Recurrencias a la estética tardogótíca en la arquitectura asturiana del primer tercio del siglo XVIII.

Sin resume

NUEVAS OBRAS DEL PINTOR FEDERICO MAURICIO RAMOS

We take up again the subject of a paper addressed to the 2nd. Spanish Congress on History of Art, the Proceedings of which remain unpublished, where we briefly studied the late 19th century Murcian painter Federico Mauricio Ramos, and presented the final sketch for his painting on the ceiling of the city Theater of Romea. Now we bring up new data on him and his biography, as well as his sketch for the front curtain of the theater, finally not carried out, and a big portrait of the King Alfonso the Thirteenth signed and dated in 1902, year of the King's majority. The portrait shows a full-length, life-sized figure and represents a step ahead both in the artist's aesthetical evolution and in relation ro rhe old-fashioned dominant tendency in the city portrait-painring. We point out the painter's devotion to Velázquez and Goya, and the translation of in to most of his works.We take up again the subject of a paper addressed to the 2nd. Spanish Congress on History of Art, the Proceedings of which remain unpublished, where we briefly studied the late 19th century Murcian painter Federico Mauricio Ramos, and presented the final sketch for his painting on the ceiling of the city Theater of Romea. Now we bring up new data on him and his biography, as well as his sketch for the front curtain of the theater, finally not carried out, and a big portrait of the King Alfonso the Thirteenth signed and dated in 1902, year of the King's majority. The portrait shows a full-length, life-sized figure and represents a step ahead both in the artist's aesthetical evolution and in relation ro rhe old-fashioned dominant tendency in the city portrait-painring. We point out the painter's devotion to Velázquez and Goya, and the translation of in to most of his works

Terra Sigillata en Begastri. Hacia una aproximación global del tema (Análisis provisional)

Se estudia solamente el material cerámico recogido durante las campañas de 1980 y 1982. La campaña de 1981, debido al mismo planteamiento de la excavación, de limpieza superficial y exterior de la muralla, y en tomo a una serie de construcciones del último momento de la ciudad no ofreció casi Terra Sigillata, y los pocos fragmentos recuperados pertenecen básicamente al grupo de la Sigillata Clara D. En líneas generales, el análisis detallado del material exhumado nos proporciona una visión aproximada del desarrollo histórico de la ciudad, determinando sus momentos de algidez y decliv

Datos preliminares para el estudio de las cerámicas tardías de Begastri. Consideraciones generales

Recogemos en este apartado un lote cerámico próximo a los cuarenta ejemplares, que tienen como características comunes, sus superficies cuidadas (bruñidas, espatuladas o barnizadas), una arcilla generalmente de buena factura, depurada y homogénea de coloración que varía entre el naranja pálido y el gris oscuro, y una cronología entre los siglos IV-VI d. C. La naturaleza misma de este trabajo determina sus límites, y por ello, que tan sólo presentamos de forma somera unas consideraciones generales sobre el tema1 describiendo y analizando las piezas más características. Se trata de vajillas de mesa que conviven en gran medida con las producciones más tardías de las sigillatas claras, especialmente con el tipo de clara D, familia con la que presentan similitudes morfológicas y tipológicas. Del conjunto total de cerámicas estudiadas, cinco son los grupos que se pueden individualizar, distribuidos según sus características tipológicas, técnicas y morfológicas

Estudio, restauración y musealización: teoría y práctica. La Colección de Pintura La Canal-Blaya.

The Collection was donated by their owners to the parish of San Miguel, of Mula (Murcia, Spain) in 1943. Since then, no intervention has been done in these works. The cataloging and restoration works were done during four summer courses from 1997 to 2001. For their restoration, theoretical and practical teaching was combined. This was undertaken by highly qualified faculty members of the Art History departments from several universities of Spain, and restorers of the best Spanish museums. At the end of the process, the restored works were exhibited in the «Museo Parroquial» (San Miguel, Mula, Murcia). The collection is important because it gathers quality paintings from sixteenth to the nineteenth century (some of them signed) and also because of its wide variety of genres, themes, techniques and supports.La Colección fue cedida por sus propietarios a la parroquia de San Miguel, de Mula (Murcia, España) en 1943 y, desde entonces, no se había intervenido en ella. La labor de catalogación y restauración se hizo en cuatro cursos de verano, de 1997 a 2001. En ellos se combinó la docencia teórica con la práctica que se aplicó a la restauración de las pinturas. Se encargó de ello un cualificado profesorado de Historia del Arte e importantes restauradores de los mejores museos españoles. Al finalizar el proceso, todo lo estudiado y restaurado pasó a exhibirse en el Museo Parroquial. La Colección es importante por reunir cuadros de calidad del siglo XVI al XIX, alguno firmado, y también, por la gran variedad de géneros, temática, técnicas y soportes

Ascenso, caída y destrucción de las actuaciones barrocas en las catedrales españolas

Las obras realizadas en las catedrales españolas durante el barroco se pueden considerar como las de mayor envergadura, así como las más ricas en soluciones formales y variedad iconográfica. En el siglo XVII y XVIII se concluyeron algunas catedrales, sobre todo en Andalucía, aunque también en otros lugares de España. Pero también se añadieron elementos como girolas, coros en el centro de la nave y grandes capillas y otras dependencias auxiliares. Igualmente por el exterior se levantaron nuevas fachadas y de rica y compleja iconografía o se modernizaron otras antiguas. También se elevaron torres o se completaron las que quedaron sin terminar en la etapa medieval. Todo ello alcanzó su máxima plenitud en la primera mitad del siglo XVIII, pero en su segunda mitad, comenzaría a ser criticado con dureza por la implantación de la estética neoclásica, llegando su desprecio y destrucción hasta nuestros días

LOS RETABLOS BARROCOS EN LAS CATEDRALES ESPAÑOLAS

Amongst the unquestionable richness of the examples of Altarpieces that the baroque period offers, those that are found in the cathedrals, in ihe main chapels. in other places or secondary chapels are the most important. The author analises the forms used in all of these coses, their iconographical content and tries to explain the mouves of their location. A wide variety of types related with their function are identified, amongst those are tabernacles for the chapels dedicated to saints which conserve their relics, relic altarpiece designed to preserve and exhibit item, the great wall groups of painting and sculpture (or a mixture of both) that are placed in the presbyiery like an open book with a didacitic function or those that are mode to dignify an old image with miraculous qualities or those dedicated to the Virgin in her various guises Also the conflict of paironship in Spain is analysed during the 17th century through the existente or not of the corresponding forms of the Virgin in certain cathedrals, and of course their position in a prominent or secondary place as well as the places of greater iranscendence such as: the presbyiery, the central chapel of the apse aisle, the transept the reirochoir and finally greater or lesser proximity to the main chapel

FRANCISCO SALZIILLO Y LA ESTÉICA NEOCLÁSICA

Starting from a formal analysis of some of Salzillo's later works, and comparing them with others of similar themes produced in his early or middle years, this paper attempts to demonstrate the sculptor's closeness to the neo-classical aesthetic. This artistic stance is considered as voluntary and conscious. It is justified by the favorable prevailing conditions that the city of Murcia enjoyed in the 18th century, especially in this last third by Salzillo's inlellectual milieu, the connections with the court and finally his own acodemic formation. This last aspect is shown by the numerous sketches he used, his knowledge of other engravings of famous works. and his the crearion of a personal academy in which inherent problems of the Arts and new artistic trends were keenly debated

EL RETABLO BARROCO EN ASTURIAS

Despite of destructions and disappearances, Asturias offers a very important baroque retable-making activity, as in other purrs of Spain. This activity was mainly carried out in convents, monasteries, great parish churches and the cathedral of Oviedo itself, which was enriched with beatiful baroque retables during the XVIIth and XVIIIth centuries. In this richness, several types may be found -rosary-retahles, exedra-retables-; the- all show an interesting iconography, like that in the main altar of the Jesuits' ancient church, in Oviedo. During the first half of the XVIIth century, the Asturian reredos still shows the Manierism as may be observed in the main altar in the monastery of Cornellana and others, though the Baroque spirit stars to be perceived in certain cases like the retables in St. Vincent's Benedictine monastery, today in the Oviedo Council, and at the altar of the collegial church in Cangas del Narcea. Baroque schemes are successful during the second half of the XVIIth century, with works like the retables in ihe Cámara Santa [Holy Chamher] in Oviedo, in the monastery ff San Pelayo, in the same city. and in the monatery of Belmonit. During the XVIIIth century they are built so important retables as the ones in the Jesuits' ancient church in Oviedo and in the Christe King's chapel in the cathedral of Oviedo. The highest baroque and the progression to rococo are represented. among other examples, by the lnmaculate Conception's reredos at the cathedral, and the retable in the Dominicans' church. both at Oviedo.Despite of destructions and disappearances, Asturias offers a very important baroque retable-making activity, as in other purrs of Spain. This activity was mainly carried out in convents, monasteries, great parish churches and the cathedral of Oviedo itself, which was enriched with beatiful baroque retables during the XVIIth and XVIIIth centuries. In this richness, several types may be found -rosary-retahles, exedra-retables-; the- all show an interesting iconography, like that in the main altar of the Jesuits' ancient church, in Oviedo. During the first half of the XVIIth century, the Asturian reredos still shows the Manierism as may be observed in the main altar in the monastery of Cornellana and others, though the Baroque spirit stars to be perceived in certain cases like the retables in St. Vincent's Benedictine monastery, today in the Oviedo Council, and at the altar of the collegial church in Cangas del Narcea. Baroque schemes are successful during the second half of the XVIIth century, with works like the retables in ihe Cámara Santa [Holy Chamher] in Oviedo, in the monastery ff San Pelayo, in the same city. and in the monatery of Belmonit. During the XVIIIth century they are built so important retables as the ones in the Jesuits' ancient church in Oviedo and in the Christe King's chapel in the cathedral of Oviedo. The highest baroque and the progression to rococo are represented. among other examples, by the lnmaculate Conception's reredos at the cathedral, and the retable in the Dominicans' church. both at Oviedo