{"title":"Las Observaciones sobre las Bellas Artes (1790-1791) de Isidoro Bosarte: la historia del arte como historia de la civilización durante las Luces","authors":"Daniel Crespo Delgado","doi":"10.3989/aearte.2021.15","DOIUrl":"https://doi.org/10.3989/aearte.2021.15","url":null,"abstract":"Las Observaciones sobre las bellas artes entre los antiguos (1790-1791) de Isidoro Bosarte es una de las publicaciones sobre historia del arte más olvidadas del siglo XVIII. En este artículo se analizan algunos de sus contenidos y se proporcionan datos inéditos sobre su autor, cuya trayectoria es igualmente poco conocida. Sin embargo, el principal interés de las Observaciones reside en el contexto en el que se crearon y se presentaron al público. Escritas y leídas en la cátedra de historia literaria de la biblioteca de los Reales Estudios de Madrid, pueden ser consideradas una de las primeras conferencias públicas sobre historia del arte en España.","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70807363","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":"Vicente Carducho y la Hermandad del Refugio en Madrid: encargos artísticos y proyección cortesana","authors":"David Mallén Herráiz","doi":"10.3989/aearte.2021.14","DOIUrl":"https://doi.org/10.3989/aearte.2021.14","url":null,"abstract":"El viernes 29 de diciembre de 1628, la junta semanal celebrada por la Santa, Pontificia y Real Hermandad del Refugio y Piedad de Madrid aceptaba el ingreso como hermano del pintor de origen florentino Vicente Carducho. Esta fecha marca el inicio de un interesante e inexplorado vínculo entre el artista y la congregación religiosa, para la cual ofrecerá su colaboración y entre cuyas peticiones destaca la intervención en un desconocido retablo enviado desde Nápoles para presidir el altar mayor de la desaparecida iglesia de Nuestra Señora de la Concepción. Tales gestiones suponen una valiosa fuente de información que aporta nuevos datos sobre la actividad del pintor y la consolidación de una fructífera red de contactos recogida en su tratado Diálogos de la pintura.","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70807348","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}
O. Ramos-Lugo, Marta Plaza Beltrán, Jorge Rivas López
{"title":"Los mosaicos de plumas del Museo Nacional de Ciencias Naturales: una colección de “curiosidades del arte”","authors":"O. Ramos-Lugo, Marta Plaza Beltrán, Jorge Rivas López","doi":"10.3989/aearte.2021.16","DOIUrl":"https://doi.org/10.3989/aearte.2021.16","url":null,"abstract":"El Museo Nacional de Ciencias Naturales, atesora una de las colecciones más desconocidas y singulares de su inmenso patrimonio cultural: 57 mosaicos de plumas sobre láminas de papel. La institución incorporó, desde sus inicios como Real Gabinete en el siglo XVIII, no solo colecciones de Historia Natural sino todo tipo de objetos curiosos relacionados con el arte y el folclore, desde lugares como Asia o América. A partir del siglo XVI se reinterpretó el fondo y el formato del arte plumario aborigen americano. De nuevo contenido religioso, se elaboró en conventos por indígenas siendo muy cotizado en Europa donde, probablemente, influyó en producciones de temática profana concretas, creadas por equipos locales. Este artículo presenta este estilo de mosaicos realizados en Eger, que alcanzaron su mayor difusión en la Europa del siglo XIX. La relación entre folclore y ornitología fue su modelo de representación e identidad, que concluyó a principios del pasado siglo.","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70807420","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":"Nuevas pinturas de Cesare Arbasia en la catedral de Córdoba","authors":"M.ª Ángeles Jordano Barbudo","doi":"10.3989/AEARTE.2021.10","DOIUrl":"https://doi.org/10.3989/AEARTE.2021.10","url":null,"abstract":"En la capilla de los Simancas, también del Espíritu Santo o de los Obispos, en la Mezquita-Catedral de Córdoba, se han descubierto unas pinturas murales que representan figuras de profetas atribuidas a Cesare Arbasia (1547-1614).","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89920602","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":"Interpretación de San Jorge y el Dragón. Una obra olvidada de Joaquín Sorolla en el castillo de Soutomaior","authors":"Diego Piay Augusto","doi":"10.3989/AEARTE.2021.11","DOIUrl":"https://doi.org/10.3989/AEARTE.2021.11","url":null,"abstract":"Durante la realización de una investigación sobre el Castillo de Soutomaior (Pontevedra) se descubrieron algunas fotografías de un fresco pintado en una de las paredes interiores de la antigua fortaleza, en el cual se representa la leyenda de San Jorge y el Dragón. El presente trabajo ofrece los resultados obtenidos tras indagar sobre esta obra desaparecida, argumentando que su autor principal fue el pintor valenciano Joaquín Sorolla. Palabras clave: Joaquín Sorolla; Castillo de Soutomaior; Enrique Lluria; María Vinyals; Pontevedra.","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90428003","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":"Pensar fuera del marco: María Campo Alange, crítica de arte protofeminista","authors":"Patricia Mayayo","doi":"10.3989/AEARTE.2021.08","DOIUrl":"https://doi.org/10.3989/AEARTE.2021.08","url":null,"abstract":"This article explores Maria Campo Alange’s (1902-1986) work as an art critic. Her writings have been mostly ignored in scholarly literature, perhaps because they do not conform to the dominant trends of Spanish art criticism of her time. Such a marginal position, I contend, was related to Campo Alange’s unique personality, but also to her precarious situation as a woman intellectual within the context of Francoism, which banned women from participating in the public sphere. Distancing herself from the “trending topics” of the time allowed her to find her own space and to identify a blind spot in the mainstream narrative of Spanish art criticism: the contribution of women artists to modern art.","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81037098","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":"Arcadio Torres Martín y sus negocios al servicio del tráfico de obras de arte desde España a Estados Unidos","authors":"María José Martínez Ruiz","doi":"10.3989/AEARTE.2021.09","DOIUrl":"https://doi.org/10.3989/AEARTE.2021.09","url":null,"abstract":"Arcadio Torres Martín fue un destacado anticuario; protagonista del tráfico de obras de arte desde España a EE. UU. en los años anteriores a la Guerra Civil, durante la posguerra y la dictadura de Franco. Estudioso del arte, miembro de la Institución Cultural Tello Téllez de Meneses (Palencia), tomó parte en la venta de obras de arte procedentes de San Andrés de Arroyo (Palencia), las tablas de Juan de Flandes procedentes de San Lázaro de Palencia y el ábside de San Martín de Fuentidueña (Segovia), entre otras. Contó con la confianza de ciertos obispos y gestó un lucrativo negocio de antigüedades en paralelo a su destacada posición social como amante del arte. Acompañó a personajes destacados, como al hispanista W. S. Cook o al embajador estadounidense en España, en sus visitas a monumentos españoles y ofertó obras al Metropolitan Museum of Art de Nueva York.","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81610205","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":"Las pinturas del retablo mayor de Sabiñán (Zaragoza): aportación al catálogo crítico de obras de Jusepe Martínez, pintor de Felipe IV","authors":"Rebeca Carretero Calvo","doi":"10.3989/AEARTE.2021.07","DOIUrl":"https://doi.org/10.3989/AEARTE.2021.07","url":null,"abstract":"This article details, documents, and analyzes the paintings of the main altarpiece of the church of Saint Peter in Sabinan, completed in 1653 by the Aragonese artist Jusepe Martinez, court painter ad honorem. It also explores the iconographic models on which the artist likely based the composition. A detailed study of these canvases highlights the characteristics of Martinez artistic production, which straddled classicism, learned from Guido Reni and Domenichino during his Roman stay, and Caravaggio’s naturalism. Jusepe Martinez embodies the influence of Italian art on Aragonese painting.","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87437044","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 maestro Bartolomé en la catedral de Sigüenza. Una hipótesis en relación al retablo de San Marcos y Santa Catalina","authors":"F. J. Ramos Gómez","doi":"10.3989/AEARTE.2021.06","DOIUrl":"https://doi.org/10.3989/AEARTE.2021.06","url":null,"abstract":"Maestro Bartolome is one of the most representative masters of Hispano-Flemish painting in Castile. This article examines the stylistic features of the altarpiece of Saint Mark and Saint Catherine (Cathedral of Siguenza) to suggest the involvement of Maestro Bartolome in its completion. Documentary evidence reveals a painter named Bartolome living in Almazan (Soria) in 1504. The technical and formal characteristics of his style are well understood thanks to recent publications on maestro Bartolome’s collaboration with Fernando Gallego.","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82180856","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 dibujos de Sevilla de Cecilia Montgomery (1792-1879) en su viaje por la península ibérica","authors":"Martin Paul Sorowka","doi":"10.3989/AEARTE.2021.02","DOIUrl":"https://doi.org/10.3989/AEARTE.2021.02","url":null,"abstract":"Conserved in the Ashmolean Museum in Oxford, England, are eighteen drawings of the architecture of Andalusia and seven of Portugal made by Cecilia Montgomery (1792-1879) during a journey to the Iberian Peninsula in May and June of 1838. The works arguably make her the first female artist-traveller in the south of Spain. The drawings are more thansimply mementos; rather they are depictions of architectural themes, and their historical significance can be ascribed to their originality. Some drawings are the earliest known representations of certain views, while others are unique records of lost buildings. Montgomery travelled with her husband, George Augustus Montgomery (1793-1842), who refurbished the church where he was rector with sculpture acquired in Spain on this journey. Consequently, the drawings are interpreted through the Montgomerys’ religious and architectural ideas.","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":"89825413","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}