Imafronte-Revista de Historia del Arte最新文献

{"title":"PANORAMA DE MADRID Y SUS CAFÉS COMO ESPACIOS PARA LA PRÁCTICA DE LA SOCIABILIDAD PÚBLICA (1765-1939). Mónica Vázquez Astorga","authors":"José María Alagón","doi":"10.6018/imafronte.525841","DOIUrl":"https://doi.org/10.6018/imafronte.525841","url":null,"abstract":"","PeriodicalId":53885,"journal":{"name":"Imafronte-Revista de Historia del Arte","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41881320","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 arquetipo de mujer pintora en la prensa gráfica española: El caso de Blanco y Negro (1891-1936)","authors":"Isabel Rodrigo Villena","doi":"10.6018/imafronte.507581","DOIUrl":"https://doi.org/10.6018/imafronte.507581","url":null,"abstract":"The representation of women artists in the Spanish graphic press in the first third of the 20th century is a field of research that has hardly been approached, which has undoubted value for its contribution to the analysis of the reception of plastic artists in the period in which women began to make their way into the art system. This work analyzes the construction and meanings behind the archetype of the female painter in the particular case of the magazine Blanco y Negro (1891-1936), which was a pioneer in the modernization of the illustrated press in Spain as well as emblematic for its covers and artistic pages, made by the most recognized artists and cartoonists of the time.\u0000 La representación de las artistas mujeres en la prensa gráfica española del primer tercio del siglo XX es un campo de investigación apenas abordado, que posee un indudable valor por su contribución al análisis de la recepción las artistas plásticas en el período en que las mujeres empiezan a introducirse en el sistema del arte. Este trabajo analiza la construcción y significados del arquetipo de mujer pintora en el caso particular de la revista Blanco y Negro (1891-1936), que fue pionera en la modernización de la prensa ilustrada en España y, a su vez, emblemática por sus portadas y páginas artísticas, realizadas por los artistas y dibujantes más reconocidos en la época.","PeriodicalId":53885,"journal":{"name":"Imafronte-Revista de Historia del Arte","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47635656","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":"Figural graffiti from the basilica of St. Philoxenos at Oxyrhynus (El-Bahnasa, Egypt)","authors":"José Javier Martínez García, Leah Mascia","doi":"10.6018/imafronte.554061","DOIUrl":"https://doi.org/10.6018/imafronte.554061","url":null,"abstract":"Oxirrinco representa un asentamiento clave para la comprensión de los fenómenos de continuidad y transformación en la larga transición al cristianismo. La importancia de esta ciudad y de su panorama religioso incluso después de la conquista islámica queda atestiguada por la riqueza de los testimonios textuales y arqueológicos desenterrados a lo largo de más de un siglo de investigaciones arqueológicas. Nuevos testimonios esenciales son ofrecidos por las investigaciones llevadas a cabo desde 2013 por la Misión de la Universidad de Barcelona en el área de un complejo cristiano (Sector 24), ha permitido descubrir un rico corpus de graffiti figurados y textuales. Algunas de estas evidencias se encontraron pintadas o dibujadas sobre los bloques de piedra, que se encontraban entre los materiales arquitectónicos que formaban el estrato de relleno del expolio de la cripta de este edificio religioso. Tras una breve introducción a la historia del yacimiento y del mencionado complejo cristiano, la presente contribución ofrecerá una visión general de un grupo de grafitos figurados aquí descubiertos. Su examen a la luz de las fuentes textuales y arqueológicas que ofrece este asentamiento y considerando los paralelismos que ofrecen otros espacios cultuales contemporáneos permitirá vislumbrar el trasfondo social y cultual de los devotos que visitaban el lugar sagrado y dejaban la huella de su paso en los muros de este santuario.\u0000 Oxyrhynchus represents a key settlement for understanding the phenomena of continuity and transformation in the long transition to Christianity. The importance of this city and its religious panorama even after the Islamic conquest is testified by the wealth of textual and archaeological evidence unearthed over more than one century of archaeological investigations. New essential testimonies are offered by the excavations carried out since 2013 by the Mission of the University of Barcelona within the area of a Christian religious complex (Sector 24), which has led to the discovery of a rich corpus of figural and textual graffiti. Some of this evidence was found painted or scratched on stone slabs, which were probably used in antiquity to seal the underground galleries of this religious building. After a brief introduction to the history of the site and the aforementioned Christian complex, the present contribution will offer an overview of a group of figural graffiti discovered in this area. Their examination in light of the textual and archaeological sources offered by this settlement and considering the parallels provided by other contemporary cultic spaces will offer some glimpses into the social and cultic background of the devotees visiting the holy site and leaving a trace of their passage on the walls of this sanctuary.","PeriodicalId":53885,"journal":{"name":"Imafronte-Revista de Historia del Arte","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47986379","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":"Bodegón con cofre de ébano de Antonio Pereda: una exposición de la cultura material del chocolate en la España moderna","authors":"María Pilar Ruiz López","doi":"10.6018/imafronte.527641","DOIUrl":"https://doi.org/10.6018/imafronte.527641","url":null,"abstract":"The discovery of the New World was a gastronomic revolution. Chocolate was the food that was introduced with the greatest speed in Spanish society, permeating from the elites to the popular classes. Around this delicacy there are a series of nutritional, aesthetic and sociocultural connotations that intensify it in the protagonist of many moments of daily life. At the beginning of the 17th century, Spanish artists began to make still-lifes, satisfying the demand for collecting, which was already occurring in the rest of Europe. The \"chocolate still-lifes\" responded to this interest, since works that resulted from the aesthetic avant-garde were valued. This article, through Antonio Pereda's Still-life with an Ebony Chest (1652), compares and analyzes the works of other masters, during the 17th and 18th centuries, who also chose this unique food as the main theme, along with its exclusive material culture that participated in commercial globalization, gestated in the Modern Age.\u0000 El descubrimiento del Nuevo Mundo supuso una revolución gastronómica. El chocolate fue uno de los alimentos que se introdujo con mayor velocidad en la sociedad española, permeándose desde las élites hasta las clases populares. Este manjar está rodeado de una serie de connotaciones nutricionales, estéticas y socioculturales que lo convirtieron en protagonista de muchos momentos de la vida cotidiana. A principios del XVII, los artistas españoles comenzaron a realizar naturalezas muertas satisfaciendo la demanda coleccionista, que ya se daba en el resto de Europa. Los “bodegones del chocolate” respondían a este interés, pues se valoraban las obras que resultaban producto de la vanguardia estética. Este artículo, a través de Bodegón con cofre de ébano (1652) de Antonio Pereda, compara y analiza las representaciones de otros maestros, que durante los siglos XVII y XVIII, también escogieron a este singular alimento junto a su exclusiva cultura material que participaba de la globalización comercial, gestada en la Edad Moderna.","PeriodicalId":53885,"journal":{"name":"Imafronte-Revista de Historia del Arte","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47532377","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":"Joseph-Philibert Girault de Prangey (1804-1892): el viaje a oriente de un pionero del daguerrotipo","authors":"Pablo Martínez Muñiz","doi":"10.6018/imafronte.539771","DOIUrl":"https://doi.org/10.6018/imafronte.539771","url":null,"abstract":"This article analyzes the figure of Joseph-Philibert Girault de Prangey: traveler, orientalist scholar and daguerreotypist of the 19th century. His contribution to the History of Photography is fundamental since he was a pioneer in the use of the daguerreotype from 1842 on his trip to the East, traveling through the current countries of Italy, Malta, Greece, Egypt, Turkey, Syria, Palestine, Israel, and Lebanon. In addition, he was a great artist –watercolorist, draftsman–, he was interested in botany and gardening and stood out for his studies on Islamic architecture and archeology in the Middle East and in Andalusia, a region, the latter, which he visited in 1832. This research uses primary sources –his writings, writings of the time and his daguerreotypes– to build a biographical account in which the first moments of photography are interrelated –released in 1839, just three years before Girault de Prangey’s departure to the Near East– with the interest in Orientalism that existed in Europe in the 19th century.\u0000 El presente artículo analiza la figura de Joseph-Philibert Girault de Prangey: viajero, erudito orientalista y daguerrotipista del siglo XIX. Su aportación a la historia de la fotografía es fundamental ya que fue un pionero en el uso del daguerrotipo a partir de 1842 en su viaje a Oriente, viajando por los actuales países de Italia, Malta, Grecia, Egipto, Turquía, Siria, Palestina, Israel y Líbano. Además, fue un gran artista –acuarelista, dibujante–, se interesó por la botánica y la jardinería y destacó por sus estudios acerca de la arquitectura islámica y la arqueología en Oriente Próximo y en Andalucía, región, esta última, que visitó en 1832. La presente investigación utiliza fuentes primarias –escritos suyos, escritos de la época y sus daguerrotipos– para construir un relato biográfico en el que se interrelacionan los primeros momentos de la fotografía –dada a conocer en 1839, apenas tres años antes de la partida de Girault de Prangey a Oriente Próximo– con el interés por el orientalismo que existía en la Europa del siglo XIX.","PeriodicalId":53885,"journal":{"name":"Imafronte-Revista de Historia del Arte","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43911913","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 colección de arte de Dimitri Tiomkin: relaciones entre arte y música","authors":"Lucía Pérez García","doi":"10.6018/imafronte.532011","DOIUrl":"https://doi.org/10.6018/imafronte.532011","url":null,"abstract":"Dimitri Tiomkin (1894-1979) has been one of the most influential film composers of all times. Both, the man and his work have been the recipients of numerous honors and awards, including forus Academy Awards. Along his work as a musician, he cultivated other artistic facets as theater and film producer. Since he was a young man, he moved in cultural and artistic circles that allow him to know some of the greatest figures of the first half of the 20th century. This led him to understand art as a much broader concept than the established categories themselves, establishing a dialogue between disciplines that would influence his training as a person and as a professional. Through the use of documentary and photographic sources, as well as testimonials and original correspondence, we analyze his art collection and his artistic relationships, as well as their influence on his career as a film composer.\u0000 Dimitri Tiomkin (1894-1979) ha sido uno de los compositores de cine más influyentes de la historia. Tanto su figura como su trabajo han sido merecedores de múltiples honores y galardones, entre los que se encuentran cuatro premios de la Academia. Junto a su labor como músico, cultivó otras facetas artísticas como la de productor teatral y cinematográfico. El ambiente en el que se movió desde joven le hizo coincidir con muchas de las más grandes figuras del arte y la cultura de la primera mitad del siglo XX. Ello le llevó a entender el arte como un concepto mucho más amplio que las propias categorías establecidas, entablando un diálogo entre disciplinas que influiría en su formación como persona y como profesional. Mediante el uso de fuentes documentales y fotográficas, así como de testimonios y correspondencia original, se analizan su colección de arte y sus relaciones artísticas, así como la influencia de las mismas en su carrera como compositor de cine.","PeriodicalId":53885,"journal":{"name":"Imafronte-Revista de Historia del Arte","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43287155","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":"Los testimonios numismáticos de Julia Mamaea: continuidad y ruptura en la política imperial de Alejandro Severo","authors":"Pedro David Conesa Navarro","doi":"10.6018/imafronte.549021","DOIUrl":"https://doi.org/10.6018/imafronte.549021","url":null,"abstract":"This paper aims to study the ideology transmitted in Severus Alexander’s government through the coins in which Julia Mamaea appeared. To this end, we will not only analyse the inscriptions, but also the iconographic motifs expressed on each of the testimonies. Following a defined chronological and typological order, we will show how, although other Augustae previously used motifs different to this one, Julia Mamaea was also used for issues related to the military sphere. This demonstrates the importance of the princeps’ mother during this period, as well as the unstable situation that prevailed.\u0000 En este trabajo pretendemos estudiar la ideología transmitida en el gobierno de Alejandro Severo a través de las monedas en las que apareció Julia Mamaea. Para ello, no solo se analizarán las leyendas, sino también los motivos iconográficos expresados en cada uno de los testimonios. Siguiendo un orden cronológico y tipológico definido, podremos comprobar cómo, aunque se siguieron empleando motivos dados con anterioridad por otras Augustae, también se utilizó a Julia Mamaea para cuestiones relacionadas con el ámbito militar. Ello demuestra la importancia que tuvo la madre del princeps durante este período, además de la situación inestable que se vivió","PeriodicalId":53885,"journal":{"name":"Imafronte-Revista de Historia del Arte","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44275825","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":"Ambrosio del Plano (h. 1612-1672). Pintor y dorador de su alteza Juan José de Austria: aproximación a su vida y obra","authors":"Álvaro Vicente Romeo","doi":"10.6018/imafronte.523801","DOIUrl":"https://doi.org/10.6018/imafronte.523801","url":null,"abstract":"Member of an important dynasty of painters, Ambrosio del Plano developed his artistic activity in Zaragoza in the central decades of the 17th century. He was a considered and educated painter and gilder, as his skill and ability meant that at the end of his life he was required to work in the service of Don Juan José de Austria, Viceroy of Aragon. The present study analyses his life and family, as well as provides an overview of his oeuvre. It also shows the personal relationships he had with famous painters such as Jusepe Martínez, Francisco Ximénez Maza and other artists such as the sculptor Francisco Franco.\u0000 Miembro de una importante dinastía de pintores, Ambrosio del Plano desarrolló su actividad artística en Zaragoza durante las décadas centrales del siglo XVII. Fue un pintor y dorador considerado e instruido, pues su destreza y capacidad propiciaron que al final de su vida fuese llamado a trabajar para don Juan José de Austria, virrey de Aragón. En el presente estudio se realiza un análisis sobre su vida y su familia, además de trazar una aproximación a su obra. Asimismo, se muestra las relaciones personales que tuvo con celebrados pintores como Jusepe Martínez, Francisco Ximénez Maza u otros artífices como el escultor Francisco Franco.","PeriodicalId":53885,"journal":{"name":"Imafronte-Revista de Historia del Arte","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47418949","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":"Maternidad, heráldica y poder. Las matriarcas bíblicas y las reinas capetas en el siglo XIII","authors":"Fuensanta Murcia Nicolás","doi":"10.6018/imafronte.533751","DOIUrl":"https://doi.org/10.6018/imafronte.533751","url":null,"abstract":"This article analyses the use of the figure of Saint Anne and other biblical matriarchs for the promotion of Capetian Queens in the 13th century. The most interesting and precedent-setting case is that of Blanche of Castile (1188-1252), who used the great women of Sacred History to justify her position as regent and royal advisor. Her successors, Margaret of Provence (1221 - 1295) and Mary of Brabant (1254 - 1322), would continue the pattern of equating the lineages of the Kings of Israel and the Capet from a female point of view. The origin and evolution of this new image of power, and how motherhood and heraldry became its central themes, will be explored through the study of iconographic programmes, mainly present in their devotional books.\u0000 El presente artículo analiza el uso de la figura de Santa Ana y otras matriarcas bíblicas para la promoción de las reinas capetas en el siglo XIII. El caso más interesante, y que marcará un precedente, es el de Blanca de Castilla (1188 – 1252), la cual usará a las grandes mujeres de la historia sagrada para justificar su posición de regente y consejera real. Sus sucesoras, Margarita de Provenza (1221 - 1295) y María de Brabante (1254 - 1322), continuarán con la pauta de equiparar los linajes de los reyes de Israel y el capeto desde un punto de vista femenino. A través del estudio de los programas iconográficos, presentes principalmente en sus libros devocionales, se abordará el origen y la evolución de esta nueva imagen del poder, y de cómo la maternidad y la heráldica se convertirán en sus ejes fundamentales.","PeriodicalId":53885,"journal":{"name":"Imafronte-Revista de Historia del Arte","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48618335","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 patronazgo artístico de Francisco Diego López de Zúñiga, VI marqués de Gibraleón, en el convento de Nuestra Señora del Vado (Gibraleón, Huelva).","authors":"José Manuel Ortega Jiménez","doi":"10.6018/imafronte.544401","DOIUrl":"https://doi.org/10.6018/imafronte.544401","url":null,"abstract":"This article touches upon the artistic goods that Francisco Diego López de Zúñiga y Sotomayor provided for the Madre de Dios del Vado’s monastery (Gibraleón, Huelva). The inventory was done in 1602 after the death of the marquis. Paintings, relics, religious card and sculptures have been counted. All these artistic goods were delivered by his sucessor who was responsible for resolving matters related to the testament. This act contributed to bring to light the family, one of the most important lineages of the Spanish Modern Age. \u0000 En este artículo se pretende dar a conocer el conjunto de piezas artísticas que Francisco Diego López de Zúñiga y Sotomayor, V duque de Béjar y VI marqués de Gibraleón, donó a su convento de Nuestra Señora del Vado (Gibraleón, Huelva). El inventario, realizado en 1602 tras la muerte del noble, estaba formado por pinturas, reliquias, estampas y esculturas. El encargado de cumplir las mandas testamentarias fue su sucesor Alonso Diego quien, con este acto, contribuiría a reforzar y visibilizar la imagen del linaje ante la sociedad.","PeriodicalId":53885,"journal":{"name":"Imafronte-Revista de Historia del Arte","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44788810","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}