Beauty as Pride: A Function of Agency

This is basically a paper about artistic evaluation and how multiple interpretations can give rise to inconsistent and conflicting meanings. Images like Joel-Peter Witkin’s First Casting for Milo (2004) challenge the viewer to look closely, understand the formal properties at work, and then extract a meaning that ultimately asks, Is the model exploited or empowered? Is Karen Duffy, pictured here, vulnerable and “enfreaked” or is she potentially subversive, transgressive, and perhaps self-empowered? I will offer an argument in agreement with artist/author/ performer Ann Millett-Gallant that favors the latter interpretation, but will augment and complicate the issue by also introducing a pointed question or two taken from a recent analysis by Cynthia Freeland on objectification. I judge the works by photographer Joel-Peter Witkin to be representations of disabled persons who are empowered through agency and pride, but I also worry about the risk of multiple, conflicting interpretations on the part of viewers who do not, or cannot, entertain such enlightened readings. Like second wave feminist views about pornography that depicted women in demeaning ways, or feminist critiques of Judy Chicago’s The Dinner Party , Witkin’s photos can be judged as potentially offensive. But they are also objects of beauty—both in terms of aesthetic properties (they are magnificent studies in black and white, shadows, the human body, with many classical references) and because of the feeling of beauty and pride felt by the posers, who become performers of their own beauty and pride. I argue that beauty trumps offensiveness. Pride wins. But I’m not sure that everyone will agree

Sources of Chicano Art: Our Lady of Guadalupe

There have been two main streams of influence on Chicano artists aside from the obvious one that is the result of their artistic training, education and development in the United States. The primary influence came from Mexico, first during the colonial period in the form of New Spanish art and architecture, and then in modem times provided by the Mexican muralists through their work and their use of pre-Columbian art. The New Spanish materials formed the nucleus for the second stream of influence composed of the various manifestations of religious folk art found primarily in the Southwest

Retablo mayor de la iglesia de Santa Ana: análisis químico y biológico

(Sevilla) es que nos permite abordíu" un conjunto de técnicas y maiena es muy diversos como son los empleados en el mismo: pintura sobre ta a, escu tura po licromada, altonelieve y arquitectura del retablo. En el presente trabajo se analizaron los materiales constitutivos de las dife rentes partes del retablo: se estudiaron las maderas de las distintas estructuras del retablo asi como las técnicas y materiales pictóricos empleados en las diferentes obras de arte del mismo. También se llevo a cabo el estudio de las causas de biodelerioro que afecta al retablo así como la identificación e os agentes res ponsables

En torno al proceso de caracterización barroca del retablo toledano del siglo XVII

With this work is to put the time in which the toledan altarpiece of mediated of the XVIIth century adopts the typological features and formal of the baroque altarpiece of Madrid, a change than customs the architect Juan Gómez Lobo constituting a well-defined art of which is exponent the altarpiece of Ntra. Sra. de la Esperanza in the church of San Lucas, an example the baroque standardization of the altarpiece in Toledo in the sixties.Con este trabajo se trata de situar el momento en el que el retablo toledano de mediados del siglo XVII adopta las características tipológicas y formales del retablo barroco madrileño, cambio que personaliza el arquitecto Juan Gómez Lobo constituyendo un arte bien definido del que es exponente el retablo de Ntra. Sra. de la Esperanza de la iglesia de San Lucas, ejemplo de la normalización barroca del retablo en Toledo en la década de los sesenta

Michael Christoforidis, Manuel de Falla and Visions of Spanish Music London/ New York, Routledge, 2018.

No abstract available

The blessed sacrament altarpiece of the parish church of Santiago de Écija

Se aportan documentos fundamentales sobre la historia de uno de los principales retablos del siglo XVI que existen en Écija. Desde ahora podemos conocer la identidad de sus autores, su fecha de realización, así como los diversos avatares y transformaciones sufridas por esta obra, desde 1533 hasta nuestros días.Important documents about the history of one of the main altarpieces of the 16th century in Écija are provided. Now we know the identity of those who built it, when it dates from as well as the range of the historical changes it has undergone since 1533

El escultor Sebastián de Salinas y las pervivencias siloesco-vigarnianas en los años centrales del siglo XVI

El escultor Sebastián de Salinas, formado en el taller de Felipe Vigarny, desarrolló una importante actividad artística en Burgos y su comarca en los años centrales del siglo XVI. Relacionado con los principales artistas burgaleses del momento, como Diego Guillén, Nicolás París y Domingo de Amberes, mantuvo vivos en sus producciones los rasgos estéticos de Felipe Vigarny y de Diego de Siloé, siendo uno de los últimos representantes de la escultura burgalesa del primer Renacimiento.The sculptor Sebastian Salinas, trained in Felipe Vigarny's workshop, developed an important artistic activity in Burgos and its region during the middle years of the 16th century. Related to leading artists of the moment in Burgos, as Diego Guillén, Nicolas Paris and Domingo de Amberes, kept alive in his productions the aesthetic features of Felipe Vigarny and Diego de Siloé, being one of the last representatives of the early Renaissance Sculpture in Burgos

Nuevas aportaciones sobre el retablo de Santo Domingo de Tamarite de Litera: iconografía, origen, promoción y datación

El retablo de santo Domingo de Guzmán procedente de Tamarite de Litera es uno de los ciclos más antiguos dedicados a este santo y a la vez uno de los más complejos y desconocidos. Aproximadamente un siglo después que los dominicos permitieran la representación de sus santos miembros para impulsar su culto y a la vez su Orden se realizó este complejo ciclo dedicado a su fundador. La documentación recogida y una clave de bóveda conservada "in situ" me han permitido localizar la capilla dedicada a santo Domingo en la colegiata de Tamarite de Litera donde probablemente se encontraba este retablo hasta ser sustituido y trasladado a la sacristía de la iglesia de san Miguel de la misma población donde fue encontrado. Patrocinado por alguno de los miembros de la familia Entença, como indica uno de los escudos de su marco, fue realizado en el segundo tercio del siglo XIV según la comparación estilística con otras obras de su entorno y el graffiti realizado en la figura central. Contiene algunas escenas únicas en su género solo explicables por la intervención de un teólogo que conocía perfectamente la vida de este Santo y probablemente algún manuscrito italiano que le sirvió de modelo.The altarpiece of Saint Dominic of Guzmán from Tamarite de Litera is one of the oldest cycles dedicated to this saint and at the same time one of the most complex and unknown. About a century after Dominics had allowed to represent their patron saints for stimulating their worship and their Order, it was made this complex cycle dedicated to their founder. The documentation collected and a boss preserved "in situ" has permitted me to locate saint Dominics chapel in the collegiate church of Tamarite de Litera where probably had been shown this altarpiece until it was replaced and moved to the sacristy of san Michel's church from the same village where it was found. It was sponsored for some member of the Entença's family, as it indicates one of the coats of arms that appears in its frame, it was made during the second third of XIV century, according to the comparison with other works of their environment and the graffiti made on the central figure. It contains some unique scenes in their type which only can be explained by the intervention of a theologian who knew the life of this Saint perfectly and probably some Italian manuscript which he used as a pattern

Un retablo en Boadilla de Rioseco (Palencia) de Santiago Carnicero y Tomás Sierra

El ensamblador Santiago Carnicero y el escultor Tomás de Sierra colaboraron en varias obras para la zona de Tierra de Campos entre los años finales del siglo XVII y las primeras décadas del siguiente. En este artículo se da a conocer el retablo de la ermita del Amparo de Boadilla de Rioseco (Palencia) y su proceso constructivo, poniéndolo en relación con algunas otras obras de ambos artistas barrocos.The joiner Santiago Carnicero and the sculptor Tomás de Sierra collaborated in some works in the area of Tierra de Campos between the final years of the XVIIth century and the first decades of the next one. In this article is presented the altarpiece of the Amparo hermitage in Boadilla de Rioseco (Palencia) and its making process, putting it in relation with other Works from both Baroque artists