教会遗产无归之旅编年史:朱利安和安东尼奥·扎巴莱塔以及普拉多博物馆圣托马斯·德·阿维拉修道院的画作

IF 0.2 0 ART
Sonia Caballero Escamilla
{"title":"教会遗产无归之旅编年史:朱利安和安东尼奥·扎巴莱塔以及普拉多博物馆圣托马斯·德·阿维拉修道院的画作","authors":"Sonia Caballero Escamilla","doi":"10.5944/ETFVII.9.2021.30255","DOIUrl":null,"url":null,"abstract":"The exit of artworks from suppressed convents during the confiscation decreed by Mendizabal caused an irreparable loss of a valuable heritage. Besides, the dispersion of the pieces resulted in a decontextualization that hasn’t allowed us to know their original location neither their meaning. This paper proposes to follow the travel of some remarkable paintings of The Prado collection, those that belonged to the monastery of St. Thomas of Avila, focusing on the reasons that produced the exit from their original places, their arrival to Madrid, the final ingress in the museum, and the dispersion of some of them, that modified the original purposes and their contextual meaning.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"491-514"},"PeriodicalIF":0.2000,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Crónica de un viaje sin retorno del patrimonio eclesiástico: Julián y Antonio Zabaleta y las pinturas del convento de Santo Tomás de Ávila en el Museo del Prado\",\"authors\":\"Sonia Caballero Escamilla\",\"doi\":\"10.5944/ETFVII.9.2021.30255\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The exit of artworks from suppressed convents during the confiscation decreed by Mendizabal caused an irreparable loss of a valuable heritage. Besides, the dispersion of the pieces resulted in a decontextualization that hasn’t allowed us to know their original location neither their meaning. This paper proposes to follow the travel of some remarkable paintings of The Prado collection, those that belonged to the monastery of St. Thomas of Avila, focusing on the reasons that produced the exit from their original places, their arrival to Madrid, the final ingress in the museum, and the dispersion of some of them, that modified the original purposes and their contextual meaning.\",\"PeriodicalId\":11829,\"journal\":{\"name\":\"Espacio Tiempo y Forma. Serie VII, Historia del Arte\",\"volume\":\"1 1\",\"pages\":\"491-514\"},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2021-10-15\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Espacio Tiempo y Forma. Serie VII, Historia del Arte\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5944/ETFVII.9.2021.30255\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ART\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5944/ETFVII.9.2021.30255","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
引用次数: 0

摘要

在Mendizabal下令没收期间,艺术品从被镇压的修道院中流出,造成了一项宝贵遗产的不可挽回的损失。此外,这些作品的分散导致了去文本化,这让我们无法知道它们的原始位置和意义。本文建议追踪普拉多收藏的一些著名画作的旅行,这些画作属于阿维拉的圣托马斯修道院,重点关注导致它们离开原来的地方、到达马德里、最终进入博物馆以及其中一些画作的分散的原因,这些原因改变了最初的目的及其语境意义。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Crónica de un viaje sin retorno del patrimonio eclesiástico: Julián y Antonio Zabaleta y las pinturas del convento de Santo Tomás de Ávila en el Museo del Prado
The exit of artworks from suppressed convents during the confiscation decreed by Mendizabal caused an irreparable loss of a valuable heritage. Besides, the dispersion of the pieces resulted in a decontextualization that hasn’t allowed us to know their original location neither their meaning. This paper proposes to follow the travel of some remarkable paintings of The Prado collection, those that belonged to the monastery of St. Thomas of Avila, focusing on the reasons that produced the exit from their original places, their arrival to Madrid, the final ingress in the museum, and the dispersion of some of them, that modified the original purposes and their contextual meaning.
求助全文
通过发布文献求助,成功后即可免费获取论文全文。 去求助
来源期刊
CiteScore
0.20
自引率
0.00%
发文量
27
审稿时长
30 weeks
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
确定
请完成安全验证×
copy
已复制链接
快去分享给好友吧!
我知道了
右上角分享
点击右上角分享
0
联系我们:info@booksci.cn Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术官方微信