Libros. Arte Moderno by Vicente Méndez Hernán
Escultura Barroca Española. Nuevas lecturas desde los Siglos de Oro a la sociedad del conocimiento, vol. III: Las historias de la escultura barroca española, 2016
La publicación de esta obra se hace en el marco del Máster Propio, de la Univesidad Internacional... more La publicación de esta obra se hace en el marco del Máster Propio, de la Univesidad Internacional de Andalucía, sobre "Escultura Barroca Española. Nuevas lecturas desde los Siglos de Oro a la sociedad del conocimiento". La publicación de este manual en 2016 tiene la intención de continuar el trabajo que hizo JJ Martín González en 1983 cuando publicó su conocido Manual de Arte Cátedra titulado "Escultura barroca en España". En este capítulo se aborda el estudio de la escultura barroca castellana, actualizando el trabajo a fecha de 2016.
ENGLISH: The publication of this work is made within the framework of the Master's Degree, from the International University of Andalusia, on "Spanish Baroque Sculpture. New readings from the Golden Ages to the knowledge society." The publication of this manual in 2016 is intended to continue the work that JJ Martín González did in 1983 when he published his well-known Manual de Arte Cátedra entitled "Baroque Sculpture in Spain". This chapter addresses the study of Castilian baroque sculpture, updating the work as of 2016.
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Escultura barroca española. Nuevas lecturas desde los Siglos de Oro a la sociedad del conocimiento, 2016
Como manual docente, se analiza la escutura extremeña de los siglos XVII y XVIII. La progresiva l... more Como manual docente, se analiza la escutura extremeña de los siglos XVII y XVIII. La progresiva liquidación de las fórmulas manieristas, y el camino hacia el naturalismo viene marcado por las aportaciones de los escultores Pedro de Paz y Tomás de la Huerta. La proyección de Gregorio Fernández se consolida con la obra de Pedro de Sobremonte, quien se persona en Plasencia para competir con el maestro en el proceso de escultura del retablo mayor catedralicio. En los talleres de la Baja Extremadura se analiza al actividad de Zafra como centro artístico y la compañía que formaron el escultor Francisco Morato y el ensamblador Sebastián Muñoz; y la proyección sevillana en Zafra a través de la actividad del escultor Blas de Escobar. La transición hacia el siglo XVIII se analiza a través de la obra del escultore imaginero Miguel Sánchez Taramas. Dentro de esa centuria, destacan Agustín Correo y su obrador en Llerena. Los talleres de Badajoz están protagonizados por la actividad de Francisco Ruiz Amador y de su hijo Francisco Ruiz Amaya.
ENGLISH: As a teaching manual, it analyses Extremaduran sculpture in the 17th and 18th centuries. The progressive liquidation of mannerist formulas and the path towards naturalism is marked by the contributions of the sculptors Pedro de Paz and Tomás de la Huerta. The influence of Gregorio Fernández was consolidated by the work of Pedro de Sobremonte, who came to Plasencia to compete with the master in the sculpture of the cathedral's main altarpiece. In the workshops of Lower Extremadura, we analyse the activity of Zafra as an artistic centre and the company formed by the sculptor Francisco Morato and the assembler Sebastián Muñoz; and the influence of Seville in Zafra through the activity of the sculptor Blas de Escobar. The transition to the 18th century is analysed through the work of the sculptor Miguel Sánchez Taramas. Within this century, Agustín Correo and his workshop in Llerena stand out. The workshops in Badajoz are characterised by the work of Francisco Ruiz Amador and his son Francisco Ruiz Amaya.
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Universidad de Extremadura, Servicio de Publicaciones, 2004
En este trabajo se aborda por primera vez, y desde un punto de vista global, el desarrollo que ex... more En este trabajo se aborda por primera vez, y desde un punto de vista global, el desarrollo que experimentó el retablo durante la etapa del Barroco en el territorio diocesano de Plasencia, lo que supone hablar de la mitad de la provincia de Cáceres, unido a los dos arciprestazgos (Béjar y Fuentes de Béjar) situados al sur de Salamanca y los territorios ubicados al norte de la provincia de Badajoz.En la obra se acomete, como capítulo introductorio, un estudio del desarrollo histórico y geográfico del territorio objeto de estudio, para abordar a continuación, y siempre en relación con los datos y conclusiones planteados en dicho apartado, una serie de capítulos dedicados al estudio de la clientela, el artista y su entorno gremial, y el retablo en sí mismo, estudiado desde el punto de vista socio-cultural, estructural, iconográfico y estilístico.El trabajo también incluye un estudio detallado de los maestros arquitectos, ensambladores, entalladores y escultores que laboraron en Plasencia durante el Barroco. Se desarrollan sus biografías y se acomete la catalogación de sus obras, utilizando como criterio la procedencia de dichos artistas. También se abordan, aunque de un modo mucho más resumido, los aspectos relativos a la policromía de las piezas.El libro se cierra con un capítulo dedicado a las fuentes y la bibliografía utilizada. Se incorporan índices de mapas, láminas y figuras, y, asimismo, los índices onomástico y toponímico tan necesarios para la rápida consulta de un trabajo de este tipo.
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Diputación Provincial de Badajoz, Col. arte/arqueología, 2000
Trabajo de licenciatura, en el que se estudian las piezas de platería de la comarca de La Serena ... more Trabajo de licenciatura, en el que se estudian las piezas de platería de la comarca de La Serena (Badajoz). Está organizado en función de la procedencia de las obras, para abordar a continuación un análisis de las marcas en función de los talleres o centros artísticos y de sus plateros y contrastes.
Summary: Bachelor's degree work, in which silverware pieces from the La Serena region (Badajoz) are studied. It is organized according to the origin of the works, to then address an analysis of the brands based on the workshops or artistic centers and their silversmiths and contrasts.
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Institución Cultural El Brocense-Diputación Provincial de Cáceres, 2007
El trabajo complementa el vacío que existía sobre algunos de los maestros organeros más important... more El trabajo complementa el vacío que existía sobre algunos de los maestros organeros más importantes que trabajaron en la región extremeña, al tiempo que reconstruye proyectos tan interesantes como el del órgano que la parroquia de Madroñera contrató a finales del siglo XVIII, y restauró en el siglo XIX y a finales de la pasada centuria. Junto a este instrumento, también se analizan el de la Catedral de Plasencia o los que actualmente se conservan en las parroquias de Garganta la Olla, Pasarón de la Vera o Bienvenida (Badajoz).
SUMMARY: The work complements the gap that existed regarding some of the most important master organ builders who worked in the Extremadura region, while reconstructing projects as interesting as that of the organ that the parish of Madroñera hired at the end of the 18th century, and restored in the 19th century. XIX and at the end of the last century. Along with this instrument, the one from the Cathedral of Plasencia or those currently preserved in the parishes of Garganta la Olla, Pasarón de la Vera or Bienvenida (Badajoz) are also analyzed.
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Libros. Arte Contemporáneo Extremeño by Vicente Méndez Hernán
Catálogo de la exposición celebrada en el Museo de Bellas Artes de Badajoz entre el 26 de abril y... more Catálogo de la exposición celebrada en el Museo de Bellas Artes de Badajoz entre el 26 de abril y el 26 de junio de 2007. Era la primera vez que la pinacoteca abordada la obra conjunta de dos artistas, unidos por el mismo lazo familiar y por haber sido protagonistas de un intercambio de ideas, conceptos y planteamientos estéticos que obligaron a plantear un merecido homenaje conjunto al objeto de recuperar sus figuras gracias al conjunto de obras que se reunieron y al catálogo que se publicó.
Además de abordar la completa catalogación de la producción de ambos autores, el autor se encargó de realizar los textos del catálogo: la biografía conjunta de los hermanos, dos vidas unidas por la creación artística; el estudio de sus respectivas trayectorias artísticas, para lo que fue necesario rastrear en los catálogos de las Exposiciones Nacionales de Bellas Artes o en revistas como La Esfera, Blanco y Negro o la Gaceta de Bellas Artes; y de estudiar, ya por separado, la obra escultórica de Mauricio Tinoco Ortiz y la producción pictórica de su hermano Alejandro.
SUMMARY
Catalog of the exhibition held at the Museo de Bellas Artes de Badajoz between April 26 and June 26, 2007. It was the first time that the art gallery approached the joint work of two artists, united by the same family bond and for having been the protagonists of an exchange of ideas, concepts and aesthetic approaches that made it necessary to propose a well-deserved joint tribute in order to recover their figures thanks to the set of works that were brought together and the catalog that was published.
In addition to the complete cataloguing of the production of both authors, the author was in charge of writing the catalog texts: the joint biography of the brothers, two lives united by artistic creation; the study of their respective artistic trajectories, for which it was necessary to search in the catalogs of the National Exhibitions of Fine Arts or in magazines such as La Esfera, Blanco y Negro or the Gaceta de Bellas Artes; and to study, separately, the sculptural work of Mauricio Tinoco Ortiz and the pictorial production of his brother Alejandro.
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El principal objetivo que perseguíamos con este trabajo de investigación era recuperar, no solo l... more El principal objetivo que perseguíamos con este trabajo de investigación era recuperar, no solo la figura del pintor decadentista Antonio Juez Nieto, sino también su círculo y entorno artísticos para aportar una visión de aquella “artisticidad” española desarrollada durante las primeras décadas del siglo pasado que fue ajena tanto a las vanguardias como a la pintura regionalista que entonces se estaba llevando a cabo. El resultado fue un trabajo donde se lograron cumplir ampliamente los objetivos inicialmente fijados, ya que documentamos la biografía del artista, su entorno (analizando, como va dicho, tanto el europeo como el español), su participación en distintas revistas producidas por la Editorial Mundo Gráfico (La Esfera, Nuevo Mundo, etc.), en la Gaceta del Buen Tono de París, etc. Asimismo, se logró rescatar una amplia muestra de su producción pictórica y literaria, que se analiza en el libro siguiendo en todo momento el método científico de relación y comparación con otros artistas de época, entornos similares, etc.
English: The main objective we pursued with this research work was to recover, not only the figure of the decadent painter Antonio Juez Nieto, but also his artistic circle and environment to provide a vision of that Spanish “artisticity” developed during the first decades of the last century that It was alien to both the avant-garde and the regionalist painting that was being carried out at that time. The result was a work in which the initially set objectives were largely met, since we documented the artist's biography, his environment (analyzing, as mentioned, both European and Spanish), his participation in different magazines produced by Editorial Mundo. Graphic (La Esfera, Nuevo Mundo, etc.), in the Paris Good Tone Gazette, etc. Likewise, it was possible to rescue a large sample of his pictorial and literary production, which is analyzed in the book following at all times the scientific method of relationship and comparison with other artists of the time, similar environments, etc.
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Libros. Paisajes culturales by Vicente Méndez Hernán
Ministerio de Ciencia, Innovación y Universidades del Gobierno de España (Proyecto HAR2017-87225-P), y Junta de Extremadura, Consejería de Economía, Ciencia y Agenda Digital (GR18101), 2021
El trabajo dedicado al viaje de Campomanes a Extremadura es el resultado del proyecto nacional de... more El trabajo dedicado al viaje de Campomanes a Extremadura es el resultado del proyecto nacional de investigación titulado Paisajes Culturales en la Extremadura meridional: una visión desde el Patrimonio (HAR2017-87225-P), desarrollado entre 2018 y junio de 2021; es el tercero y último de la serie que iniciamos en 2011 con la propuesta titulada Entre Toledo y Portugal: miradas y reflexiones contemporáneas en torno a un paisaje modelado por el Tajo (HAR2010-21835); y continuamos en 2015 con La patrimonialización de un territorio: conformación de paisajes culturales entre el Tajo y el Guadiana en Extremadura (HAR2017-87225-P). En los tres casos, el marco
académico de referencia ha sido la Universidad de Extremadura y el grupo de Investigación ARPACUR (Arte y Patrimonio Moderno y Contemporáneo), coordinado
por la profesora María del Mar Lozano Bartolozzi, Catedrática de Historia del Arte
de la Uex y Directora de la Real Academia de Extremadura de las Letras y las Artes.
Los diez años de investigación en los que se han desarrollado los proyectos citados
han servido para enfocar el estudio del paisaje cultural de Extremadura desde una
óptica muy amplia. El prisma de la historia, y la importancia que adquirió la obra
pública en el siglo XVIII, unido a la fundación de las academias y al proyecto del
Diccionario Geográfico de Tomás López, han sido los ejes en los que hemos vertebrado y enfocado el presente trabajo, resultado de una década de investigación y
miradas hacia un paisaje modelado por el agua y la acción antrópica.
El trabajo lo hemos estructurado en tres capítulos. El primero se dedica a la estrecha
relación que mantuvo Campomanes con Extremadura: sus vínculos personales,
profesionales y culturales; y el viaje que realizó en el contexto de la Ilustración, su
objetivo, los manuscritos que se conservan y el Coto emeritense, destino final del
periplo. El segundo capítulo está enfocado al estudio de los caminos existentes en la
región extremeña durante el siglo XVIII, que analizamos a partir de las guías editadas;
se aborda el estudio de la obra pública derivada del informe que el Fiscal elevó al
Consejo de Castilla; y se analiza el paisaje a través de su representación, sobre todo,
en los mapas de Tomás López. El último apartado se dedica a las ventas y posadas
de la Extremadura del siglo XVIII, para lo que nos hemos ayudado de los planos
conservados en el Archivo Histórico Nacional.
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Universidad de Extremadura, Servicio de Publicaciones, 2021
El presente libro es el resultado del proyecto nacional de investigación Paisajes Culturales en l... more El presente libro es el resultado del proyecto nacional de investigación Paisajes Culturales en la Extremadura meridional: una visión desde el Patrimonio (HAR2017-87225-P), desarrollado entre 2018 y junio de 2021 bajo la dirección de Vicente Méndez Hernán y Moisés Bazán de Huerta; es el tercer proyecto de la serie que iniciamos en 2011 con la propuesta titulada Entre Toledo y Portugal: miradas y reflexiones contemporáneas en torno a su paisaje modelado por el Tajo (HAR2010-21835); y continuamos en 2015 con La patrimonialización de un territorio: conformación de paisajes culturales entre el Tajo y el Guadiana en Extremadura (HAR2017-87225-P). En los tres casos, el marco académico de referencia han sido la Universidad y el grupo de Investigación ARPACUR (HUM 012), Arte y Patrimonio Moderno y Contemporáneo), coordinado por la catedrática María del Mar Lozano Bartolozzi, perteneciente al catálogo de grupos de la Junta de Extremadura. Estos diez años de investigación han servido para enfocar desde una óptica muy amplia el estudio del paisaje cultural en Extremadura. Fruto de todo ello son las distintas secciones en las que hemos estructurado el libro. La primera se dedica a las Intervenciones en el paisaje urbano, con trabajos donde se analizan los puertos de Avilés y Tarragona; la fachada del museo como interfaz en el paisaje urbano; la tecnología aplicada a la percepción del mismo; o la decoración que posibilitó la técnica de la azulejería en el contexto de la ciudad. La segunda parte lleva por título Un acercamiento multidisciplinar al paisaje, y en ella se abordan estudios sobre los nuevos trazados de caminos en la Extremadura del siglo XVIII; la carretera como vector para interpretar el paisaje; las fortificaciones en la línea defensiva del río Guadiana; los entornos de Azuaga y Alburquerque; y eremitorios vinculados con el agua al sur del Guadiana. Por último, el libro se cierra con la sección dedicada al Arte contemporáneo en el paisaje y en los pueblos de colonización, y engloba ensayos sobre el paisaje agrario de Sicilia en el siglo XX; la arquitectura y las artes plásticas en las iglesias de los pueblos de colonización de la Extremadura meridional; y un análisis sobre La Cinoja como espacio privado de arte en Fregenal de la Sierra.
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Universidad de Extremadura, Servicio de Publicaciones, 2019
El presente libro se enmarca en un proyecto nacional homónimo y da continuidad a otras publicacio... more El presente libro se enmarca en un proyecto nacional homónimo y da continuidad a otras publicaciones previas sobre los paisajes culturales. El área de estudio abarca sobre todo el sur de la provincia de Badajoz. Cumple con la idea de revisar bajo una determinada óptica toda la comunidad autónoma de Extremadura. Esta edición se articula en diversas secciones temáticas. Un primer bloque estudia la importancia de las acciones que llevó a cabo el Instituto Nacional de Colonización, organismo responsable de una de las iniciativas más ambiciosas de actuación sobre el territorio en época franquista. Estas intervenciones generaron una alteración sustancial del paisaje rural extremeño, hasta el punto de adquirir entidad propia. Una segunda sección abarca manifestaciones de carácter ingenieril (adecuación de puentes y rutas), arquitectónico (una quinta en Olivenza) y urbanístico (conventos en Llerena), además de cubrir también la publicidad cerámica en varias localidades extremeñas. La tercera y última sección se centra en el arte contemporáneo y recoge visiones sobre el paisaje desde la pintura, el cine y el turismo.
ENGLISH. The present book is part of a national project of the same name and gives continuity to other previous publications on cultural landscapes. The area of study covers mainly the south of the province of Badajoz. It fulfils the idea of reviewing the whole of the Autonomous Community of Extremadura from a particular perspective. This edition is divided into various thematic sections. A first block studies the importance of the actions carried out by the National Institute of Colonization, the organization responsible for one of the most ambitious initiatives on the territory during the Franco era. These interventions generated a substantial alteration of Extremadura's rural landscape, to the point of acquiring its own entity. A second section covers engineering manifestations (adaptation of bridges and routes), architectural (a country house in Olivenza) and urban (convents in Llerena), as well as covering ceramic advertising in various towns in Extremadura. The third and final section focuses on contemporary art and includes visions of the landscape from the point of view of painting, cinema and tourism.
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Universidad de Extremadura, Servicio de Publicaciones, 2018
Este libro se publica con la finalidad de dar mayores claves para la preservacion y revalorizacio... more Este libro se publica con la finalidad de dar mayores claves para la preservacion y revalorizacion de los paisajes culturales vinculados al agua en torno a las cuencas fluviales del Tajo y el Guadiana en la region extremena, y por la colaboracion entre el Servicio de Publicaciones de la Universidad de Extremadura y el grupo de investigacion ARPACUR (Arte, urbanismo y patrimonio cultural moderno y contemporaneo) de la misma institucion. El libro está dividido en tres apartados diferentes; cada uno de ellos se centra en distintas cuestiones vinculadas al proyecto. En el primero: «Los pueblos de colonizacion, urbanismo y contenido patrimonial»; el segundo, «Configuración de paisajes antropizados entre el Tajo y el Guadiana»; y el tercero: «Arte y naturaleza en torno al Museo Vostell Malpartida».
ENGLISH: This book is published with the purpose of providing greater keys for the preservation and revaluation of the cultural landscapes linked to water around the river basins of the Tagus and the Guadiana in the Extremadura region, and for the collaboration between the Publications Service of the University of Extremadura and the ARPACUR research group (Art, urban planning and modern and contemporary cultural heritage) of the same institution. The book is divided into three different sections; each of them focuses on different issues related to the project. In the first: "The towns of colonization, urban planning and heritage content"; "Configuration of anthropized landscapes between the Tagus and the Guadiana"; and "Art and nature around the Vostell Malpartida Museum".
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Universidad de Extremadura, Servicio de publicaciones, 2017
El libro que presentamos bajo el título Paisajes Culturales del Agua aborda distintas investigaci... more El libro que presentamos bajo el título Paisajes Culturales del Agua aborda distintas investigaciones en torno a un tema de actualidad, el de los paisajes culturales, que remiten a la observación de los bienes histórico-artísticos en relación con el medio físico, principalmente con un planteamiento interdisciplinar y transversal. Se trata de un conjunto de análisis relacionados con el proyecto de investigación nacional "La Patrimonialización de un territorio: conformación de paisajes culturales entre el Tajo y el Guadiana en Extremadura". Un proyecto que desarrollamos el grupo ARPACUR de la Universidad de Extremadura y el grupo Arte y Patrimonio Moderno y Contemporáneo del Catálogo de Grupos de Investigación de la Junta de Extremadura, compuesto por profesores de la Universidad de Extremadura y técnicos de Patrimonio artístico del Centro de conservación y Restauración de Bienes Culturales de la Junta de Extremadura y del Consorcio Museo Vostell Malpartida. Junto a este conjunto de profesionales, en el libro han escrito otros investigadores procedentes de diversos centros de investigación nacionales y extranjeros: El Instituto Nacional de Patrimonio y las Universidades de Santiago de Compostela, Oviedo, Málaga, Cartagena, La Sapienza de Roma y la Universidad de Coimbra, con distintos perfiles formativos: historiadores del arte, arqueólogos, arquitectos e ingenieros de caminos.
ENGLISH: The book that we present under the title Cultural Landscapes of Water addresses various investigations around a current topic, the cultural landscapes, which refer to the observation of historical-artistic assets in relation to the physical environment, mainly with an approach interdisciplinary and transversal. It is a set of analyzes related to the national research project "The Patrimonialization of a territory: conformation of cultural landscapes between the Tagus and the Guadiana in Extremadura". A project developed by the ARPACUR group of the University of Extremadura and the Art and Modern and Contemporary Heritage group of the Catalog of Research Groups of the Junta de Extremadura, made up of professors from the University of Extremadura and Artistic Heritage technicians from the Conservation Center and Restoration of Cultural Assets of the Junta de Extremadura and the Vostell Malpartida Museum Consortium. Along with this group of professionals, other researchers from various national and international research centers have written in the book: The National Institute of Heritage and the Universities of Santiago de Compostela, Oviedo, Malaga, Cartagena, La Sapienza in Rome and the University of Coimbra, with different formative profiles: art historians, archaeologists, architects and road engineers.
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Editora Regional de Extremadura, 2014
Parimonio cultural vinculado con el agua. Paisaje, urbanismo, arte, ingeniería y turismo», es el ... more Parimonio cultural vinculado con el agua. Paisaje, urbanismo, arte, ingeniería y turismo», es el título de este libro que reúne una serie de capítulos con diversos estudios científicos, congregados bajo la voluntad común de analizar desde diferentes perspectivas el fenómeno del agua y su relación con el patrimonio y los paisajes culturales. Un compendio que plantea una nueva reflexión sobre el valor del agua en el patrimonio cultural así como el valor y presencia del agua en el paisajismo. Y si concretamos más, tanto de las relaciones del agua y la arquitectura civil y religiosa, la ingeniería de los puentes, los caminos, las presas, los acueductos, las artes plásticas y el paisaje, como de las acciones y su transversalidad urbanística y territorial, incluyendo los llamados caminos del agua (canales, vías fluviales y marítimas), además de las rutas relatadas y de circulaciones en torno al agua. Sin olvidar otros aspectos del turismo del agua como el agua y la salud (pongamos por caso los balnearios), los tratamientos en centros de interpretación del agua o las construcciones e infraestructuras relacionadas con ella ya mencionadas y las repercusiones en el desarrollo rural. Se añaden los pueblos de colonización, sobre los que ya hemos realizado distintos trabajos, con su urbanismo, arquitectura y artes plásticas e industriales, más su incidencia territorial, así como los llamados pueblos y ciudades del agua en los que la cercanía del agua, y la existencia de canales o incluso puertos, marcan su existencia cultural y patrimonial.
ENGLISH: Cultural heritage linked to water. Landscape, urban planning, art, engineering and tourism", is the title of this book that brings together a series of chapters with various scientific studies, brought together under the common desire to analyze from different perspectives the phenomenon of water and its relationship with heritage and cultural landscapes. A compendium that proposes a new reflection on the value of water in cultural heritage as well as the value and presence of water in landscaping. And if we specify more, both about the relationships of water and civil and religious architecture, the engineering of bridges, roads, dams, aqueducts, the plastic arts and the landscape, as well as the actions and their urban and territorial transversality , including the so-called water paths (canals, fluvial and maritime routes), in addition to the reported routes and circulations around water. Without forgetting other aspects of water tourism such as water and health (for example, spas), treatments in water interpretation centers or the constructions and infrastructures related to it already mentioned and the repercussions on rural development. The colonization towns are added, on which we have already carried out different works, with their urban planning, architecture and plastic and industrial arts, plus their territorial impact, as well as the so-called water towns and cities in which the proximity of water, and The existence of canals or even ports mark its cultural and heritage existence.
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Editora Regional de Extremadura, 2012
El libro que presentamos se configura con una serie de artículos científicos reunidos en torno a ... more El libro que presentamos se configura con una serie de artículos científicos reunidos en torno a un tema común: paisajes modelados por el agua, que da lugar al diálogo entre la arquitectura, la ingeniería y las artes plásticas, con la biodiversidad de la naturaleza, el urbanismo, la ordenación del territorio, el paisajismo y el patrimonio histórico-artístico en general. Todos ellos términos de gran resonancia actual. Un patrimonio que se puede poner en valor con las contribuciones de grupos de trabajo como el nuestro, que aporta investigaciones de expertos sobre la materia, en atención a ámbitos internacionales desde España, Portugal e Italia.
El encuentro entre unos textos y otros ha surgido a partir de la elaboración de un proyecto de investigación nacional financiado por el Ministerio de Economía e Innovación, titulado: «Entre Toledo y Portugal: miradas y reflexiones contemporáneas en torno a un paisaje modelado por el Tajo» (HAR2010-21835), que desarrollamos desde nuestro grupo de investigación denominado: Arte, urbanismo y patrimonio cultural moderno y contemporáneo (ARPACUR). Y considerar fundamental que a nuestros trabajos interdisciplinares se añadieran los de otros investigadores, a los que hemos invitado a escribir para esta publicación porque desarrollan inquietudes intelectuales y proyectos parecidos en otros espacios científicos, para, de esta manera, mirarnos en nuevos referentes especulares.
Se añade que las perspectivas metodológicas son diferentes pues hemos reunido a historiadores del arte, historiadores, arquitectos e ingenieros con el ánimo siempre de afirmar la necesidad de complicidad desde la diversidad.
El hilo conductor se basa en la hipótesis de cómo las distintas cuencas fluviales que atraviesan la península, como la del Tajo, que ocupa a nuestro equipo de investigación, así como los espacios del litoral marítimo, han servido de estímulo y guía para la creación de un determinado, variadísimo y a veces poco conocido patrimonio cultural.
ENGLISG: The book we present is made up of a series of scientific articles gathered around a common theme: landscapes shaped by water, which gives rise to dialogue between architecture, engineering and the plastic arts, with the biodiversity of nature, the urban planning, territorial planning, landscaping and historical-artistic heritage in general. All of them terms with great current resonance. A heritage that can be valued with the contributions of working groups like ours, which provides research by experts on the subject, in attention to international spheres from Spain, Portugal and Italy.
The encounter between some texts and others has arisen from the development of a national research project funded by the Ministry of Economy and Innovation, entitled: «Between Toledo and Portugal: contemporary views and reflections around a landscape shaped by the Tagus. » (HAR2010-21835), which we developed from our research group called: Art, urbanism and modern and contemporary cultural heritage (ARPACUR). And consider it essential that our interdisciplinary work be added to that of other researchers, whom we have invited to write for this publication because they develop intellectual concerns and similar projects in other scientific spaces, in order to, in this way, look at ourselves in new mirror references.
It is added that the methodological perspectives are different since we have brought together art historians, historians, architects and engineers with the aim of always affirming the need for complicity from diversity.
The common thread is based on the hypothesis of how the different river basins that cross the peninsula, such as the Tagus, which occupies our research team, as well as the spaces on the maritime coast, have served as a stimulus and guide for the creation of a certain, very varied and sometimes little-known cultural heritage.
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En octubre del año 2013 celebramos un Seminario internacional en la Facultad de Filosofía y Letra... more En octubre del año 2013 celebramos un Seminario internacional en la Facultad de Filosofía y Letras de Cáceres bajo el título: “Patrimonio Cultural Vinculado con el agua. Paisaje, urbanismo, arte, ingeniería y turismo”. La convocatoria estuvo relacionada con el proyecto de investigación: “Entre Toledo y Portugal: miradas y reflexiones contemporáneas en torno a un paisaje modelado por el Tajo” (H.AR2010-21835) que desarrollarnos el grupo ARPACUR de la Universidad de Extremadura. Una comisión científica seleccionó una serie de pósteres que fueron expuestos y comentados durante la reunión. Ante el interés de los trabajos procedemos a la publicación en formato digital de los contenidos e ilustraciones de dichas colaboraciones.
English: In October 2013 we held an international seminar at the Faculty of Philosophy and Letters of Cáceres under the title: “Cultural Heritage Linked to Water. Landscape, urban planning, art, engineering and tourism.” The call was related to the research project: “Between Toledo and Portugal: contemporary views and reflections around a landscape shaped by the Tagus” (H.AR2010-21835) that the ARPACUR group of the University of Extremadura developed. A scientific commission selected a series of posters that were displayed and commented on during the meeting. Given the interest in the works, we proceeded to publish in digital format the contents and illustrations of these collaborations.
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Historia del Arte Extremeño. Museos by Vicente Méndez Hernán
Revista de Estudios Extremeños, 2018
En este trabajo se estudia y analiza la evolucion del Museo de BellasArtes de Badajoz a traves de... more En este trabajo se estudia y analiza la evolucion del Museo de BellasArtes de Badajoz a traves de los directores que estuvieron a cargo de la Pinacoteca, desde su creacion en 1919 de manos de Adelardo Covarsi Yustas, hasta su fase de consolidacion y expansion definitivas, a cargo de Roman HernandezNieves, quien estuvo al frente de la Institucion hasta 2014.
English: This work studies and analyzes the evolution of the Badajoz Museum ofFine Arts through the directors who were in charge of the art gallery from itscreation in 1919, with Adelardo Covarsi Yustas, to its final expansion andconsolidation phase under Roman Hernandez Nieves, who ran the Institutionuntil 2014.
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Revista de Estudios Extremeños, 2018
En este trabajo se estudia y analiza la evolucion del Museo de BellasArtes de Badajoz a traves de... more En este trabajo se estudia y analiza la evolucion del Museo de BellasArtes de Badajoz a traves de los directores que estuvieron a cargo de la Pinacoteca, desde su creacion en 1919 de manos de Adelardo Covarsi Yustas, hasta su fase de consolidacion y expansion definitivas, a cargo de Roman HernandezNieves, quien estuvo al frente de la Institucion hasta 2014.
EnglishThis work studies and analyzes the evolution of the Badajoz Museum ofFine Arts through the directors who were in charge of the art gallery from itscreation in 1919, with Adelardo Covarsi Yustas, to its final expansion andconsolidation phase under Roman Hernandez Nieves, who ran the Institutionuntil 2014.
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Revista de Estudios Extremeños, 2016
En este trabajo se analizan los articulos relativos a la Historia del Arte publicados en la Revis... more En este trabajo se analizan los articulos relativos a la Historia del Arte publicados en la Revista de Estudios Extremenos desde su creacion en 1927 hasta el ano 2015. Para su estudio, hemos seguido las series que Adelardo Covarsi y Tomas Martin Gil dedicaron al arte en Extremadura. Tambien hemos abordado el amplio campo del proceso de investigacion cientifica, que nos ha servido para analizar los articulos dedicados al estudio de la documentacion, a los viajes y al trabajo de campo en general. La etapas de la Historia del Arte constituyen el eje tematico del tercer apartado del presente escrito, seguido del analisis de los generos artisticos y otros aspectos de nuestro patrimonio.
ENGLISH: This work analyzes articles related with Art History which were published in the “Estudios Extremeños” Journal from the time it was created in 1927 to the year 2015. In our study, we have followed the series that Adelardo Covarsí and Tomás Martín Gil dedicated to art in Extremadura. In this study, we likewise have touched upon the broad field that is the scientific research process, and this has helped us to analyze the series of articles which deal with the study of documentation, travel, and field work in general. The different periods of Art History make up the bulk of the third part of this work, followed by an análisis of the artistic genres and other aspects related with our heritage.
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El libro como objeto de Arte. Actas del II Congreso Nacional sobre Bibliofilia, Encuadernación Artística, Restauración y Patrimonio Bibliográfico, celebrado entre los días 20 y 23 de abril de 2004, 2008
Después de hacer un breve repaso por los impresores del siglo XVI en Extremadura, abordamos el es... more Después de hacer un breve repaso por los impresores del siglo XVI en Extremadura, abordamos el estudio de una serie de publicaciones que consideramos clave para la evolución de las artes en función de los modelos que contribuyeron a difundir o las notas que aportaron para el estudio de la historia extremeña.
SUMMARY: After a brief review of 16th century printers in Extremadura, we will study a series of publications that we consider key to the evolution of the arts in terms of the models that they contributed to disseminating or the notes that they contributed to the study of Extremadura's history.
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España y América entre el Barroco y la Ilustración (1722-1804). II Centenario de la muerte del Cardenal Lorenzana (1804-2004), 2005
En el artículo se traza una panorámica del desarrollo del arte extremeño durante la época del Car... more En el artículo se traza una panorámica del desarrollo del arte extremeño durante la época del Cardenal Lorenzana. Se trata de una etapa de gran importancia por los cambios que conlleva, y con la que nos hemos propuesto como objetivo, con el presente trabajo, trazar un amplio panorama sobre la producción artística extremeña durante la época del Cardenal Lorenzana, atendiendo, a la luz de las nuevas investigaciones que vamos a cometiendo sobre este campo de estudio, y a las nuevas directrices de la historiografía artística, a los cambios que la centuria del siglo XVIII fue promoviendo en las artes extremeñas, tanto en lo que respecta a la arquitectura, como también a la escultura, con la escasa presencia del Neoclasicismo escultórico en nuestra región y la pintura.
En lo que respecta a la escultura, hay que citar como obra clave del clasicismo extremeño, en materia de retablos (precedido por la amplia trayectoria de los estilos barroco y rococó), la máquina que cubre el testero de la iglesia de Cuacos de Yuste, una obra, por otra parte, que copia la que Carlos V había mandado hacer para el monasterio de Yuste. Mas lo frecuente en nuestra tierra fue continuar con el estilo barroco, que poco a poco fue caminado hacia el Rococó. Entre los artistas de mayor calado en la sociedad cacereña hay que citar a los entalladores José Manuel y Ventura de la Incera Velasco, Carlos Simón de Soria, Bartolomé Fernández Jerez o Vicente Barbadillo, encargados, durante la segunda mitad del siglo XVIII, de equipar a muchas parroquias de la Alta y Baja Extremadura. Nuevos datos al respecto ofrecemos en nuestro trabajo, donde asimismo se hace referencia a artistas tan importantes como Luis Salvador Carmona o Alejandro Carnicero.
Lo mismo sucede con la pintura, donde se hace necesario citar nombres como los de José de Mera, Nicolás Antonio José Hidalgo, el taller de los Mures y los Estrada, etc.
SUMMARY: This is a period of great importance due to the changes it entailed, and our aim in this work is to provide a broad overview of artistic production in Extremadura during the time of Cardinal Lorenzana, taking into account, in the light of the new research we are undertaking in this field of study, the changes that the eighteenth century brought about in the arts in Extremadura, both in terms of architecture and sculpture, and the new guidelines of artistic historiography, to the changes that the 18th century was promoting in the arts in Extremadura, both in architecture and sculpture, with the scarce presence of Neoclassicism in sculpture in our region, and in painting.
As far as sculpture is concerned, the key work of Extremaduran classicism in the field of altarpieces (preceded by the extensive trajectory of the Baroque and Rococo styles) is the machine that covers the front of the church of Cuacos de Yuste, a work, moreover, that copies the one that Charles V had ordered to be made for the monastery of Yuste. However, the most common style in our land was to continue with the Baroque style, which gradually moved towards Rococo. Among the most important artists in Cáceres society were the carvers José Manuel and Ventura de la Incera Velasco, Carlos Simón de Soria, Bartolomé Fernández Jerez and Vicente Barbadillo, who, during the second half of the 18th century, were responsible for equipping many parishes in Upper and Lower Extremadura. Further information on this subject is provided in our work, which also refers to important artists such as Luis Salvador Carmona and Alejandro Carnicero.
The same is true of painting, where it is necessary to mention names such as José de Mera, Nicolás Antonio José Hidalgo, the workshop of the Mures and Estrada families, etc.
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Libros. Arte Moderno by Vicente Méndez Hernán
ENGLISH: The publication of this work is made within the framework of the Master's Degree, from the International University of Andalusia, on "Spanish Baroque Sculpture. New readings from the Golden Ages to the knowledge society." The publication of this manual in 2016 is intended to continue the work that JJ Martín González did in 1983 when he published his well-known Manual de Arte Cátedra entitled "Baroque Sculpture in Spain". This chapter addresses the study of Castilian baroque sculpture, updating the work as of 2016.
ENGLISH: As a teaching manual, it analyses Extremaduran sculpture in the 17th and 18th centuries. The progressive liquidation of mannerist formulas and the path towards naturalism is marked by the contributions of the sculptors Pedro de Paz and Tomás de la Huerta. The influence of Gregorio Fernández was consolidated by the work of Pedro de Sobremonte, who came to Plasencia to compete with the master in the sculpture of the cathedral's main altarpiece. In the workshops of Lower Extremadura, we analyse the activity of Zafra as an artistic centre and the company formed by the sculptor Francisco Morato and the assembler Sebastián Muñoz; and the influence of Seville in Zafra through the activity of the sculptor Blas de Escobar. The transition to the 18th century is analysed through the work of the sculptor Miguel Sánchez Taramas. Within this century, Agustín Correo and his workshop in Llerena stand out. The workshops in Badajoz are characterised by the work of Francisco Ruiz Amador and his son Francisco Ruiz Amaya.
Summary: Bachelor's degree work, in which silverware pieces from the La Serena region (Badajoz) are studied. It is organized according to the origin of the works, to then address an analysis of the brands based on the workshops or artistic centers and their silversmiths and contrasts.
SUMMARY: The work complements the gap that existed regarding some of the most important master organ builders who worked in the Extremadura region, while reconstructing projects as interesting as that of the organ that the parish of Madroñera hired at the end of the 18th century, and restored in the 19th century. XIX and at the end of the last century. Along with this instrument, the one from the Cathedral of Plasencia or those currently preserved in the parishes of Garganta la Olla, Pasarón de la Vera or Bienvenida (Badajoz) are also analyzed.
Libros. Arte Contemporáneo Extremeño by Vicente Méndez Hernán
Además de abordar la completa catalogación de la producción de ambos autores, el autor se encargó de realizar los textos del catálogo: la biografía conjunta de los hermanos, dos vidas unidas por la creación artística; el estudio de sus respectivas trayectorias artísticas, para lo que fue necesario rastrear en los catálogos de las Exposiciones Nacionales de Bellas Artes o en revistas como La Esfera, Blanco y Negro o la Gaceta de Bellas Artes; y de estudiar, ya por separado, la obra escultórica de Mauricio Tinoco Ortiz y la producción pictórica de su hermano Alejandro.
SUMMARY
Catalog of the exhibition held at the Museo de Bellas Artes de Badajoz between April 26 and June 26, 2007. It was the first time that the art gallery approached the joint work of two artists, united by the same family bond and for having been the protagonists of an exchange of ideas, concepts and aesthetic approaches that made it necessary to propose a well-deserved joint tribute in order to recover their figures thanks to the set of works that were brought together and the catalog that was published.
In addition to the complete cataloguing of the production of both authors, the author was in charge of writing the catalog texts: the joint biography of the brothers, two lives united by artistic creation; the study of their respective artistic trajectories, for which it was necessary to search in the catalogs of the National Exhibitions of Fine Arts or in magazines such as La Esfera, Blanco y Negro or the Gaceta de Bellas Artes; and to study, separately, the sculptural work of Mauricio Tinoco Ortiz and the pictorial production of his brother Alejandro.
English: The main objective we pursued with this research work was to recover, not only the figure of the decadent painter Antonio Juez Nieto, but also his artistic circle and environment to provide a vision of that Spanish “artisticity” developed during the first decades of the last century that It was alien to both the avant-garde and the regionalist painting that was being carried out at that time. The result was a work in which the initially set objectives were largely met, since we documented the artist's biography, his environment (analyzing, as mentioned, both European and Spanish), his participation in different magazines produced by Editorial Mundo. Graphic (La Esfera, Nuevo Mundo, etc.), in the Paris Good Tone Gazette, etc. Likewise, it was possible to rescue a large sample of his pictorial and literary production, which is analyzed in the book following at all times the scientific method of relationship and comparison with other artists of the time, similar environments, etc.
Libros. Paisajes culturales by Vicente Méndez Hernán
académico de referencia ha sido la Universidad de Extremadura y el grupo de Investigación ARPACUR (Arte y Patrimonio Moderno y Contemporáneo), coordinado
por la profesora María del Mar Lozano Bartolozzi, Catedrática de Historia del Arte
de la Uex y Directora de la Real Academia de Extremadura de las Letras y las Artes.
Los diez años de investigación en los que se han desarrollado los proyectos citados
han servido para enfocar el estudio del paisaje cultural de Extremadura desde una
óptica muy amplia. El prisma de la historia, y la importancia que adquirió la obra
pública en el siglo XVIII, unido a la fundación de las academias y al proyecto del
Diccionario Geográfico de Tomás López, han sido los ejes en los que hemos vertebrado y enfocado el presente trabajo, resultado de una década de investigación y
miradas hacia un paisaje modelado por el agua y la acción antrópica.
El trabajo lo hemos estructurado en tres capítulos. El primero se dedica a la estrecha
relación que mantuvo Campomanes con Extremadura: sus vínculos personales,
profesionales y culturales; y el viaje que realizó en el contexto de la Ilustración, su
objetivo, los manuscritos que se conservan y el Coto emeritense, destino final del
periplo. El segundo capítulo está enfocado al estudio de los caminos existentes en la
región extremeña durante el siglo XVIII, que analizamos a partir de las guías editadas;
se aborda el estudio de la obra pública derivada del informe que el Fiscal elevó al
Consejo de Castilla; y se analiza el paisaje a través de su representación, sobre todo,
en los mapas de Tomás López. El último apartado se dedica a las ventas y posadas
de la Extremadura del siglo XVIII, para lo que nos hemos ayudado de los planos
conservados en el Archivo Histórico Nacional.
ENGLISH. The present book is part of a national project of the same name and gives continuity to other previous publications on cultural landscapes. The area of study covers mainly the south of the province of Badajoz. It fulfils the idea of reviewing the whole of the Autonomous Community of Extremadura from a particular perspective. This edition is divided into various thematic sections. A first block studies the importance of the actions carried out by the National Institute of Colonization, the organization responsible for one of the most ambitious initiatives on the territory during the Franco era. These interventions generated a substantial alteration of Extremadura's rural landscape, to the point of acquiring its own entity. A second section covers engineering manifestations (adaptation of bridges and routes), architectural (a country house in Olivenza) and urban (convents in Llerena), as well as covering ceramic advertising in various towns in Extremadura. The third and final section focuses on contemporary art and includes visions of the landscape from the point of view of painting, cinema and tourism.
ENGLISH: This book is published with the purpose of providing greater keys for the preservation and revaluation of the cultural landscapes linked to water around the river basins of the Tagus and the Guadiana in the Extremadura region, and for the collaboration between the Publications Service of the University of Extremadura and the ARPACUR research group (Art, urban planning and modern and contemporary cultural heritage) of the same institution. The book is divided into three different sections; each of them focuses on different issues related to the project. In the first: "The towns of colonization, urban planning and heritage content"; "Configuration of anthropized landscapes between the Tagus and the Guadiana"; and "Art and nature around the Vostell Malpartida Museum".
ENGLISH: The book that we present under the title Cultural Landscapes of Water addresses various investigations around a current topic, the cultural landscapes, which refer to the observation of historical-artistic assets in relation to the physical environment, mainly with an approach interdisciplinary and transversal. It is a set of analyzes related to the national research project "The Patrimonialization of a territory: conformation of cultural landscapes between the Tagus and the Guadiana in Extremadura". A project developed by the ARPACUR group of the University of Extremadura and the Art and Modern and Contemporary Heritage group of the Catalog of Research Groups of the Junta de Extremadura, made up of professors from the University of Extremadura and Artistic Heritage technicians from the Conservation Center and Restoration of Cultural Assets of the Junta de Extremadura and the Vostell Malpartida Museum Consortium. Along with this group of professionals, other researchers from various national and international research centers have written in the book: The National Institute of Heritage and the Universities of Santiago de Compostela, Oviedo, Malaga, Cartagena, La Sapienza in Rome and the University of Coimbra, with different formative profiles: art historians, archaeologists, architects and road engineers.
ENGLISH: Cultural heritage linked to water. Landscape, urban planning, art, engineering and tourism", is the title of this book that brings together a series of chapters with various scientific studies, brought together under the common desire to analyze from different perspectives the phenomenon of water and its relationship with heritage and cultural landscapes. A compendium that proposes a new reflection on the value of water in cultural heritage as well as the value and presence of water in landscaping. And if we specify more, both about the relationships of water and civil and religious architecture, the engineering of bridges, roads, dams, aqueducts, the plastic arts and the landscape, as well as the actions and their urban and territorial transversality , including the so-called water paths (canals, fluvial and maritime routes), in addition to the reported routes and circulations around water. Without forgetting other aspects of water tourism such as water and health (for example, spas), treatments in water interpretation centers or the constructions and infrastructures related to it already mentioned and the repercussions on rural development. The colonization towns are added, on which we have already carried out different works, with their urban planning, architecture and plastic and industrial arts, plus their territorial impact, as well as the so-called water towns and cities in which the proximity of water, and The existence of canals or even ports mark its cultural and heritage existence.
El encuentro entre unos textos y otros ha surgido a partir de la elaboración de un proyecto de investigación nacional financiado por el Ministerio de Economía e Innovación, titulado: «Entre Toledo y Portugal: miradas y reflexiones contemporáneas en torno a un paisaje modelado por el Tajo» (HAR2010-21835), que desarrollamos desde nuestro grupo de investigación denominado: Arte, urbanismo y patrimonio cultural moderno y contemporáneo (ARPACUR). Y considerar fundamental que a nuestros trabajos interdisciplinares se añadieran los de otros investigadores, a los que hemos invitado a escribir para esta publicación porque desarrollan inquietudes intelectuales y proyectos parecidos en otros espacios científicos, para, de esta manera, mirarnos en nuevos referentes especulares.
Se añade que las perspectivas metodológicas son diferentes pues hemos reunido a historiadores del arte, historiadores, arquitectos e ingenieros con el ánimo siempre de afirmar la necesidad de complicidad desde la diversidad.
El hilo conductor se basa en la hipótesis de cómo las distintas cuencas fluviales que atraviesan la península, como la del Tajo, que ocupa a nuestro equipo de investigación, así como los espacios del litoral marítimo, han servido de estímulo y guía para la creación de un determinado, variadísimo y a veces poco conocido patrimonio cultural.
ENGLISG: The book we present is made up of a series of scientific articles gathered around a common theme: landscapes shaped by water, which gives rise to dialogue between architecture, engineering and the plastic arts, with the biodiversity of nature, the urban planning, territorial planning, landscaping and historical-artistic heritage in general. All of them terms with great current resonance. A heritage that can be valued with the contributions of working groups like ours, which provides research by experts on the subject, in attention to international spheres from Spain, Portugal and Italy.
The encounter between some texts and others has arisen from the development of a national research project funded by the Ministry of Economy and Innovation, entitled: «Between Toledo and Portugal: contemporary views and reflections around a landscape shaped by the Tagus. » (HAR2010-21835), which we developed from our research group called: Art, urbanism and modern and contemporary cultural heritage (ARPACUR). And consider it essential that our interdisciplinary work be added to that of other researchers, whom we have invited to write for this publication because they develop intellectual concerns and similar projects in other scientific spaces, in order to, in this way, look at ourselves in new mirror references.
It is added that the methodological perspectives are different since we have brought together art historians, historians, architects and engineers with the aim of always affirming the need for complicity from diversity.
The common thread is based on the hypothesis of how the different river basins that cross the peninsula, such as the Tagus, which occupies our research team, as well as the spaces on the maritime coast, have served as a stimulus and guide for the creation of a certain, very varied and sometimes little-known cultural heritage.
English: In October 2013 we held an international seminar at the Faculty of Philosophy and Letters of Cáceres under the title: “Cultural Heritage Linked to Water. Landscape, urban planning, art, engineering and tourism.” The call was related to the research project: “Between Toledo and Portugal: contemporary views and reflections around a landscape shaped by the Tagus” (H.AR2010-21835) that the ARPACUR group of the University of Extremadura developed. A scientific commission selected a series of posters that were displayed and commented on during the meeting. Given the interest in the works, we proceeded to publish in digital format the contents and illustrations of these collaborations.
Historia del Arte Extremeño. Museos by Vicente Méndez Hernán
English: This work studies and analyzes the evolution of the Badajoz Museum ofFine Arts through the directors who were in charge of the art gallery from itscreation in 1919, with Adelardo Covarsi Yustas, to its final expansion andconsolidation phase under Roman Hernandez Nieves, who ran the Institutionuntil 2014.
EnglishThis work studies and analyzes the evolution of the Badajoz Museum ofFine Arts through the directors who were in charge of the art gallery from itscreation in 1919, with Adelardo Covarsi Yustas, to its final expansion andconsolidation phase under Roman Hernandez Nieves, who ran the Institutionuntil 2014.
ENGLISH: This work analyzes articles related with Art History which were published in the “Estudios Extremeños” Journal from the time it was created in 1927 to the year 2015. In our study, we have followed the series that Adelardo Covarsí and Tomás Martín Gil dedicated to art in Extremadura. In this study, we likewise have touched upon the broad field that is the scientific research process, and this has helped us to analyze the series of articles which deal with the study of documentation, travel, and field work in general. The different periods of Art History make up the bulk of the third part of this work, followed by an análisis of the artistic genres and other aspects related with our heritage.
SUMMARY: After a brief review of 16th century printers in Extremadura, we will study a series of publications that we consider key to the evolution of the arts in terms of the models that they contributed to disseminating or the notes that they contributed to the study of Extremadura's history.
En lo que respecta a la escultura, hay que citar como obra clave del clasicismo extremeño, en materia de retablos (precedido por la amplia trayectoria de los estilos barroco y rococó), la máquina que cubre el testero de la iglesia de Cuacos de Yuste, una obra, por otra parte, que copia la que Carlos V había mandado hacer para el monasterio de Yuste. Mas lo frecuente en nuestra tierra fue continuar con el estilo barroco, que poco a poco fue caminado hacia el Rococó. Entre los artistas de mayor calado en la sociedad cacereña hay que citar a los entalladores José Manuel y Ventura de la Incera Velasco, Carlos Simón de Soria, Bartolomé Fernández Jerez o Vicente Barbadillo, encargados, durante la segunda mitad del siglo XVIII, de equipar a muchas parroquias de la Alta y Baja Extremadura. Nuevos datos al respecto ofrecemos en nuestro trabajo, donde asimismo se hace referencia a artistas tan importantes como Luis Salvador Carmona o Alejandro Carnicero.
Lo mismo sucede con la pintura, donde se hace necesario citar nombres como los de José de Mera, Nicolás Antonio José Hidalgo, el taller de los Mures y los Estrada, etc.
SUMMARY: This is a period of great importance due to the changes it entailed, and our aim in this work is to provide a broad overview of artistic production in Extremadura during the time of Cardinal Lorenzana, taking into account, in the light of the new research we are undertaking in this field of study, the changes that the eighteenth century brought about in the arts in Extremadura, both in terms of architecture and sculpture, and the new guidelines of artistic historiography, to the changes that the 18th century was promoting in the arts in Extremadura, both in architecture and sculpture, with the scarce presence of Neoclassicism in sculpture in our region, and in painting.
As far as sculpture is concerned, the key work of Extremaduran classicism in the field of altarpieces (preceded by the extensive trajectory of the Baroque and Rococo styles) is the machine that covers the front of the church of Cuacos de Yuste, a work, moreover, that copies the one that Charles V had ordered to be made for the monastery of Yuste. However, the most common style in our land was to continue with the Baroque style, which gradually moved towards Rococo. Among the most important artists in Cáceres society were the carvers José Manuel and Ventura de la Incera Velasco, Carlos Simón de Soria, Bartolomé Fernández Jerez and Vicente Barbadillo, who, during the second half of the 18th century, were responsible for equipping many parishes in Upper and Lower Extremadura. Further information on this subject is provided in our work, which also refers to important artists such as Luis Salvador Carmona and Alejandro Carnicero.
The same is true of painting, where it is necessary to mention names such as José de Mera, Nicolás Antonio José Hidalgo, the workshop of the Mures and Estrada families, etc.
ENGLISH: The publication of this work is made within the framework of the Master's Degree, from the International University of Andalusia, on "Spanish Baroque Sculpture. New readings from the Golden Ages to the knowledge society." The publication of this manual in 2016 is intended to continue the work that JJ Martín González did in 1983 when he published his well-known Manual de Arte Cátedra entitled "Baroque Sculpture in Spain". This chapter addresses the study of Castilian baroque sculpture, updating the work as of 2016.
ENGLISH: As a teaching manual, it analyses Extremaduran sculpture in the 17th and 18th centuries. The progressive liquidation of mannerist formulas and the path towards naturalism is marked by the contributions of the sculptors Pedro de Paz and Tomás de la Huerta. The influence of Gregorio Fernández was consolidated by the work of Pedro de Sobremonte, who came to Plasencia to compete with the master in the sculpture of the cathedral's main altarpiece. In the workshops of Lower Extremadura, we analyse the activity of Zafra as an artistic centre and the company formed by the sculptor Francisco Morato and the assembler Sebastián Muñoz; and the influence of Seville in Zafra through the activity of the sculptor Blas de Escobar. The transition to the 18th century is analysed through the work of the sculptor Miguel Sánchez Taramas. Within this century, Agustín Correo and his workshop in Llerena stand out. The workshops in Badajoz are characterised by the work of Francisco Ruiz Amador and his son Francisco Ruiz Amaya.
Summary: Bachelor's degree work, in which silverware pieces from the La Serena region (Badajoz) are studied. It is organized according to the origin of the works, to then address an analysis of the brands based on the workshops or artistic centers and their silversmiths and contrasts.
SUMMARY: The work complements the gap that existed regarding some of the most important master organ builders who worked in the Extremadura region, while reconstructing projects as interesting as that of the organ that the parish of Madroñera hired at the end of the 18th century, and restored in the 19th century. XIX and at the end of the last century. Along with this instrument, the one from the Cathedral of Plasencia or those currently preserved in the parishes of Garganta la Olla, Pasarón de la Vera or Bienvenida (Badajoz) are also analyzed.
Además de abordar la completa catalogación de la producción de ambos autores, el autor se encargó de realizar los textos del catálogo: la biografía conjunta de los hermanos, dos vidas unidas por la creación artística; el estudio de sus respectivas trayectorias artísticas, para lo que fue necesario rastrear en los catálogos de las Exposiciones Nacionales de Bellas Artes o en revistas como La Esfera, Blanco y Negro o la Gaceta de Bellas Artes; y de estudiar, ya por separado, la obra escultórica de Mauricio Tinoco Ortiz y la producción pictórica de su hermano Alejandro.
SUMMARY
Catalog of the exhibition held at the Museo de Bellas Artes de Badajoz between April 26 and June 26, 2007. It was the first time that the art gallery approached the joint work of two artists, united by the same family bond and for having been the protagonists of an exchange of ideas, concepts and aesthetic approaches that made it necessary to propose a well-deserved joint tribute in order to recover their figures thanks to the set of works that were brought together and the catalog that was published.
In addition to the complete cataloguing of the production of both authors, the author was in charge of writing the catalog texts: the joint biography of the brothers, two lives united by artistic creation; the study of their respective artistic trajectories, for which it was necessary to search in the catalogs of the National Exhibitions of Fine Arts or in magazines such as La Esfera, Blanco y Negro or the Gaceta de Bellas Artes; and to study, separately, the sculptural work of Mauricio Tinoco Ortiz and the pictorial production of his brother Alejandro.
English: The main objective we pursued with this research work was to recover, not only the figure of the decadent painter Antonio Juez Nieto, but also his artistic circle and environment to provide a vision of that Spanish “artisticity” developed during the first decades of the last century that It was alien to both the avant-garde and the regionalist painting that was being carried out at that time. The result was a work in which the initially set objectives were largely met, since we documented the artist's biography, his environment (analyzing, as mentioned, both European and Spanish), his participation in different magazines produced by Editorial Mundo. Graphic (La Esfera, Nuevo Mundo, etc.), in the Paris Good Tone Gazette, etc. Likewise, it was possible to rescue a large sample of his pictorial and literary production, which is analyzed in the book following at all times the scientific method of relationship and comparison with other artists of the time, similar environments, etc.
académico de referencia ha sido la Universidad de Extremadura y el grupo de Investigación ARPACUR (Arte y Patrimonio Moderno y Contemporáneo), coordinado
por la profesora María del Mar Lozano Bartolozzi, Catedrática de Historia del Arte
de la Uex y Directora de la Real Academia de Extremadura de las Letras y las Artes.
Los diez años de investigación en los que se han desarrollado los proyectos citados
han servido para enfocar el estudio del paisaje cultural de Extremadura desde una
óptica muy amplia. El prisma de la historia, y la importancia que adquirió la obra
pública en el siglo XVIII, unido a la fundación de las academias y al proyecto del
Diccionario Geográfico de Tomás López, han sido los ejes en los que hemos vertebrado y enfocado el presente trabajo, resultado de una década de investigación y
miradas hacia un paisaje modelado por el agua y la acción antrópica.
El trabajo lo hemos estructurado en tres capítulos. El primero se dedica a la estrecha
relación que mantuvo Campomanes con Extremadura: sus vínculos personales,
profesionales y culturales; y el viaje que realizó en el contexto de la Ilustración, su
objetivo, los manuscritos que se conservan y el Coto emeritense, destino final del
periplo. El segundo capítulo está enfocado al estudio de los caminos existentes en la
región extremeña durante el siglo XVIII, que analizamos a partir de las guías editadas;
se aborda el estudio de la obra pública derivada del informe que el Fiscal elevó al
Consejo de Castilla; y se analiza el paisaje a través de su representación, sobre todo,
en los mapas de Tomás López. El último apartado se dedica a las ventas y posadas
de la Extremadura del siglo XVIII, para lo que nos hemos ayudado de los planos
conservados en el Archivo Histórico Nacional.
ENGLISH. The present book is part of a national project of the same name and gives continuity to other previous publications on cultural landscapes. The area of study covers mainly the south of the province of Badajoz. It fulfils the idea of reviewing the whole of the Autonomous Community of Extremadura from a particular perspective. This edition is divided into various thematic sections. A first block studies the importance of the actions carried out by the National Institute of Colonization, the organization responsible for one of the most ambitious initiatives on the territory during the Franco era. These interventions generated a substantial alteration of Extremadura's rural landscape, to the point of acquiring its own entity. A second section covers engineering manifestations (adaptation of bridges and routes), architectural (a country house in Olivenza) and urban (convents in Llerena), as well as covering ceramic advertising in various towns in Extremadura. The third and final section focuses on contemporary art and includes visions of the landscape from the point of view of painting, cinema and tourism.
ENGLISH: This book is published with the purpose of providing greater keys for the preservation and revaluation of the cultural landscapes linked to water around the river basins of the Tagus and the Guadiana in the Extremadura region, and for the collaboration between the Publications Service of the University of Extremadura and the ARPACUR research group (Art, urban planning and modern and contemporary cultural heritage) of the same institution. The book is divided into three different sections; each of them focuses on different issues related to the project. In the first: "The towns of colonization, urban planning and heritage content"; "Configuration of anthropized landscapes between the Tagus and the Guadiana"; and "Art and nature around the Vostell Malpartida Museum".
ENGLISH: The book that we present under the title Cultural Landscapes of Water addresses various investigations around a current topic, the cultural landscapes, which refer to the observation of historical-artistic assets in relation to the physical environment, mainly with an approach interdisciplinary and transversal. It is a set of analyzes related to the national research project "The Patrimonialization of a territory: conformation of cultural landscapes between the Tagus and the Guadiana in Extremadura". A project developed by the ARPACUR group of the University of Extremadura and the Art and Modern and Contemporary Heritage group of the Catalog of Research Groups of the Junta de Extremadura, made up of professors from the University of Extremadura and Artistic Heritage technicians from the Conservation Center and Restoration of Cultural Assets of the Junta de Extremadura and the Vostell Malpartida Museum Consortium. Along with this group of professionals, other researchers from various national and international research centers have written in the book: The National Institute of Heritage and the Universities of Santiago de Compostela, Oviedo, Malaga, Cartagena, La Sapienza in Rome and the University of Coimbra, with different formative profiles: art historians, archaeologists, architects and road engineers.
ENGLISH: Cultural heritage linked to water. Landscape, urban planning, art, engineering and tourism", is the title of this book that brings together a series of chapters with various scientific studies, brought together under the common desire to analyze from different perspectives the phenomenon of water and its relationship with heritage and cultural landscapes. A compendium that proposes a new reflection on the value of water in cultural heritage as well as the value and presence of water in landscaping. And if we specify more, both about the relationships of water and civil and religious architecture, the engineering of bridges, roads, dams, aqueducts, the plastic arts and the landscape, as well as the actions and their urban and territorial transversality , including the so-called water paths (canals, fluvial and maritime routes), in addition to the reported routes and circulations around water. Without forgetting other aspects of water tourism such as water and health (for example, spas), treatments in water interpretation centers or the constructions and infrastructures related to it already mentioned and the repercussions on rural development. The colonization towns are added, on which we have already carried out different works, with their urban planning, architecture and plastic and industrial arts, plus their territorial impact, as well as the so-called water towns and cities in which the proximity of water, and The existence of canals or even ports mark its cultural and heritage existence.
El encuentro entre unos textos y otros ha surgido a partir de la elaboración de un proyecto de investigación nacional financiado por el Ministerio de Economía e Innovación, titulado: «Entre Toledo y Portugal: miradas y reflexiones contemporáneas en torno a un paisaje modelado por el Tajo» (HAR2010-21835), que desarrollamos desde nuestro grupo de investigación denominado: Arte, urbanismo y patrimonio cultural moderno y contemporáneo (ARPACUR). Y considerar fundamental que a nuestros trabajos interdisciplinares se añadieran los de otros investigadores, a los que hemos invitado a escribir para esta publicación porque desarrollan inquietudes intelectuales y proyectos parecidos en otros espacios científicos, para, de esta manera, mirarnos en nuevos referentes especulares.
Se añade que las perspectivas metodológicas son diferentes pues hemos reunido a historiadores del arte, historiadores, arquitectos e ingenieros con el ánimo siempre de afirmar la necesidad de complicidad desde la diversidad.
El hilo conductor se basa en la hipótesis de cómo las distintas cuencas fluviales que atraviesan la península, como la del Tajo, que ocupa a nuestro equipo de investigación, así como los espacios del litoral marítimo, han servido de estímulo y guía para la creación de un determinado, variadísimo y a veces poco conocido patrimonio cultural.
ENGLISG: The book we present is made up of a series of scientific articles gathered around a common theme: landscapes shaped by water, which gives rise to dialogue between architecture, engineering and the plastic arts, with the biodiversity of nature, the urban planning, territorial planning, landscaping and historical-artistic heritage in general. All of them terms with great current resonance. A heritage that can be valued with the contributions of working groups like ours, which provides research by experts on the subject, in attention to international spheres from Spain, Portugal and Italy.
The encounter between some texts and others has arisen from the development of a national research project funded by the Ministry of Economy and Innovation, entitled: «Between Toledo and Portugal: contemporary views and reflections around a landscape shaped by the Tagus. » (HAR2010-21835), which we developed from our research group called: Art, urbanism and modern and contemporary cultural heritage (ARPACUR). And consider it essential that our interdisciplinary work be added to that of other researchers, whom we have invited to write for this publication because they develop intellectual concerns and similar projects in other scientific spaces, in order to, in this way, look at ourselves in new mirror references.
It is added that the methodological perspectives are different since we have brought together art historians, historians, architects and engineers with the aim of always affirming the need for complicity from diversity.
The common thread is based on the hypothesis of how the different river basins that cross the peninsula, such as the Tagus, which occupies our research team, as well as the spaces on the maritime coast, have served as a stimulus and guide for the creation of a certain, very varied and sometimes little-known cultural heritage.
English: In October 2013 we held an international seminar at the Faculty of Philosophy and Letters of Cáceres under the title: “Cultural Heritage Linked to Water. Landscape, urban planning, art, engineering and tourism.” The call was related to the research project: “Between Toledo and Portugal: contemporary views and reflections around a landscape shaped by the Tagus” (H.AR2010-21835) that the ARPACUR group of the University of Extremadura developed. A scientific commission selected a series of posters that were displayed and commented on during the meeting. Given the interest in the works, we proceeded to publish in digital format the contents and illustrations of these collaborations.
English: This work studies and analyzes the evolution of the Badajoz Museum ofFine Arts through the directors who were in charge of the art gallery from itscreation in 1919, with Adelardo Covarsi Yustas, to its final expansion andconsolidation phase under Roman Hernandez Nieves, who ran the Institutionuntil 2014.
EnglishThis work studies and analyzes the evolution of the Badajoz Museum ofFine Arts through the directors who were in charge of the art gallery from itscreation in 1919, with Adelardo Covarsi Yustas, to its final expansion andconsolidation phase under Roman Hernandez Nieves, who ran the Institutionuntil 2014.
ENGLISH: This work analyzes articles related with Art History which were published in the “Estudios Extremeños” Journal from the time it was created in 1927 to the year 2015. In our study, we have followed the series that Adelardo Covarsí and Tomás Martín Gil dedicated to art in Extremadura. In this study, we likewise have touched upon the broad field that is the scientific research process, and this has helped us to analyze the series of articles which deal with the study of documentation, travel, and field work in general. The different periods of Art History make up the bulk of the third part of this work, followed by an análisis of the artistic genres and other aspects related with our heritage.
SUMMARY: After a brief review of 16th century printers in Extremadura, we will study a series of publications that we consider key to the evolution of the arts in terms of the models that they contributed to disseminating or the notes that they contributed to the study of Extremadura's history.
En lo que respecta a la escultura, hay que citar como obra clave del clasicismo extremeño, en materia de retablos (precedido por la amplia trayectoria de los estilos barroco y rococó), la máquina que cubre el testero de la iglesia de Cuacos de Yuste, una obra, por otra parte, que copia la que Carlos V había mandado hacer para el monasterio de Yuste. Mas lo frecuente en nuestra tierra fue continuar con el estilo barroco, que poco a poco fue caminado hacia el Rococó. Entre los artistas de mayor calado en la sociedad cacereña hay que citar a los entalladores José Manuel y Ventura de la Incera Velasco, Carlos Simón de Soria, Bartolomé Fernández Jerez o Vicente Barbadillo, encargados, durante la segunda mitad del siglo XVIII, de equipar a muchas parroquias de la Alta y Baja Extremadura. Nuevos datos al respecto ofrecemos en nuestro trabajo, donde asimismo se hace referencia a artistas tan importantes como Luis Salvador Carmona o Alejandro Carnicero.
Lo mismo sucede con la pintura, donde se hace necesario citar nombres como los de José de Mera, Nicolás Antonio José Hidalgo, el taller de los Mures y los Estrada, etc.
SUMMARY: This is a period of great importance due to the changes it entailed, and our aim in this work is to provide a broad overview of artistic production in Extremadura during the time of Cardinal Lorenzana, taking into account, in the light of the new research we are undertaking in this field of study, the changes that the eighteenth century brought about in the arts in Extremadura, both in terms of architecture and sculpture, and the new guidelines of artistic historiography, to the changes that the 18th century was promoting in the arts in Extremadura, both in architecture and sculpture, with the scarce presence of Neoclassicism in sculpture in our region, and in painting.
As far as sculpture is concerned, the key work of Extremaduran classicism in the field of altarpieces (preceded by the extensive trajectory of the Baroque and Rococo styles) is the machine that covers the front of the church of Cuacos de Yuste, a work, moreover, that copies the one that Charles V had ordered to be made for the monastery of Yuste. However, the most common style in our land was to continue with the Baroque style, which gradually moved towards Rococo. Among the most important artists in Cáceres society were the carvers José Manuel and Ventura de la Incera Velasco, Carlos Simón de Soria, Bartolomé Fernández Jerez and Vicente Barbadillo, who, during the second half of the 18th century, were responsible for equipping many parishes in Upper and Lower Extremadura. Further information on this subject is provided in our work, which also refers to important artists such as Luis Salvador Carmona and Alejandro Carnicero.
The same is true of painting, where it is necessary to mention names such as José de Mera, Nicolás Antonio José Hidalgo, the workshop of the Mures and Estrada families, etc.
SUMMARY: In this work we present a brief overview of the female foundations in the city of Plasencia: the convent of the Ildefonsas nuns; the convent of Santa Clara; the convent of the Capuchin Poor Clare nuns of Santa Ana; the convent of the Encarnación, of the Order of Preachers; and the convent of the Discalced Carmelite nuns.
The decision which Bishop Martín de Córdoba took in 1578 to complete the construction of the new Cathedral of Plasencia gave rise to a new stage in which the ornamentation of the newly inaugurated place of worship became the main objective of future prelates and canons. This is the context of the hitherto unknown plan which has recently come to light in the Chapterhouse Archive and which was drawn up by Lucas Mitata for the construction of an altarpiece dedicated to the Resurrection of Christ. Its presence in the city of Alfonso VIII in 1592 is documented, which means that it may have been produced in that year. It is the second surviving drawing of Mitata and predates that which he made for the funeral of Bishop Pedro García de Galarza in the Cathedral of Coria, which is however of lower quality and less detailed than that of Plasencia.
SUMMARY
In this work we present the traces provided by the master José Vélez de Pomar on 17 August 1721 for the altarpiece-reliquary of the convent of San Benito de Alcántara. We provide unpublished data on the construction process of this work and on the author responsible for the traces.
English: With this work we propose the purpose of analyzing one of the particularities that the Ecclesiastical Archives of the Diocese of Plasencia currently have, which is the scarcity of traces, drawings or erases that are currently preserved in them. For the art historian, this material is extremely rich because of the conclusions to which it can lead. For this reason, we have considered it of interest to bring together in this work the traces that are currently preserved in the Placentine Diocese.
This study constitutes a brief journey through the infrastructures necessary to mould the landscape in keeping with man’s needs for the transfer and transport of merchandise, all this concentrating on the Extremadura of the 18th century. Our journey begins with a vision of the representation of the landscape using for the purpose some of the drawings preserved at the Historical National Archive. This territory was then criss-crossed with the roads which were gradually consolidated during the second half of the 18th century. They were studded with a series of inns which also need to be mentioned and studied owing to their importance in the origin of this incipient communication network of the ime.
ENGLISH: The aim of this work is to study the landscape of Extremadura through its roads and bridges, looking up both the descriptions of travellers as well as the itineraries undertaken throughout the 18th century. Likewise, one of the key elements of this article has been the analysis of graphic representations of the territory, studying the drawings preserved at the National Historical Archives and the engravings or publications on the subject matter. Through this, we have embarked on our particular journey through time, trying to rebuild the vision of a traveller in the 18th century when arriving from Madrid and passing through Cácers and Badajoz provinces.
ENGLISH: In this work we analyze the evolution of the bridges built along the Tagus River as it passes through Extremadura, based on the representation that has been made of them throughout the 16th, 17th and 18th centuries. For this we have based ourselves on the documents preserved in the General Archive of Simancas, the Royal Chancery of Valladolid, the work of Luis Carducci to make the Tagus River navigable, etc.
ENGLISH: This paper analyses a series of maps, drawings and an oil painting from the General Archive of Simancas and the Archive of the Royal Chancellor of Valladolid in order to study the profile of water –through waterways– as an element modelling the landscape and analyse the various forms of its representation depicted over centuries during the Modern Age. The paper begins with the analysis of general maps before dealing with the study of more particular realities, for example, maps with dimensions of different municipalities, representation of meadows or the study of the wonderful topographical oil painting of Cañamero preserved in the Royal Chancellor of Valladolid. The analysis is focused mainly on the territories of Badajoz, Cáceres and Salamanca provinces.
The purpose of this paper is to deepen in the testamentary provisions of the Bishop of Plasencia, don Gutierre de Vargas Carvajal (1506-1559) from the point of view of his artistic patronage, in response to various issues raised in the wake of his last wishes, which were still pending, especially his relationship with Francisco Alvarez, an important silversmith from Madrid. In addition, we offer the publication of an unpublished drawing of the Bishop's chapel in Madrid, or remarks on his magníficent vesperal, preserved in the National Llbrary of Spain.peerReviewe
ENGLISH: The representation of the territory is the documentary memory, among other issues, of the river landscape in past times. The construction of bridges that were necessary for communications was often due to the patronage of the nobility, councils, bishops and other ecclesiastical dignitaries. In the Tagus basin there are examples of great interest both for the intervention of important masters and for the magnitude of the resulting works of singular engineering.
SUMMARY: The construction history of the cathedrals of Plasencia is traced, providing new interpretations in the light of new documents, such as, for example, the traces recently rediscovered and preserved in the Chapter Archive. The same can be said of the furnishing of the cathedral, an analysis for which a new series of drawings are also provided that has allowed us to draw new perspectives in the work. Likewise, we have worked with a complete and updated bibliography.
This is a study of the joint project undertaken in the mid-18th century to build or repair bridges so as to allow the crossing of the Rivers Aljucén, Búrdalo, Entrín, Matachel, and Guadajira in the vicinity of Mérida and Badajoz. The interest of this set of works lies in the common project to improve the means of passage and therefore transport for both the postal service and for travellers in general. The projects currently kept in the National Historical Archive are studied.
ENGLISH. The convent of San Francisco de Cáceres, located on the outskirts of the monumental area of Cáceres - in front of the place where the Rodeo was celebrated -, in its origins we must mention the decision of Fray Pedro Ferrer and the support of the noble Don Diego García de Ulloa . The conditioners are provided by the same history of Cáceres from the moment it passes definitively from Agarenas to Christians in the year 1229. In this work we have carried out a study from its foundation to the present day. It will be Don Sancho IV, in a Letter dated February 25, 1285, that grants the friars of the Order of San Francisco of the Province of Santiago, privileges and exemptions for their persons and convents. The Bull of foundation was granted by Pope Sixtus IV on December 3, 1472, from that date until today it has gone through a multitude of avatars.
ENGLISH: This work attempts to analyse the landscape of beliefs formed between the Tagus and Guadiana river basins along their course through Extremadura, through the analysis of hermitages. Firstly, we went to the General Archive of Simancas to examine the preserved blueprint of a hermitage, with the aim of defining the characteristics of this sort of buildings and its relationship with the surroundings. Secondly, we put forward a number of hypotheses to try to study the landscape of beliefs through this range of construction, and we analyse their evolution employing a wide range of documentary sources available to us. Thirdly and lastly, we elaborate on the data gathered from these sources: Tomás López, Interrogatorio de la Real Audiencia and Pascual Madoz’s Dictionary.
ENGLISH: This paper proposes a method for the analyses of historical bridges. This method is developed on the study of the Jaraicejo Bridge, located on the Almonte River in the province of Cáceres, Spain. The most important studies of the bridge to this date have been supported mainly by the historical documents; in this text, however, a full analysis of the structure is performed, developing a new approach that brings together fieldwork, archival work and office work, with the analysis stemming from contrasting data for interpretation, and leading to new conclusions on the construction phases, especially the final stage. The research method could fall within the methods known as archaeology of architecture.
delineante, y después arquitecto, Fernando Sánchez Pertejo hizo en 1792 con motivo del establecimiento de la Real Audiencia de Extremadura en la villa de Cáceres.
The aim of this study is to promote the project of the royal road that the draughtsman,
and later architect, Fernando Sánchez Pertejo carried out in 1792 to commemorate the
creation of the Royal Court of Extremadura in the city of Cáceres.
ENGLISH: This paper deals with the study of roads and bridges built during the 16th, 17th and 18th centuries along the Tagus River basin, with special emphasis on the eastern side of the basin. It also discusses, in detail, the study of the road that was built between Almaraz, and Trujillo during the second half of the 18th century, according to the documentation available at the General Archive of Simancas. In the text we have also tried to rebuild the picture a traveller had about the said roads, thereby consulting the plans and drawings of the Royal Chancery of Valladolid, once again the General Archive of Simancas, and the descriptions of travellers.
SUMMARY
This paper analyzes and relates a series of classicist doorways, dated in the first decades of the 17th century and located in the province of Cáceres. Likewise, the biographies of their creators are studied, with new documentary contributions. The works under analysis are: the western façade of the church of Malpartida de Plasencia; the southern façade of the parish of Almaraz; the western façade of the church of Serrejón; the access to the church of the convent of San Vicente in Plasencia through the Epistle; and the southern façade of the church of Miajadas.
SUMMARY
We provide a study of the different construction phases of the monastery of San Francisco el Real de Cáceres based on the plans kept in the General Archive of the Administration, in Alcalá de Henares, and the restoration projects.
SUMMARY: Study of the architectural evolution of the monastery of San Francisco el Real in Cáceres, and its transformation into a Cultural Centre. In order to undertake this work, we have consulted the files relating to the restoration, kept in the General Administration Archive (AGA) in Alcalá de Henares, and the analysis of the "Restoration project in the convent of San Francisco. Caceres", kept in the Culture section.
SUMMARY: Catalog sheet of the Piedad (1559) made by Placentine sculptor Alonso Hipólito for the church of El Salvador in Plasencia.
ENGLISH: The article undertakes an approach to the study of conventual altarpieces and religious orders in Extremadura, for which the consequences that the confiscation had for the conventual heritage are first analyzed. Among the singular pieces, we present two works by Luis Salvador Carmona: the Saint Francis of Assisi that he surely made for the Franciscan VOT of Plasencia, today preserved in the Episcopal Palace, and the sculpture dedicated to the Virgin of Socorro from the church of Santa María de Brozas, from the convent of Alcantarina nuns in that same town; To these pieces we add the baroque altarpieces, equipped with stipes, from the old Trinitarian convent of Hervás. The traces of the altarpieces, the typologies, the patrons and their relationship with the artists close the work.
ENGLISH: In this work we take a short tour of the altarpieces of the cathedrals of Extremadura, based on the idea that the seo has been a mental and spiritual guide for Catholic Baroque Europe. We start from the 16th century and the Gothic altarpiece of the Badajoz cathedral temple dedicated to Santa Bárbara and the presence of the painter Luis de Morales. We focus on the 17th century on the study of the Cathedral of Plasencia and the Valladolid influence based on the intervention of Gregorio Fernández and other artists of the school, present in the chapel of San Fulgencio. This same seo allows us to move towards the baroque and the work that the Churriguera brothers dedicated to the Transit of Our Lady, without forgetting the altarpiece of the relics. We have marked the path to the baroque of the Badajoz cathedral through the altarpiece of the Sagrario chapel and the twins for Our Lady of Antigua and San Blas, in addition to the main altarpiece, presided over by the sculpture of San Juan Bautista by Juan Alonso Villabrille and Ron. Finally, we approach the development of the Baroque in the Cauri cathedral from the altarpieces of San Pedro de Alcántara and the elder.
ENGLISH: The unprecedented agreement made in 1607 by the Poor Clares of accepting the patronage of Don Rodrigo Calderón and his wife Doña Inés de Vargas and corresponding to the execution of their burials and praying sculptures for which Juan Álvarez had already given the traces, has allowed the author put in relation with this teacher the burials that were made in Plasencia between 1596 and 1610/15.
ENGLISH. This article offers the date and part of the Testament of Gregorio Fernández, thanks to the extract located in the Plasencia Cathedral Archive, which was presented to the cathedral by the sculptor’s heirs in order receive the payment due upon completion of the main altarpiece by the artist prior to his death.
SUMMARY: In this paper we analyze the sculptural production of the workshops of Trujillo during the seventeenth and eighteenth centuries.
SUMMARY: In this work we trace the evolution of the altarpiece in the province of Cáceres, through the main styles: the precedents in the 16th century and the gothic epilogues; the classicist altarpiece; the prolegomena and the baroque altarpiece; and the rococo altarpiece.
SUMMARY: We analyze the iconographic program and the liturgical trousseau of the Sanctuary of Our Lady of the Mountain of Cáceres. With respect to the former, we study the altarpiece of Manuel de Larra Churriguera and the sculptural pieces, with particular importance of the carving of the Virgin of the chapel. We add the collateral altarpieces of the Cristo de la Salud and Santa Ana, where the retablist Vicente Barbadillo, who came from Salamanca and settled in Cáceres, and the sculptor José Salvador Carmona, nephew of the famous master Luis Salvador Carmona, intervened. A study of the sanctuary's silverwork is also included, with special emphasis on the crown that Félix Granda made in 1924.
SUMMARY: This article analyses the artistic works in the province of Cáceres of sculptor Juan de Arenas, originally frorn El Barco de Ávila. Although he is a well-known artist in our historiography, the present article presents a general view of his contribution to the evolution of sculpture in the province of Cáceres on the basis of the docurnentation found about the altarpiece of the church in Tomavacas. On the basis of this docurnentation, the author also introduces sorne corrections to hypotheses about the artist that had been presented in previous publications.
SUMMARY: In this article, the author analyses the central panel of the altarpiece in the Convent of La Encarnación in Plasencia after the restoration works in 2005. Once the original painting was uncovered, the high quality and excellent polychromy of the work became obvious. This evidence, together with the information we have about the presence of artists from Valladolid in the province of Cáceres, and mainly in Plasencia during the first half of the seventeenth century, enable us to point out the hypothesis of the possible influence from Valladolid.
Since the 16th century, a series of artistic transformations had been taking place in Italy that had little or nothing to do with what was taking place in the rest of Europe. In Spain, the artists were completely imbued with the purest and most traditional Gothic style, which in some areas coexisted and intertwined with the then thriving Mudejar style. Both lines of action, as a consequence of coming into contact with the new influences that arrived from Italy during the 16th century, gave rise to a peculiar style, Hispanic by definition, that we know today as Plateresco. With this communication we intend to study the extensive development that this style had in the Extremadura region, analyzing the characteristics that can be seen in the altarpiece works, taking as an example the main altarpiece of the parish church of Las Casas de Millán (Cáceres). , which until now was believed to be the exclusive work of the Placentine carver Francisco García, and the painter, also Placentine, Diego Pérez de Cervera. Thanks to the testament granted by the father-in-law of the first, Francisco de Angulo, also a carver, we know that the work was initially contracted by him, and then transferred to his son-in-law due to the illness that afflicted him, declaring that the works were transferred to him. payments that were owed to him, which is why his name is silenced in the Factory Account Books of the aforementioned parish.
The sculpture of San Vicente Ferrer in Cañamero is one of the eleven works signed by Luis Salvador Carmona throughout his long career, which has allowed us to document this example as a personal work. This peculiarity is enhanced by the iconographic type which the artist inaugurated with its production and in baroque Spanish sculpture on portraying the saint in his dual role of Apocalyptic Angel and tireless preacher. The latter is reflected in the work lost in 1936 from the church of La Magistral in Alcalá de Henares, which is attributed to the sculptor and thus complements the former as the second version of a theme which he did not continue. Both sculptures were based on an engraving by Procaccini, and they present aspects indebted to the drawings that the artist made from the canvases arranged on the mannequin inventoried in his workshop, which has allowed the attribution.
SUMMARY: Catalog file of the Christ of Agony or Helplessness (1732) made by sculptor Luis Salvador Carmona for the church of Escurial (Cáceres), made for the Transitus exhibition. The Ages of Man, Plasencia 2022.
The formal relationship which artistic historiography has always perceived between the now-lost Christ on the Cross of the Madrid Church of Gracia and the Christ of the Foresaken in Escurial has allowed us, once the Christ of Gracia was validated as the work of Luis Salvador Carmona as from the Compendium of 1775, to conclude the long series of attributions of the sculptor of Escurial. Furthermore, he can also be proposed as the author of this work, taking into consideration its documented Madrid origin. It forms a pair with an image of Our Lady of Sorrow of the same date, 1730-1732, which the artist carved together with the Crucifix when he was still employed in the workshop of his master Juan Alonso Villabrille y Ron. This early but little known stage of his career accounts for the three works mentioned. The sculptures of Christ also correspond to the sculptural model of the living Christ on the Cross which is so uncommon in Carmona’s work.
ENGLISH:This paper aims to define the persona of the clients who turned to the workshop of Luis Salvador Carmona to commission the sculpture of Our Lady of Perpetual Succour, which is today located at the Parish of Brozas (Cáceres), as well as the sculptures of Our Lady of the Pillar and of Saint Francis Xavier, which were done for the Holy Rosary Church located in Real Sitio de San Ildefonso (Segovia). Professor Martín González, as well as Eileen Lord, both considered them to be the work of the aforementioned artist; however, they did so without the documentary proof that we are presenting here. The first work was commissioned by Tiburcio de Aguirre Ayanz, while Antonio Milón López was responsible for the initiative which was required for the other two. Both were directly related with all that which surrounded Queen Elisabeth Farnese at the time, whose inclination towards art and culture in general helped to influence Tiburcio de Aguirre, while the more devout Antonio Milón was her personal confessor.
ENGLISH: The aim of this work is to shed light on a new sculpture of Saint Francis of Assisi, which bears the obvious stamp of Luis Salvador Carmona’s most traditional, baroque, and realistic facets. It is housed in the Episcopal Palace of the city of Plasencia and it comes from the old Saint Catherine of Arenal Convent of the Franciscan Observance. It was commissioned by the Franciscan Venerable Third Order, which worshiped therein.
Until this present work, Pedro de Mata, documented as the only apprentice of Alonso Sánchez Coello, had not been linked to the painter of the same name who worked in the province of Cáceres between the late 16th and early 17th centuries. Although Sánchez Coello’s death prevented de Mata from completing his training period with him, he may have continued with the Madrid-based Toledo painter Hernando de Ávila. In any case, his documented presence in Toledo at the beginning of the 17th century confirms the distinctive stylistic features that link him to Correa de Vivar, Morales, the aforementioned Ávila and Luis de Carvajal. His most personal period was in the 1590s before he set up his atelier in the city of Plasencia in 1599, from which point onwards his production would become more uneven.
Summary: The article studies a new painting by Luis de Morales, with the topic, so common in his painting, of "The Virgin with the Distaff".
SUMMARY: In this work we take a first approach to the overall study of Extremaduran painting produced between the last decades of the century and the beginning of the next century. Juan de Flandes and the paintings for the choir of the monastery of Guadalupe; the apse with the mass of San Gregorio in the co-cathedral of Santa María in Emmería; and the Gothic altarpieces in Badajoz cathedral and the church of Santa María in Trujillo, are the works we deal with, among many others, in this work, within their logical stylistic evolution.
Bishop Vargas Carvajal commissioned a choir screen for the Plasencia New Cathedral choir in the middle of the 16th century, once the temple works had advanced to the point of closing the vaults of the first section of the naves. The choir screen was ordered to master Domingo de Céspedes in Toledo. Its installation in the natural place caused it to be discarded due to the piece's narrowness and replaced by the one made by Juan Bautista Celma at the end of the 16th century. However, Vargas Carvajal's choir screen was not lost, but integrated into other smaller ones in the Cathedral, and was even reused in its pulpits, of which we provide an unpublished tracing made in the 17th century. We also propose a reconstruction of the original choir screen with the pieces that have been preserved.
del siglo XVIII procedentes de París. Después de trabajar como oficial en el taller de Andrés Tadeo Pérez, tuvo que hacer frente a los recelos de un gremio que le puso todo tipo de trabas para que pudiera establecerse por su cuenta, a pesar incluso de estar vigente un nuevo marco legislativo con el que se había alcanzado una relativa liberalización del férreo reglamento corporativo. Fruto de ese enfrentamiento fue el proceso cuya documentación se guarda en el Archivo General de Simancas, y que analizamos en el presente trabajo. En el expediente se conserva el bello dibujo de una berlina, y toda una serie de datos sobre el gremio madrileño en el que antaño se agruparon los maestros de hacer coches.
Caspar Pflug was one of coach-builders who arrived in Madrid from Paris at the end
of the eighteenth century. After working as a skilled worker in Andrés Tadeo Pérez workshop, he had to cope with the distrust of the members of the coach-building trade who hampered him to set up on his own, although there was a new legal framework in force that had led to a relative liberalization of the iron corporate regulation. A result of this conflict was the procedure whose documents are stored in the General Archive of Simancas, and that we will analyse in the current paper. In that file, the beautiful drawing of a berlin carriage is kept as well as a series of data about the Madrid trade that once gathered the best coach-builders.
English: Coming from their birthplace in the Madrid town of Griñón, the Garton family preserves, in their private collection at the Piedras Albas palace in Trujillo, two tones from the first half of the 18th century, one of them dedicated to the death of Saúl and his squire, and the second (1744) the moment of the arrival of Dido and Aeneas to the construction of Carthage.
SUMMARY: The subject of this work is the organ of Plasencia Cathedral, in the light of the new documentation found on the master sculptors who were responsible for the carvings that decorate the case: Miguel Sánchez Taramas and Cristóbal Jiménez Morgado from Badajoz. The work also includes a biography of the important master organ builder from Valladolid, Fray Domingo de Aguirre, who was responsible for the work.
SUMMARY: The processional custody of the collegiate church of Our Lady of Candelaria of Zafra is studied, for which the decisions of its patron, Doña Juana Dormer, first Duchess of Feria, are delved into in relation to the importance of the cult of the Blessed Sacrament , deduced from the directives of the Council of Trent. The monastery, from 1605, from Madrid workshops, is analyzed; and the temple, a work from 1683 from the workshop of the Seville silversmith José de Portillo.
In this article, we explore the inspection of silverware workshops of Madrid in 1776 by Juan Rodríguez y Gutiérrez, Chief Assayer of the Realm. The best part of the surviving documentation is the large number of silversmiths it provides us and locates their work in that year.
ENGLISH: The work reveals the process of opposition during the reign of Charles IV to provide the square of faithful contrast to the Court after the death of Orive Blas Correa. The documentation comes from the General Archive of Simancas, and from the file we have been able to see the process that became frequent to fill this type of vacancies after the creation, by Felipe V, of the Board of Commerce and Currency. The call for the opposition, the applicants, the "curricula" they sent are studied, of great interest due to the data that has allowed us to learn about a large number of architects.
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ENGLISH: This article provides specific references on the monitoring, and examinations, of the master silversmiths who held the positions of contrasts of the Villa and Court of Madrid between the end of the 18th century and the beginning of the following century. To do this, we have used the documentation from the fund kept in the General Archive of Simancas dedicated to the General Board of Commerce and Currency.
ENGLISH: The work reveals the process of opposition during the reign of Charles IV to provide the square of faithful contrast to the Court after the death of Orive Blas Correa. The documentation comes from the General Archive of Simancas, and from the file we have been able to see the process that became frequent to fill this type of vacancies after the creation, by Felipe V, of the Board of Commerce and Currency. The call for the opposition, the applicants, the "curricula" they sent are studied, of great interest due to the data that has allowed us to learn about a large number of architects.
sobre el arte de la platería desarrollada entre finales del siglo XVIII y la centuria siguiente. Se trata de una serie de expedientes abiertos a tenor de las solicitudes que en su momento elevaron tanto aprendices como oficiales y maestros plateros a la Junta de Comercio y Moneda, en un contexto en el que ya se había iniciado el ocaso de los gremios, cuya definitiva desaparición estaba ya muy cercana. De hecho, y como bien señalaba Ramírez de Arellano, la creación de la Junta de Comercio y Moneda
en 1728 “quitó a las platerías muchos de sus privilegios, y mandó en ellas a veces de
una manera dictatorial, despojándolas, entre otras cosas, de sus contrastes, que hasta entonces eran nombrados por los Ayuntamientos, y recaían en los plateros más hábiles y prestigiosos, y en adelante se le imponían personas extrañas a la población y desconocedoras de ella”.
En realidad, la Junta de Comercio existía desde 1683 con plena y privativa jurisdicción en todos los asuntos tocantes a las exportaciones e importaciones, que desde entonces quedaron plenamente controlados por la Corona; y en 1728 Felipe V resolvió formar una Junta de Moneda para asegurar el control “sobre materias tocantes y conducentes a los referidos mis Reales Ingenios, plateros, batihojas, tiradores de oro y plata, y todos los demás artífices que se ocupan en las labores de monedas de oro, plata, vellón, y en las demás maniobras de los referidos metales de oro y plata”. Dos años después, por Decreto de 9 de diciembre de 1730, la Junta de Comercio se agregó a la de Moneda ; y tras la guerra de Independencia, este nuevo organismo fue incorporado a la Sala de Gobierno del Consejo de Hacienda.
La documentación conservada es de todo tipo, y atañe a pleitos, licencias, reclamaciones de lo más variadas fruto del constante enfrentamiento entre la Junta y el Colegio de San Eloy, dibujos de examen, etc. También es interesante constatar la
amplia serie de referencias que se recogen en los expedientes sobre los diferentes
oficios de los artífices: plateros de plata y oro, joyeros, diamantistas, etc. Y todo
ello centrado en Madrid, cuya amplia y documentada nómina de artífices tratamos de complementar con el presente trabajo, que hemos organizado en función de los
plateros cuyos expedientes se conservan en Simancas, añadiendo entre paréntesis las fechas en las que están documentados, y esto a partir tanto del archivo vallisoletano como de las referencias publicadas sobre los mismos. A la documentación procedente de la Junta de Comercio y Moneda también
hemos añadido el expediente del platero José Cristóbal, que obra en la sección de
Simancas dedicada a custodiar los fondos de la Secretaría y Superintendencia de
Hacienda.
English: The article addresses the issue of civil patronage in the field of silversmithing in Extremadura through works such as the chest of relics from the end of the 16th century in the Berzocana church, the Lignum Crucis of the I Duchess of Feria preserved in the convent of Santa Clara de Zafra, the custody of the Trujillo convent of San Miguel, and the acetre of the church of Fuente de Cantos; and this approach has suggested the analysis of the relationship between patrons and silversmiths, either from this same region or from outside, as well as the importance of civil patronage in the development of local silversmithing.
SUMMARY
The work analyzes the configuration of the cathedral patronage of Extremadura based on the silverware treasures, analyzing the most unique works of the cathedrals of Badajoz, Coria and Plasencia.
SUMMARY: The purpose of this work is to present, in an introductory way, the study of the art of silversmithing in the Diocese of Plasencia during the fifteenth and sixteenth centuries, paying special attention to the biography of the silversmith Alonso Mesurado, who worked in the city of Alfonso VIII during the second half of the sixteenth century.
SUMMARY: In this work we look at the career of Luis Navarrete, a silversmith from Plasenzuela, who is documented between 1559 and 1597. Among the works we study are the monstrances of Tejeda de Tiétar and Plasenzuela, and the processional cross of the latter parish church. He was one of the most important silversmiths in the city of Plasencia.
ENGLISH: The collection of silverware currently preserved in the convent of San Miguel, in Trujillo, is not very extensive in terms of number of pieces, but it is of great interest due to the quality of the works and, above all, the authors responsible for the works. same, among which it is necessary to highlight the presence of the Córdoba silversmith Damian de Castro in his facet of faithful contrast of silver and gold. Along with this, it should be noted that some of the pieces that today make up the liturgical trousseau of the convent of San Miguel come from the Dominican convent that was in Orellana la Vieja.
English: This work represents an approach to Trujillo silversmithing based on the chalices preserved in its parishes and hermitages, from the Purism of Philip II to the Baroque, and with singular examples such as the vessels preserved in Belén de Trujillo or Aldea del Obispo.
English: In this article we address a first approach to the study of the processional crosses and monstrances of the city and land of Trujillo, paying special attention to the specimens preserved in the parish church of Garciaz.
SUMMARY
The collection of silverware currently preserved in the convent of San Miguel, in Trujillo, is not very large in terms of number of pieces, but of great interest for the quality of the works and, above all, for the authors responsible for them, among which it is necessary to highlight the presence of the Cordovan silversmith Damian de Castro in his facet of faithful contrast of silver and gold. Among the typologies, we find a Eucharistic chest, chalices, chalices, ciboria, a processional cross, monstrances, an incense burner and several sets of cruets with salvers.
Tinoco. En 1918 inició su aprendizaje artístico en el estudio-taller de Joaquín Bilbao, profesor de la sevillana Escuela de Artes y Oficios, donde también se formó durante ocho años. Su trayectoria profesional transcurrirá entre Los Santos de Maimona y Madrid, hasta que ingresa en 1940 como profesor interino de escultura de la Escuela Superior de Bellas Artes de Sevilla. A partir de esa fecha es galardonado con distintos premios, como la Segunda Medalla que alcanzó en la Exposición Nacional de Bellas Artes de 1943. A excepción de las obras iniciales y de las representaciones de animales, su producción está dedicada sobre todo al retrato, en forma de cabeza o de busto, en terracota, bronce, piedra artificial y, con menor frecuencia, mármol.
In this paper we analyze the biographical and sculptural trajectory of the sculptor Mauricio Tinoco. In 1918 he began his artistic apprenticeship in the studio-workshop of Joaquín Bilbao, professor at the Sevillian School of Arts and Crafts, where he also trained for eight years. His professional career will take place between Los Santos de Maimona and Madrid, until he entered in 1940 as an interim professor of sculpture at the Superior School of Fine Arts in Seville. From that date on, he was awarded several prizes, such as the Second Medal he won at the National Exhibition of Fine Arts in 1943. With the exception of the initial works and the representations of animals, his
production is dedicated mainly to portraiture, head shape or bust, in terracotta, bronze, artificial stone and, less frequently, marble.
ENGLISH: Studio of the sculptor Pedro Torre-Isunza, a native of Don Benito (Badajoz) and settled in Madrid for most of his artistic career. The study of his biography is addressed, always based on the evolution of his sculptural production. The artistic career of the sculptor is analyzed, studying the different exhibition events in which he participated, the awards he won and the consequences that these had for his career. Among his participations, his regular presence in the National Exhibitions of Fine Arts, the Venice Biennale, and a long etcetera stands out. And the sculptural style of Torre-Isunza is studied from the teaching exercised by Mateo Inurria.
English: The work that we present, titled “Cabeza de toro”, belongs to the series of etchings “Black Bullfighting”.
English: In this work we present the work titled “Atardecer otoñal”, from 1930, preserved in a private collection in Extremadura. The painter captures in it one of his usual visions of the landscape of his native land.
SUMMARY
After studying the formation of the collection and its general characteristics, we analyze the 20th century collection, which includes works by José Gutiérrez Solana, Salvador Dalí, Juan Alcalde, Antoni Tàpies, Luis Gordillo and many others.
SUMMARY: The study of the image, models and channels that artists from Extremadura used during the first half of the 20th century to spread their productions and, at the same time, to receive the influences that we can see in their works, channeled through the National Exhibitions of Fine Arts, or the series of contests that were organized in the region or in direct relation to it. But the work addresses especially those other artists who, without assuming the renewal of the avant-garde, went much further than the regionalists, and connected with the Madrid of the 1910s, 1920s and 1930s, and took for their production a series of models that they managed to spread through a series of channels somewhat different from the traditional ones. This path that they opened to establish a dialogue between the center and the periphery was not crowned with an effective result if by such we understand the diffusion in the Extremadura region of the new image that they had achieved with their work; however, it is extremely interesting to study these relations to try to complete the panorama of the Extremadura plastic arts during the first half of the twentieth century. These artists are: the painter Antonio Juez Nieto, the sculptor Pedro de Torre-Isunza and the painter Antonio Solís Ávila.
SUMMARY:
We present a sample of pictorial works of artists from Extremadura or settled in the region corresponding to the late nineteenth century and the next. They are unpublished paintings, not catalogued until the present study, in the market that have remained in property of some families and all of them can be declared excellent for their artistic importance. They are works by Adelardo Covarsí Yustas; Eugenio Hermoso; Antonio Solís Ávila; Juan José Narbón; and Jaime de Jaraíz.
English: In this work we have set ourselves the objective of studying the written and graphic work of one of the most interesting artists currently working in Argentina, Luis Felipe Noé, founder (along with Rómulo Macció, Jorge de la Vega and Ernesto Deira). of the new Figuration, that is, a very different way of seeing and understanding Argentine painting of the 1960s. Within Noé's written work, we will give special meaning and relevance to his work dedicated to Antiestética (1965), and from there we will delve into his graphic works, such as “El Otro, La Otra, La Otredad” (1994), etc.
English: In the present work we develop the study undertaken a year ago on the movement that, in the 1960s, began in Argentina under the name of New Figuration. Made up of the painters Rómulo Macció, Luis Felipe Noé, Ernesto Deira and Jorge de la Vega, they began a series of exhibitions through which they renewed the plastic language of painting, and the theme; It was about developing a new look at the society of its time and the changes that Argentina experienced then, through the use of new materials and the free treatment of painting; In short, a particular imaginary based on the most recent memory of society. Its origin, development and main contributions are studied in this work.
SUMMARY: At the time of the emergence of the New Figuration in Argentina, painting was divided into two irreconcilable camps: the abstract and the figurative, of which the former came to signify the new artistic sensibility, which was seen by the latter as merely decorative. If the reaction of the informalist painters, led by Albero Greco, was directed to the constructive interpretation of abstract painting, Rómulo Macció, Luis Felipe Noé, Jorge De la Vega and Ernesto Deira felt a possible synthesis of terms, but precisely from the informal opening.
SUMMARY: Review of the Seventh Ibero-American Contemporary Art Fair, Foro Sur.
SUMMARY
During the months of April and May 2006, the Brotherhood of Our Lady of the Mountain and the Mercedes Calles-Carlos Ballestero Foundation, delighted us with one of the most beautiful exhibitions organized in honor of the Patroness of Cáceres, and in commemoration of the centenary of the Patronage that she exercises over our city.
SUMMARY: Review of the exhibitions held at the Museo de Bellas Artes de Badajoz (Acquisitions, donations and deposits 2003-2004); Sala Europa de Badajoz and the Centro de Exposiciones San Jorge de Cáceres (Trails. Sculptures and installations); Sala de Exposiciones El Brocense (Carmen Algara, ‘Ramala’; Manuel Sierra, ‘Las marcas del tiempo’); and Sala de Exposiciones de Caja de Extremadura (Julián Gómez; Natalia Cacchiarelli).
SUMMARY: Commentary on the retrospective exhibition that the Museo de Bellas Artes of Badajoz devoted to Luis Álvarez Lencero between May and July 2004; on the exhibition that the MEIAC of Badajoz organised on the work of the painter Godofredo Ortega Muñoz (1899-1982); and on the fourth Ibero-American Contemporary Art Fair Foro Sur 2004, which took place in Cáceres between 22 and 25 April 2004.
SUMMARY: Review of the exhibitions held in Cáceres and Badajoz between the end of 2003 and the beginning of 2004 in the art galleries and exhibition halls in Extremadura. In Badajoz, Museo de Bellas Artes de Badajoz (MUBA): Carlos de Haes. Museo Extremeño e Iberoamericano de Arte Contemporáneo (MEIAC): Eugenio Granell; Compresores/Aceleradores by Michael Biberstein; Lourdes Murillo; and José Bedia. And in Cáceres, Sala de Arte "El Brocense": José Manuel González; Amancio González; Juan Carlos Lázaro. Caja de Extremadura Exhibition Hall: David Hart; and Artensayo. Caja Duero Cultural Centre: Marta Herrero; Julián Pérez Muñoz. San Jorge" Cultural Centre: Isabel León. And the exhibitions of Emilio González Núñez.
English: It is an overview of the work: GARCÍA GAINZA, María Concepción, "Alonso Cano and the Crucified of Lekaroz". Pamplona, Chair of Heritage and Art Navarro, University of Navarra, 2015,73 pags., ISBN, 978-84-8081-471-3.
SUMMARY: It´s a review of the work: GARCÍA GAÍNZA, María Concepción, Juan de Anchieta, escultor del Renacimiento, S/l, Gobierno de Navarra, Fundación Arte Hispánico, Ministerio de Educación, Cultura y Deporte y Patrimonio Nacional, 2008, 245 pp., con numerosas ilustraciones a color, I.S.B.N.: 978-84-935054-4-8.
SUMMARY
It´s a review of the work: LLAMAZARES RODRÍGUEZ, Fernando, Fuentes documentales para el arte Barroco en la provincia de León. Ensambladores, escultores y pintores, León, Universidad de León, Secretariado de Publicaciones, 2008, 607 pp. y 78 fotografías en blanco y negro, I.S.B.N.: 978-84-9773-388-5.
SUMMARY: This is a review of the work: HERNÁNDEZ NIEVES, Román: Retablística de la Baja Extremadura. Siglos XVI-XVII-XVIII. Second edition. 677 pp, with numerous illustrations. Diputación Provincial, Art/Archaeology Collection. Badajoz. ISBN: 84-7796-758-X
SUMMARY: This is a review of the work: Hernández Nieves, Román: Felipe Checa, 141 pp. and numerous colour illustrations. Fundación Caja Badajoz, Zaragoza.
SUMMARY: This is a review of the work: HERNÁNDEZ NIEVES, Román: Retablística de la Baja Extremadura. Siglos XVI-XVII-XVIII. Second edition. 677 pp, with numerous illustrations. Diputación Provincial, Art/Archaeology Collection. Badajoz. ISBN: 84-7796-758-X
SUMMARY: This is a review of the work: Hernández Nieves, Román: Felipe Checa, 141 pp. and numerous colour illustrations. Fundación Caja Badajoz, Zaragoza.