Ars longa : cuadernos de arte. 2012. No. 21

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    Tipologías, archivos y fotografía en el arte alemán de posguerra: Thomas Ruff y la identidad del retrato fotográfico
    (2012) Grigoriadou, Eirini
    The article examines the use of photography in relation to the function of «typologies» and to the concept of “archive” in the photographic practice of the German artist Thomas Ruff. The issues assessed by this study concern Ruff ’s procedure and artistic strategy: the organization of the photographic material into types of images that form series of groups. Furthermore it attempts to see how the concept of “objectivity” is redefined in these types of images and how these types establish a new relationship with the observer posing issues regarding the use of image in contemporary society.
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    La recepción del modelo clásico en Mallorca. El oficio de escultor y la arquitectura (siglos XVI y XVII)
    (2012) Gambús Saiz, Mercedes
    En el presente artículo se expone el estado de la cuestión de la recepción del humanismo y del arte renacentista en Mallorca, a partir del cual se introducen nuevos datos documentales que permiten una mejor comprensión de la toma de conciencia de los escultores frente al modelo clásico y del nuevo papel que desempeñaron en la creación arquitectónica.
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    El Gòtic Internacional a València. Antoni Peris en la pintura valenciana (1402-1424)
    (2012) Llanes Domingo, Carme
    Antoni Peris was a painter of altarpieces who was active in Valencia between 1402 and 1424. He was professionally connected with the most outstanding masters of International Gothic style in the city of Valencia. In view of the new documentary findings about him, this article reviews the artistic evolution of a painter who has been associated with the Master of Olleria by some critics.
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    Pintar la escultura: apuntes sobre doradores de los siglos XVII y XVIII en Valencia
    (2012) Buchón Cuevas, Ana María
    Colour is essential in polychrome sculpture. Sometimes sculptors delegated this task to prominent painters, other gilders carried out the task themselves. Therefore, the Society of painters’ articles of association which began in 1607, stated that gilding was one of the two branches of painting. The literature and archives contribute some gilders’ names. Among the most prominent Valencian gilders in the 17th and 18th century are the Campos family, Gaspar Asensi or Roberto, who was skilful putting colour on the sculpture’s face and hands. The painter Felix Lorente was an important collaborator of the sculptor Ignacio Vergara especially in his images, as it is explained here. The Royal Decree of 16th April 1682 allowed sculptors to paint their own works, which was, in the long term, disadvantageous for the gilders.
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    Bartolomé Bermejo ¿Cordubensis?
    (2012) Marías Franco, Fernando
    En este artículo se analiza el problema del supuesto origen cordobés de Bartolomé Bermejo, estudiando los hechos relacionados con su biografía documental y la fuente de nuestro conocimiento del tema, la inscripción del marco de la Piedad de Lluís Desplà de la catedral de Barcelona.
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    Los orígenes del Museo Provincial de Bellas Artes de Palma (Mallorca) y sus inventarios iniciales: 1820-1850
    (2012) Cantarellas Camps, Catalina
    One of the consequences of the Spanish “Desamortización” (the Ecclesiastical Confiscations of Mendizabal) was the creation of a statewide network of Provincial Museums. The course of what was to become the Museum of Fine Arts in Palma is channelled through two initial periods: the one related to the activity of the Economic Society of Friends of the Country and the one following its incorporation to the Provincial Commission of Monuments between 1844 and 1850. The first stage makes the selection of goods to be protected from alienation. The second stage performs the provisional location of the Museum, and during the 1840s, museum goods inventories are made.
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    La invención de la genealogía: la galería de retratos de la familia Cervellón
    (2012) Gil Saura, Yolanda
    En torno a 1670 el conde de Cervellón, Gerardo Cervellón, encarga en Valencia una galería de retratos familiar donde se representan, no sus antepasados directos, sino una genealogía mítica de santos y hombres ilustres paralela a los memoriales que por la misma época redactan muchas familias nobles.
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    Primer hilo musical después de la guerra: el circuito perifónico de José Val del Omar en Valencia
    (2012) Gil Noé, José Vicente
    The work of Granada-born José Val del Omar (1904-1982), filmmaker and inventor among a long list of other occupations, was as great and visionary as it was systematically neglected during his lifetime. In recent years he has been the subject of investigation and a recovery process that has culminated in a major exhibition at Centro José Guerrero in Granada and Museo Nacional Centro de arte Reina Sofía between 2010 and 2011. Taking advantage of the topicality of his figure, this article is about a project undertaken by Val del Omar in Valencia in the immediate post Civil War period: the Circuito Perifónico. It was a pioneer speakers street circuit in Spain that broadcast music, with which to entertain people, and funny ads that helped to encourage the city’s economy. Also, the text is justified by the recovery of part of the city’s lost history and as a possible forerunner of modern sound art. The article specifically deals with the genesis, development and operation of the project arising from new documents found in the family archives of the son of one of Val del Omar’s collaborator.
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    El colegio jesuita de San Pedro de Segorbe: noticias sobre su fundación y proceso constructivo
    (2012) Navarro Catalán, David Miguel
    The ancient Jesuit college of St. Peter in Segorbe presents an extensive constructive process from the 17th century. The article tries to improve the knowledge about its different historical phases revealing unknown information and contributes with unpublished documentation including the clauses of the foundation of the college.
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    El Departament d'Història de l'Art de la Universitat de València en el curso 2011-2012
    (2012) Jerez Moliner, Felipe
    In this section, the most remarkable educational aspects in connection with the History of Art Department of the University of Valencia during the academic year 2011-2012 are enumerated, along with the research contributions by its members throughout 2011 and other aspects of interest concerning diffusion, management and other important activities of this University Department.
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    Wallace Stevens and Antonio Colinas: poetic recreation of a pictorial image and Botticell's 'The Birth of Venus'
    (2012) Rodríguez Guerrero-Strachan, Santiago
    Both Wallace Stevens and Antonio Colinas wrote poems that had their origin in Sandro Botticelli’s painting The Birth of Venus. Despite the apparent cultural distance between both poets, it is my view that they shared some common ground in the poems “The Paltry Nude Starts on a Spring Voyage” and “Simonetta Vespucci”. This article analyzes their poetics on imagination first. I will also discuss their poetics and then read the poems against Botticelli’s painting. Colinas is not interested, as Stevens was, in the creation of new poetics different from European standards. Stevens is basically interested in exploring new ways of representation much in the way Cézanne or Picasso did so that his poems could support the new American art. Colinas’ main concern is the revitalized use of the classical tradition at the end of the last century. The analyses of both their essays and their poems show the distance there is between the beginning and the end of the 20th in literature.
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    Tras la pista de Andrés Paradís. Una mesa de escayola (scagliola) polícroma del Barroco en Valencia
    (2012) Gutiérrez Pastor, Ismael
    Este trabajo estudia una excepcional mesa española del primer tercio del siglo XVIII, que se remata con una tapa de escayola, decorada con un trompe l´oeil de dibujos, naipes, partituras e instrumentos de música, y flores a modo de mesa revuelta. Fue realizada en talleres de la ciudad de Valencia y su estilo se relaciona con el de las obras de los escayolistas de la familia Paradís, que por el momento sólo conocemos a través de los testimonios literarios y documentales que las describieron en el siglo XVIII.
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    Estructura y evolución formal en las cruces parroquiales valencianas (s. XIV-XX)
    (2012) Cots Morató, Francisco de Paula
    La platería valenciana se va conociendo poco a poco a pesar de que su estudio formalista ha empezado con posterioridad a otras tierras de España. El presente artículo, junto con otro dedicado a su iconografía ya publicado, quiere culminar el estudio global de las cruces procesionales valencianas. En él se analiza la estructura y la evolución formal de este objeto litúrgico desde el siglo XIV hasta el siglo XX, destacando sus obras y autores más importantes –Pere Capellades, Bernat Joan Cetina, Joan Calderón, Lluís Perales, etc.– y se subraya la importancia del platero Simó de Toledo, que, en el siglo XVII, creó una tipología de cruz, cuyos ecos advertimos incluso en el siglo XX.
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    Adversus cardinalis baronii, aliorumque opinionem. La defensa de la venida, y predicación evangélica, de Santiago en España en la génesis y circulación en Galicia del tipo iconográfico 'Santiago peregrino extático'
    (2012) López Calderón, Carme
    In the studies devoted to James The Greater iconography three types are traditionally differentiated: apostle, pilgrim and knight, and, at the same time, the pilgrim type is subdivided according to the saintly attitude with James either walking or James standing. With this article, we aim to contribute to these studies showing the appearance of a third variety in the Modern Galicia, which therefore, enriches the iconography of the apostle known until now due to the innovative representation that implies by itself and also because of the deep historic implications that we think it involves. Consequently, we release “Ecstatic Pilgrim St. James” type.
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    El somni de Sant Josep de Francesc Ribalta a Algemesí. Una obra retrobada arran de la seua desaparició durant la Guerra Civil,
    (2012) Felici Castell, Andrés; Ortega Ferrer, María
    In 2010 the Caylus Gallery in Madrid put on sale a painting titled The dream of St. Joseph, attributed to Francisco Ribalta, from the altarpiece of St. Joseph, in the parish church of Algemesí which disappeared during the Civil War. This article aims to conduct a study of the work analyzing it from various disciplines (history of art, chemical analysis, iconography, documentation) to confirm that this recently appeared painting was in fact by this artist and is, effectively, the one that disappeared from Algemesí during the war.
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    La iglesia del Colegio-Seminario de San Pío V de Valencia
    (2012) Gómez-Ferrer Lozano, Mercedes
    This article studies the church of the school-convent of Saint Pius V, nowadays Fine Arts Museum of Valencia, through the analysis of written and graphic sources, that provide an image so far unknown of the church interior, which was partially demolished in 1925. It analyses its architectural elements as well as its constructive process in the period encompassing the first half of the 18th century. Finally it takes into account the causes that lead to the demolition of its dome.
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    La sociabilidad doméstica y la decoración de las estancias de recibir en el ámbito murciano (1759-1808)
    (2012) Martínez Alcázar, Elena
    A través de una selección de testamentos e inventarios de Murcia, Cartagena y Caravaca de los reinados de Carlos III y Carlos IV, se analiza el tipo de decoración de las salas de recibo de las viviendas de los acaudalados. La influencia que las modas extranjeras tuvieron en esta época, tanto en lo relativo a las relaciones sociales como en la apariencia y la decoración de interiores, repercutió en las casas de los aristócratas y altos funcionarios del entorno murciano. No obstante, si hay algo que caracterizó estos espacios interiores fue la convivencia entre lo tradicional y moderno.
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    Picasso y Christian Zervos. Los dibujos escultóricos del cuaderno de Cannes, en 1927, y las esculturas biomórficas modeladas en París, en 1928
    (2012) Luque Teruel, Andrés
    This article establishes the analysis of Picasso´s drawing in Cannes, in 1927, and their relation with the sculptures fashioned in París in 1928. The review of this drawing with a new plastic purpose and the comparison with other preceding sculptures in different materials facilitate a new reading, and explain the artist evolution in that specialty and the unpublished nature of immediate sculptures. The influence on important avant-garde and surrealist artists increases the interest in this review and the conclusions reached.
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    Cartografías de la (Des)esperanza: políticas y naufragios desde la posmodernidad
    (2012) Vives-Ferrándiz Sánchez, Luis
    Shipwrecks have been a constant theme in Western visual culture and this subject has featured in political and moral contexts to express a variety of concepts. The aim of this text is to describe the relationships between shipwrecks, sea and Hope in the complex background of Western visual tradition to depict the survival of such notions in contemporary culture. Aesthetic preferences are superseded by political positions to study postmodern shipwrecks, a shift that highlights the social commitment of art historians. Walter Benjamin claimed to write the history of the defeated and now, following his advice, we can put them into images. It is then that images take political positions.
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    Noticies sobre algunes peces d´orfebreria per a la Catedral de Tortosa en el segle XV
    (2012) Olucha Montins, Ferrán
    El objetivo de este artículo es dar a conocer diversas noticias referentes a la realización de diferentes piezas para la catedral de Tortosa en el siglo XV, poco conocidas o desconocidas hasta este momento, que vienen a completar la información que hasta ahora teníamos de estas actividades en la ciudad catalana y de los orfebres protagonistas; Marti Escrivà, Pere Portell y los hermanos Bartomeu y Nicolau Blanch.