (1772-1847), Vicente López Portaña (1772-1850), Miguel Parra (1780-1846), Vicente Castelló Amat (1787-1860) y Luis Téllez Girón y Belloch (1810-1868)3. De entre esta serie de dibujos destacan dos que han sido vinculados a uno de los escultores más relevantes del siglo XVIII, Ignacio Vergara (1715-1776)4. Ambos, realizados a lápiz sobre","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80460773","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}