El ciclo de la vida de San Ignacio de Loyola pintado por Cristóbal de Villalpando en Tepozotlán. Precisiones iconográficas

LOS PINTORES QUE EN SUS OBRAS REPRESENTARON LA VIDA Y MILAGROS DE SAN IGNACIO DE LOYOLA, PUDIERON INSPIRARSE EN LAS NUMEROSAS ESTAMPAS DE GRABADOS QUE ACOMPAÑARON LA CAMPAÑA DE PROPAGANDA QUE TUVO LUGAR A RAIZ DE SU BEATIFICACION Y POSTERIOR CANONIZACION. ENTRE ELLAS, LA SERIE MAS NUMEROSA Y COMPLETA FUE LA GRABADA POR JEAN BAPTISTA BARBE SEGUN DIBUJOS DE RUBENS, PUBLICADA EN ROMA EN 1609. EN MUCHAS DE ESTAS ESTAMPAS SE BASO CRISTOBAL DE VILLALPANDO PARA REALIZAR LA SERIE SOBRE LA VIDA DEL SANTO EN EL NOVICIADO DE TEPOZOTLAN, MEXICO. LAS PINTURAS, FECHADAS EN 1710, CORRESPONDEN AL ULTIMO PERIODO, EN EL QUE RECURRIO A COLABORADORES, LO QUE EXPLICA LAS DESIGUALDADES DE CALIDAD (ABC/LAG)

La Procesión de Disciplinantes. De la Academia de Bellas Artes de San Fernando. Goya y la religiosidad popular

Francisco de Goya repeated with some frequency paintings and drawings on the theme of religious processions. Among these small format pictures is the Procession of Flagelantes in the Real Academia de Bellas Artes, Madrid. Writers of the period of the Spanish Enlightenment, Goya’s friends such as Meléndez Valdés, criticized these processions, considering them to be both irreverent and scandalous. In 1783, King Charles III prohibited them at the request of the ecclesiastical authority. Goya drew and painted these processions as colourful and picturesque scenes, an expression of the plebeian piety that he himself professed, without the critical and mocking spirit that some scholars have wanted to see in them.Francisco de Goya repitió con alguna frecuencia en pinturas y dibujos el tema de las procesiones religiosas. Entre estos cuadros de pequeño formato se encuentra la “Procesión de Flagelantes” de la Real Academia de Bellas Artes de San Fernando de Madrid. Escritores de la Ilustración española, amigos de Goya, como Meléndez Valdés, censuraron estas procesiones considerándolas estos irreverentes y escandalosos. El rey Carlos III prohibió estas procesiones a petición de la autoridad eclesiástica. Goya las dibujó y pintó como escenas pintorescas y coloristas, expresión de una piedad popular que él mismo profesaba y no con el espíritu crítico y burlón que algunos estudiosos han querido ver en ellas

EL RETABLO BARROCO EN SALAMANCA: MATERIALES, FORMAS Y TIPOLOGÍAS

Several studies have made evident the importance of the retables in the area of Salamanca. St. Stephen's retable, by José de Churriguera, stands out among them. Wood will be the material used in its realization, though there are other significant works made in marble or sundstone, a quite typical stone of the zone; the reredos in the Agustinian Nuns' church, by the ltalian Cósimo Funzago, and that in the church of the Orden Tercera de Clin Francisco, by Simón Gavilán Tomé, distinguish themselves among any other. Til the middle of the XVIIth century it happens a predominance of the classicistic retable derived from Herrera and his followers. Antonio González Ramiro is the representante of this stage. A transformation leaded by the Madrilenian retable-making activity takes place around 1650; the twisted column is introduced and in reaches its cardinal point in the Clerecía retable (1675). a work by Juan Fernández, of Río Seco. The next step in this development is going to be settled by the Churriguera, who coined the so called «Churrigueresque» type. In this chapter, as the most significant example, we have lo refer to the above mentioned main reredos in the Dominicans' church of St. Stephen. The most important role in the final stage of this evolution, far into the XVIIth.century, is played by Jerónimo García de Quiñones and Simón Gavilán Tomé, they both revealing the rococo. With regard to the typologies used in the retable-making activity in Salamanca during the XVIIth and XVIIth centuries, it worths to stand out the front-retable, with an outspoken didactical intention, and the reliquary-, Euchuristic-, baldachin-, case- or cupboard- retables, to mention only a few examples.Several studies have made evident the importance of the retables in the area of Salamanca. St. Stephen's retable, by José de Churriguera, stands out among them. Wood will be the material used in its realization, though there are other significant works made in marble or sundstone, a quite typical stone of the zone; the reredos in the Agustinian Nuns' church, by the ltalian Cósimo Funzago, and that in the church of the Orden Tercera de Clin Francisco, by Simón Gavilán Tomé, distinguish themselves among any other. Til the middle of the XVIIth century it happens a predominance of the classicistic retable derived from Herrera and his followers. Antonio González Ramiro is the representante of this stage. A transformation leaded by the Madrilenian retable-making activity takes place around 1650; the twisted column is introduced and in reaches its cardinal point in the Clerecía retable (1675). a work by Juan Fernández, of Río Seco. The next step in this development is going to be settled by the Churriguera, who coined the so called «Churrigueresque» type. In this chapter, as the most significant example, we have lo refer to the above mentioned main reredos in the Dominicans' church of St. Stephen. The most important role in the final stage of this evolution, far into the XVIIth.century, is played by Jerónimo García de Quiñones and Simón Gavilán Tomé, they both revealing the rococo. With regard to the typologies used in the retable-making activity in Salamanca during the XVIIth and XVIIth centuries, it worths to stand out the front-retable, with an outspoken didactical intention, and the reliquary-, Euchuristic-, baldachin-, case- or cupboard- retables, to mention only a few examples

Otro enigma de El Greco: ¿un pintor escéptico que realiza pintura religiosa?

Contrary to current opinion, El Greco was not only a prolific painter of religious pictures, but also person of entrenched beliefs both as a member of an Orthodox family, and when he converted to the Roman Catholic faith, as is clear from many episodes and events in his life and death. This hypothesis is borne out by the correct and traditional iconography in his religious paintings, and in the ideological, technical and expressive aspects of his work.Frente a la opinión reciente, El Greco no solo fue pintor de amplísima obra religiosa, sino personalmente de arraigadas convicciones religiosas, tanto como miembro de una familia de fe ortodoxa como también después de su paso al catolicismo romano, como lo demuestran muchos episodios y acontecimientos de su vida y muerte. Avalan esta suposición tanto la correcta y tradicional iconografía de su pintura sacra, cuanto muchas de las características ideológicas, técnicas y expresivas de su obra

En torno a Alonso Cano, arquitecto

Alonso Cano was not a professional architect in the true sense of the term, since he never designed and built a complete building. He did make severa! wooden altarpieces and lesser works, undertook many decoration projects and designed the west front of Granada cathedral, which he himself did not see built. He was what was then called an artist-architect, one able to design on paper but who was no expert in the difficult art of building and the use of masonry. However, he had exceptional gifts as a decorative architect, and these gifts earned him a central place in the development of Spanish baroque art.Alonso Cano no fue un arquitecto profesional en el sentido estricto del término, pues nunca alcanzó a construir un edificio completo. Compuso, en cambio, varios retablos en madera y arquitecturas efímeras, diseñó numerosos proyectos de decoración arquitectónica y únicamente proyectó la fachada occidental de la Catedral de Granada, que no llegó a levantar personalmente. Fue lo que en terminología de la época se llamaba un arquitecto-artista, que sabía proyectar y decorar en el papel, pero no dominaba el difícil arte de la construcción y de la cantería. Ahora bien, su fecundidad e inventiva como arquitecto decorativo fueron excepcionales, situándolo en un puesto privilegiado en la evolución del barroco espafiol

De las catacumbas a los últimos confines: violencia, sentido y representación en los periplos del martirio

En este trabajo propongo un análisis transversal de las figuras del mártir y del martirio. Recurriendo a la noción de mediación, en la primera parte analizo el rol protagónico de las representaciones del martirio en las prácticas de la memoria durante la segunda mitad del siglo XVI. Analizo algunas de las condiciones que contribuyeron a la emergencia de una "cultura del martirio" y el rol de las mediaciones en tal surgimiento. En la segunda parte, estudio la forma en que el (re)descubrimiento de las catacumbas romanas, abrió un campo de producción de sentido en torno a la figura del martirio. En la tercera parte, centrándome en la Compañía de Jesús, analizo algunas mediaciones a través de las cuáles las figuras del martirio transgredieron las fronteras de iglesias y conventos para proyectarse a los últimos confines en un mundo en plena expansión.Neste artigo proponho uma análise transversal das figuras do mártir e do martírio. Usando a noção de mediação, na primeira parte eu tento analisar o papel de liderança de representações de martírio em práticas de memória durante a segunda metade do século XVI. Eu analiso algumas das condições que contribuíram para o surgimento de uma "cultura do martírio" e o papel da mediação nesta emergência. Na segunda parte, eu estudo como a (re) descoberta das catacumbas romanas abriu um campo de produção de significados em torno da figura do martírio. Na terceira parte, com foco na Companhia de Jesus, analiso algumas mediações pelas quais as representações do martírio transgrediram as fronteiras de igrejas e conventos para se projetar nas fronteiras de um mundo em plena expansão mundial.This paper proposes a cross-sectional analysis of martyr and martyrdom. Through the notion of mediation, in the first part I analyze the leading role of representations of martyrdom in memory practices during the second half of the sixteenth century. I analyze some of the conditions that contributed to the emergence of a "martyrdom's culture" and the role of mediation in such emergence. The second part studies how the (re)discovery of the Roman catacombs encouraged the production of meanings around the figure of martyrdom. In the third part, focusing on the Society of Jesus, I analyze a few instances of mediation through which the figures of martyrdom transgressed the boundaries of churches and convents to project themselves to the last frontiers of a world in full expansion.Fil: Salamanca Villamizar, Carlos Arturo. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentin

Clonal chromosomal mosaicism and loss of chromosome Y in elderly men increase vulnerability for SARS-CoV-2

The pandemic caused by severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2, COVID-19) had an estimated overall case fatality ratio of 1.38% (pre-vaccination), being 53% higher in males and increasing exponentially with age. Among 9578 individuals diagnosed with COVID-19 in the SCOURGE study, we found 133 cases (1.42%) with detectable clonal mosaicism for chromosome alterations (mCA) and 226 males (5.08%) with acquired loss of chromosome Y (LOY). Individuals with clonal mosaic events (mCA and/or LOY) showed a 54% increase in the risk of COVID-19 lethality. LOY is associated with transcriptomic biomarkers of immune dysfunction, pro-coagulation activity and cardiovascular risk. Interferon-induced genes involved in the initial immune response to SARS-CoV-2 are also down-regulated in LOY. Thus, mCA and LOY underlie at least part of the sex-biased severity and mortality of COVID-19 in aging patients. Given its potential therapeutic and prognostic relevance, evaluation of clonal mosaicism should be implemented as biomarker of COVID-19 severity in elderly people. Among 9578 individuals diagnosed with COVID-19 in the SCOURGE study, individuals with clonal mosaic events (clonal mosaicism for chromosome alterations and/or loss of chromosome Y) showed an increased risk of COVID-19 lethality