Imafronte-Revista de Historia del Arte最新文献

{"title":"Jardines renacentistas de la Villa Ducal de Benavente. El sueño de una utopía","authors":"José Miguel Morales Folguera","doi":"10.6018/imafronte.476881","DOIUrl":"https://doi.org/10.6018/imafronte.476881","url":null,"abstract":"Construidos por tres generaciones de los condes-duques de Benavente, entre 1499 y 1621, como instrumento de disfrute y de prestigio familiar de la villa ducal, los jardines de Benavente se convirtieron en uno de los jardines renacentistas más importantes de España. Desgraciadamente, los cambios en los gustos estéticos de los herederos, el paso de los ejércitos franceses de Napoleón y el abandono de una naturaleza necesitada de su continuo cuidado, hicieron que los jardines desaparecieran en los primeros años del siglo XIX. En este artículo nos proponemos hacer su reconstrucción ideal, con la utilización de los numerosos textos y de la documentación existente.\u0000 Built for three generations of the count-dukes of Benavente, between 1499 and 1621, as an instrument of enjoyment and family prestige of the ducal town, the Benavente gardens became one of the most important Renaissance gardens in Spain. Unfortunately, the changes in the aesthetic tastes of the heirs, the destruction wrought by Napoleon's army and the abandonment of a nature in need of their continuous care, caused the gardens to disappear in the early years of the 19th century. In this article we propose to make its ideal reconstruction, with the use of the numerous texts and existing documentation.","PeriodicalId":53885,"journal":{"name":"Imafronte-Revista de Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49531494","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":"ICONOGRAPHY OF HANDS IN RENAISSANCE PAINTING","authors":"C. Turan","doi":"10.6018/imafronte.470061","DOIUrl":"https://doi.org/10.6018/imafronte.470061","url":null,"abstract":"El estilo de pintura renacentista refleja todo tipo de principios, enfoques y comprensión del diseño plástico como un carácter estándar de las características históricas, políticas, religiosas, culturales y económicas de esa época. Al deshacerse de un tipo de perspectiva estricta y puramente centrada en la iglesia, los artistas del Renacimiento prácticamente comienzan a mirar la naturaleza, la ciencia, la literatura, la filosofía y, obviamente, la anatomía humana en un conjunto de mentes diferente. Una descripción razonable, equilibrada, científica y lógica de la vida humana lleva a los pintores a centrarse más en las partes del cuerpo humano. Aparte de los rostros de las figuras, las manos se convierten en partes esenciales del cuerpo para sujetar un espejo al universo interior de las figuras. Se incluyeron dentro del programa iconográfico tal que reflejaban las emociones y contemplaciones de la figura, y la conexión entre figuras y objetos. En este estudio, un examen a través de varias pinturas renacentistas arrojará luz sobre cómo los pintores como Giotto, Da Vinci, Michelangelo, Francesca y más utilizaron la representación de las manos como un aparato y como un lenguaje de sus propósitos creativos. Así, se manifestará una iconografía de manos en la pintura renacentista.\u0000 Renaissance style of painting reflects all types of plastic design principles, approaches and understanding as a standard character of historical, political, religious, cultural, and economic features of that era. Disposing of unadulterated strict and church focused kind of perspective, Renaissance artists practically start to look on nature, science, literature, philosophy, and obviously human anatomy in a different set of minds. Reasonable, balanced, scientific and logical portrayal of human life leads painters to focus closer on pieces of the human body. Aside from the faces of the figures, hands become essential body parts to hold a mirror to the interior universe of the figures. They were included within the iconographic program such mirrored the emotions and contemplations of the figure, and the connection among figures and objects. In this study, an examination through various Renaissance paintings will shed light on how the painters like Giotto, Da Vinci, Michelangelo, Francesca, and more utilized the portrayal of hands as an apparatus and as a language of their creative purposes. Thusly, an iconography of hands in Renaissance painting will be manifested.","PeriodicalId":53885,"journal":{"name":"Imafronte-Revista de Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44324659","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":"Fundamentales y olvidadas: cuestiones esenciales para entender el cine español en su historia reciente","authors":"Alfonso García Cañadas","doi":"10.6018/imafronte.467721","DOIUrl":"https://doi.org/10.6018/imafronte.467721","url":null,"abstract":"","PeriodicalId":53885,"journal":{"name":"Imafronte-Revista de Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46745931","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":"Un homme est mort. Escritura fílmica de la Historia a través del cine de intervención social","authors":"Amaiur Armesto Sancho","doi":"10.6018/imafronte.465471","DOIUrl":"https://doi.org/10.6018/imafronte.465471","url":null,"abstract":"El fascinante legado del cineasta René Vautier (1928-2015) choca con la escasez de referencias académicas a su obra, a pesar de su inmenso valor histórico. Vautier es un exponente clave para ilustrar las fisuras del paradigma historiográfico actual, que excluye voces y opiniones cuyo rol es instrumental para reescribir la Historia. \u0000Llevó siempre al límite su pasión por la realidad y la verdad histórica, lo que derivó en una interminable lista de problemas institucionales. A través del caso de estudio del impacto social y artístico de su documental Un homme est mort, esta investigación indaga en las razones por las que hay artistas que han sido irrelevantes para la academia francesa, al mismo tiempo que los poderes establecidos perseguían su obra, a través de peligrosas medidas que atacaban directamente a la libertad de expresión, como restricciones legales, censura o recortes económicos. Estas políticas restrictivas derivaron en un empeoramiento sustancial de las condiciones de rodaje, en la autocensura y, al quedar fuera del circuito de exhibición oficial, redujeron el impacto potencial en las audiencias. Además, al no haber existido oficialmente, estas películas no optan de manera automática a los programas de conservación pública. \u0000En definitiva, se produjo una alteración del marco conceptual que debería haberse generado a largo plazo en las relaciones entre arte y sociedad, entregándonos un imaginario cultural construido de espaldas a una parte esencial de la Historia (del arte).\u0000 The captivating artistic legacy of René Vautier (1928-2015) clashes with the lack of research on the impact of his extraordinary career, given the notable value of his work. Vautier is a key example that illustrates the cracks in the schemas of traditional historiography, unable to recognise the plurality of voices and opinions that should be taken into account to rewrite History. \u0000The taste for reality and historical truth so taken to the extreme in his films resulted in a large list of institutional problems. Through the analysis of the social and artistic impact of one of his very first films, Un homme est mort, we will understand why some artists were considered secondary or irrelevant by the French academia. They were also pursued by the Establishment with extremely dangerous measures in regard to freedom of expression such as legal constraints, censorship or financial cuts. These restrictive policies first led to lower quality filming material, smaller crews, fewer projects or self-censorship; but it also implied an alternative exhibition circuit which diminished the scope of audiences. As they never existed officially, these films do not benefit from public conservation programs automatically. \u0000In addition, it altered the conceptual leap with long-term implications for art and society since our common cultural imaginary has been built without a significant piece of art history.","PeriodicalId":53885,"journal":{"name":"Imafronte-Revista de Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41764536","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":"don de la siesta","authors":"Víctor Sánchez de la Peña","doi":"10.6018/imafronte.469051","DOIUrl":"https://doi.org/10.6018/imafronte.469051","url":null,"abstract":"Miguel Ángel Hernández aborda la siesta como una resistencia en lo cotidiano. Incluyendo teoría, literatura, arte y autobiografía (pues el autor se nos presenta como un buen practicante de estas siestas), nos vemos sumergidos en un mapa de referencias sobre el sesteo que son miradas desde la situación actual de crisis sanitaria. Su escritura tiene la capacidad de, alguna forma, bajar a nuestros contextos, creando en el lector una sensación de común, de lazos culturales y vínculos sociales marcados por la necesidad de volver a pensar desde este momento de descanso colectivo (aunque cada uno lo practique en su casa) tras el mediodía. En esta reseña nos centraremos especialmente en su forma de entrelazar este ejercicio de memoria en primera persona con referencias artísticas y teóricas, siendo coherente con un formato de escritura basado en anotaciones mucho más horizontales y abiertas que una investigación rigurosamente acotada.\u0000 Miguel Ángel Hernández approaches the nap as a resistance in the everyday. Including theory, literature, art and autobiography (as the author presents himself as a good practitioner of these naps), we are immersed in a map of references on napping that are looked at from the current health crisis situation. His writing has the capacity to come down to our contexts, creating in the reader a sense of commonality, of cultural ties and social links marked by the need to rethink from this moment of collective rest (even if each one practices it at home) after midday. In this review we will focus especially on his way of interweaving this exercise of first-person memory with artistic and theoretical references, being coherent with a writing format based on annotations that are much more horizontal and open than a rigorously bounded investigation.","PeriodicalId":53885,"journal":{"name":"Imafronte-Revista de Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43377021","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":"Sol de Occidente","authors":"Luis Alcalá-Galiano Pareja","doi":"10.6018/imafronte.472681","DOIUrl":"https://doi.org/10.6018/imafronte.472681","url":null,"abstract":"","PeriodicalId":53885,"journal":{"name":"Imafronte-Revista de Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46508228","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 acerca de la imaginería contemporánea: el origen de una nueva escuela","authors":"G. L. López Merino","doi":"10.6018/imafronte.458641","DOIUrl":"https://doi.org/10.6018/imafronte.458641","url":null,"abstract":"La imaginería procesional ha experimentado en las últimas décadas una evolución estética que ha sido ya puesta de manifiesto por diversos investigadores expertos en la materia. La intención de este artículo es profundizar en sus orígenes tanto desde un punto de vista geográfico como conceptual, para seguir indagando acerca de un nuevo estilo con proyección internacional. La antropología que hay detrás del fenómeno cultural y religioso de la Semana Santa tiene su reflejo en la manera en la que un determinado grupo de imagineros entendieron la escultura sacra, generando un estilo que ha terminado por fraguar gracias al surgimiento de una escuela con nombre propio. Si bien esta nueva imaginería ha sido ya objeto de algunos estudios que han intentado ofrecer una explicación formal y conceptual, se antoja necesaria una revisión estilística y antropológica para aportar nuevos argumentos. Todo ello mediante el análisis formal de la obra de los protagonistas de dicha tendencia, así como de su concepto de imaginería y la generación de artistas implicados.\u0000 In recent decades, processional imagery has undergone an aesthetic evolution that has already been demonstrated by various researchers who are experts in the field. The intention of this article is to delve into its origins both from a geographical and conceptual point of view, to further investigate a new style with international projection. The anthropology behind the cultural and religious phenomenon of Holy Week has its reflection in the way in which a certain group of imagers understood sacred sculpture, generating a style that has ended up forging thanks to the emergence of a school with its own name. Although this new imagery has already been the subject of some studies that have tried to offer a formal and conceptual explanation, a stylistic and anthropological review seems necessary to provide new arguments. All this through the formal analysis of the work of the protagonists of this trend, as well as their concept of imagery and the generation of artists involved.","PeriodicalId":53885,"journal":{"name":"Imafronte-Revista de Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42863300","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":"López-Guadalupe Muñoz, Juan Jesús: la nueva Jerusalén desprendida de las esferas. El retablo mayor de la Basílica de San Juan de Dios de Granada","authors":"Ignacio José García Zapata","doi":"10.6018/imafronte.473511","DOIUrl":"https://doi.org/10.6018/imafronte.473511","url":null,"abstract":"","PeriodicalId":53885,"journal":{"name":"Imafronte-Revista de Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46151350","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":"Patuel Chust, Pascual: Media Art. Imagen y Tecnología","authors":"María Victoria Álvarez Rodríguez","doi":"10.6018/imafronte.472701","DOIUrl":"https://doi.org/10.6018/imafronte.472701","url":null,"abstract":"","PeriodicalId":53885,"journal":{"name":"Imafronte-Revista de Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46419700","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":"Reunión de mujeres, reunión de virtudes. La sala del estrado del Palacio Guevara y su programa iconográfico","authors":"Begoña Álvarez Seijo","doi":"10.6018/imafronte.460361","DOIUrl":"https://doi.org/10.6018/imafronte.460361","url":null,"abstract":"El presente trabajo pretende llevar a cabo un estudio del programa iconográfico realizado por el pintor lorquino Pedro Camacho Felizes de Alisén para la casa-palacio de los Guevara, situado en la ciudad de Lorca, para su sala del estrado; una veintena de lienzos de temática devocional, virtuosa y eminentemente femenina para un lugar de la vivienda reservado a la vida de las mujeres, cuyo análisis puede arrojar luz a la hora de comprender cómo era la educación de las nobles doncellas y lasvirtudes que debían encarnar en los albores del siglo XVIII en España.\u0000 The present work tries to carry out a study of the iconographical program depicted by Pedro Camacho Felizes de Alisén in the Guevara's palace, located in the city of Lorca, for its 'sala del estrado'; the analysis of twenty devotional, virtuous and with eminently feminine themes canvases, placed in a room reserved for women's daily lives, can shed light on the understanding of noble maiden’s education and the virtues that they were to incarnate at the dawn of the eighteenth century in Spain.","PeriodicalId":53885,"journal":{"name":"Imafronte-Revista de Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71331253","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}