Pub Date : 2021-10-15DOI: 10.5944/ETFVII.9.2021.27920
J. Hidalgo
This article presents a reflection on the impact that technology has had in society, analysing one of the most influential historical periods: modernity and the European artistic avant- garde. On account of the presence that hybrid forms in-between the human and the technological has at present, this issue has been established as a constant in the history of human being and, specifically, in the aforementioned historical period. The current revision of this period will be assimilated giving continuity to this line. During the European technological development in the end of 19th century and the beginning of 20th century, the perception of the new avant-garde art on the individual is understood as a hybrid in-between the human and the machine. All of these proposals particularly influenced areas such as technology or science, reaching to the perception that society has on these concerns at present, as a whole. Nowadays, the individual, art, science and technology are involved in a continuous interrelationship and usually merge. Therefore, a study on the implications that the European artistic avant-garde had regarding the paradigm initiated in modernity is presented, being able to contribute in regard to recent research on this issue.
{"title":"El individuo moderno como híbrido entre lo humano y lo tecnológico: creación y experimentación en la vanguardia artística de principios del siglo XX","authors":"J. Hidalgo","doi":"10.5944/ETFVII.9.2021.27920","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.27920","url":null,"abstract":"This article presents a reflection on the impact that technology has had in society, analysing one of the most influential historical periods: modernity and the European artistic avant- garde. On account of the presence that hybrid forms in-between the human and the technological has at present, this issue has been established as a constant in the history of human being and, specifically, in the aforementioned historical period. The current revision of this period will be assimilated giving continuity to this line. During the European technological development in the end of 19th century and the beginning of 20th century, the perception of the new avant-garde art on the individual is understood as a hybrid in-between the human and the machine. All of these proposals particularly influenced areas such as technology or science, reaching to the perception that society has on these concerns at present, as a whole. Nowadays, the individual, art, science and technology are involved in a continuous interrelationship and usually merge. Therefore, a study on the implications that the European artistic avant-garde had regarding the paradigm initiated in modernity is presented, being able to contribute in regard to recent research on this issue.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"535-554"},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49368642","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-15DOI: 10.5944/ETFVII.9.2021.28745
Pedro de Llano Neira
Este articulo presenta un conjunto de materiales documentales, en parte ineditos, vinculados a la obra postuma In Search of the Miraculous (1975), del artista holandes Bas Jan Ader. Se trata del “Expediente de Hallazgo 143/76” (Archivo Naval de Ferrol) y una serie de fotografias realizadas por el foto-reportero Alberto Marti, en A Coruna, en abril de 1976. El autor sostiene que estos materiales son esenciales para entender y completar esta obra clave de Ader y para probarlo los estudia en relacion a otras practicas y teorias vinculadas al arte conceptual y los contextualiza en los debates historiograficos y museograficos recientes entorno a los limites entre la obra y el documento. El resultado de este analisis refuerza el caracter singular y paradigmatico de In Search of the Miraculous en el arte de su tiempo.
{"title":"In Search of the Miraculous: la obra y el documento","authors":"Pedro de Llano Neira","doi":"10.5944/ETFVII.9.2021.28745","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.28745","url":null,"abstract":"Este articulo presenta un conjunto de materiales documentales, en parte ineditos, vinculados a la obra postuma In Search of the Miraculous (1975), del artista holandes Bas Jan Ader. Se trata del “Expediente de Hallazgo 143/76” (Archivo Naval de Ferrol) y una serie de fotografias realizadas por el foto-reportero Alberto Marti, en A Coruna, en abril de 1976. El autor sostiene que estos materiales son esenciales para entender y completar esta obra clave de Ader y para probarlo los estudia en relacion a otras practicas y teorias vinculadas al arte conceptual y los contextualiza en los debates historiograficos y museograficos recientes entorno a los limites entre la obra y el documento. El resultado de este analisis refuerza el caracter singular y paradigmatico de In Search of the Miraculous en el arte de su tiempo.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"609-644"},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49443314","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-15DOI: 10.5944/ETFVII.9.2021.30971
Diana Mª Espada Torres, Adrián Ruiz Cañero
In today’s society, new reflections are being opened on the uses of technology in cultural heritage, where in the last decades certain cultural practices have been appearing literally visible in the activation of projects raised from the contemporary visual arts.In this sense, in this article we want to show the inspiration that has generated the labyrinthine building of the architect Ricardo Bofill in Calpe (Alicante), the urbanization of apartments Red Wall, for the locations of the video game Monument Valley 2. It is for this reason that the building of the architect Bofill, besides being a landmark of the Spanish contemporary architecture, due to its air of socializing utopia (dissolves the public and private spaces) remembering the perspectives of Escher, now belongs also to the interactive world and mass culture. In short, both images and immersive spaces speak for themselves.
{"title":"Monument Valley 2: el reflejo de la muralla roja del arquitecto Bofill, en un entorno virtual inspirado en los mundos de Escher","authors":"Diana Mª Espada Torres, Adrián Ruiz Cañero","doi":"10.5944/ETFVII.9.2021.30971","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.30971","url":null,"abstract":"In today’s society, new reflections are being opened on the uses of technology in cultural heritage, where in the last decades certain cultural practices have been appearing literally visible in the activation of projects raised from the contemporary visual arts.In this sense, in this article we want to show the inspiration that has generated the labyrinthine building of the architect Ricardo Bofill in Calpe (Alicante), the urbanization of apartments Red Wall, for the locations of the video game Monument Valley 2. It is for this reason that the building of the architect Bofill, besides being a landmark of the Spanish contemporary architecture, due to its air of socializing utopia (dissolves the public and private spaces) remembering the perspectives of Escher, now belongs also to the interactive world and mass culture. In short, both images and immersive spaces speak for themselves.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"341-356"},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47102641","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-15DOI: 10.5944/ETFVII.9.2021.30844
Tomas Macsotay Bunt
In the history of art, the illusory play that seeks to integrate and fuse different components of construction and representation is usually associated with the devices of the Baroque ecclesiastical interior, while the redefinition of the relationship between architecture and image as a result of a virtuoso display of framing and ornamental transitions coincides in various parts of Europe, albeit in different styles, in the early and mid-eighteenth century. The now vanished orphans’ chapel designed by the important architect Germain Boffrand (1667-1754) offers an example of a singular manifestation of such a taste for pseudo-scenic ecclesiastical interiors. This article will observe that the chapel lends itself to a contextualisation that depends on a series of immersive spaces. It springs from an interplay between ways of understanding architecture, of practising spectacle and of conceptualising emotion in the face of the natural world. The main objective of this contribution will be to follow these paths that suggest the centrality of the spectator, as well as a moment of innovation and dynamisation of spectacular technology.
{"title":"La capilla de los Huérfanos de París de Germain Boffrand (1746-1750) y la resonancia de la obra de arte pseudo-escénica","authors":"Tomas Macsotay Bunt","doi":"10.5944/ETFVII.9.2021.30844","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.30844","url":null,"abstract":"In the history of art, the illusory play that seeks to integrate and fuse different components of construction and representation is usually associated with the devices of the Baroque ecclesiastical interior, while the redefinition of the relationship between architecture and image as a result of a virtuoso display of framing and ornamental transitions coincides in various parts of Europe, albeit in different styles, in the early and mid-eighteenth century. The now vanished orphans’ chapel designed by the important architect Germain Boffrand (1667-1754) offers an example of a singular manifestation of such a taste for pseudo-scenic ecclesiastical interiors. This article will observe that the chapel lends itself to a contextualisation that depends on a series of immersive spaces. It springs from an interplay between ways of understanding architecture, of practising spectacle and of conceptualising emotion in the face of the natural world. The main objective of this contribution will be to follow these paths that suggest the centrality of the spectator, as well as a moment of innovation and dynamisation of spectacular technology.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"53-84"},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47761236","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-15DOI: 10.5944/ETFVII.9.2021.30972
Isabel Valverde Zaragoza
Throughout the 19th century, the official Salons held in Paris became massive events due to the number of exhibited works and visitors hardly imaginable today, constituting thus an early manifestation of mass culture. The format of these large temporary exhibitions, the specificity of the spaces in which there were held, the form of sociability and interaction to which they gave rise, influenced the experience of the spectators, different from that enjoyed in the museum or the private gallery. Based on examples taken from art criticism, literature and journalistic illustration, the article addresses the phenomenon of the Salon as an experience of the body, taking as a starting point the viewers and the multisensory experience fostered not only by the works on display but also by the conditions for their perception that existed during the visit to the exhibition. The audiences of the Salons were overexposed to stimuli that solicited sight, but also hearing, smell and touch. The experience of the Salons was mediated by social practices and exhibition modalities that produced different forms of encounter between the works of art and the body, and the bodies between themselves. The conditions in which contemporary artistic production was shown to the modern public refer to the constitution of the «sensory body» of the spectator in constant negotiation with all kinds of stimuli that are not only aesthetic, such as struggling with the crowd of visitors, shouting and noise, heat, humidity, and dust.
{"title":"La visita al salón: las exposiciones artísticas y la experiencia del cuerpo en los albores de la cultura de masas","authors":"Isabel Valverde Zaragoza","doi":"10.5944/ETFVII.9.2021.30972","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.30972","url":null,"abstract":"Throughout the 19th century, the official Salons held in Paris became massive events due to the number of exhibited works and visitors hardly imaginable today, constituting thus an early manifestation of mass culture. The format of these large temporary exhibitions, the specificity of the spaces in which there were held, the form of sociability and interaction to which they gave rise, influenced the experience of the spectators, different from that enjoyed in the museum or the private gallery. Based on examples taken from art criticism, literature and journalistic illustration, the article addresses the phenomenon of the Salon as an experience of the body, taking as a starting point the viewers and the multisensory experience fostered not only by the works on display but also by the conditions for their perception that existed during the visit to the exhibition. The audiences of the Salons were overexposed to stimuli that solicited sight, but also hearing, smell and touch. The experience of the Salons was mediated by social practices and exhibition modalities that produced different forms of encounter between the works of art and the body, and the bodies between themselves. The conditions in which contemporary artistic production was shown to the modern public refer to the constitution of the «sensory body» of the spectator in constant negotiation with all kinds of stimuli that are not only aesthetic, such as struggling with the crowd of visitors, shouting and noise, heat, humidity, and dust.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"85-114"},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43085809","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-15DOI: 10.5944/ETFVII.9.2021.28985
Sergi Doménech García
El presente trabajo aborda, en primer lugar, la mirada sobre los ataques iconoclastas desde la perspectiva del primer franquismo y la construccion del discurso de regeneracion nacional por medio de la idea del advenimiento de un nuevo tiempo cristiano. A continuacion, se estudia la restitucion al culto de las imagenes sagradas, seguido de un estudio del caso valenciano centrado principalmente en los ejemplos de la Virgen de los Desamparados y el Cristo del Grao como representantes de la activacion de geografias devocionales. Las dos tesis principales del articulo son que los actos de desagravio se organizaron con la intencion de construir un relato oficial de los actos iconoclastas y que funcionaron como un ejercicio de apropiacion del poder de la imagen sagrada por parte del nuevo orden politico.
{"title":"Del sacrilegio al desagravio. Culto y ritual de la imagen sagrada en la Valencia del primer franquismo","authors":"Sergi Doménech García","doi":"10.5944/ETFVII.9.2021.28985","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.28985","url":null,"abstract":"El presente trabajo aborda, en primer lugar, la mirada sobre los ataques iconoclastas desde la perspectiva del primer franquismo y la construccion del discurso de regeneracion nacional por medio de la idea del advenimiento de un nuevo tiempo cristiano. A continuacion, se estudia la restitucion al culto de las imagenes sagradas, seguido de un estudio del caso valenciano centrado principalmente en los ejemplos de la Virgen de los Desamparados y el Cristo del Grao como representantes de la activacion de geografias devocionales. Las dos tesis principales del articulo son que los actos de desagravio se organizaron con la intencion de construir un relato oficial de los actos iconoclastas y que funcionaron como un ejercicio de apropiacion del poder de la imagen sagrada por parte del nuevo orden politico.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"555-584"},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45993724","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-15DOI: 10.5944/ETFVII.9.2021.28922
Irene Valle Corpas
espanol«Lo paramos todo y reflexionamos» era un lema cantado por los insurrectos del 68 frances. Este episodio no fue solo un ejercicio de frenesi revolucionario sino tambien una llamada a la interrupcion de los ritmos cotidianos del capitalismo desarrollista y una negacion de sus relatos historicos. A partir de una introduccion al fenomeno seguida de un analisis de algunas cintas clave, indagaremos en la idea de la detencion en el imaginario del 68, cuyos ecos resuenan durante la decada siguiente. Las peliculas —L’An 01 de Doillon, Resnais y Rouch; Le Gai Savoir de Godard; In girum imus nocte et consumimur igni de Debord y Le fond de l’air est rouge de Marker— ilustran esa suspension salvifica del tiempo y ejemplifican las virtudes que se le atribuian, a saber, la liberacion de la vida del malsano compas de la produccion, la aspiracion a una mirada responsable y teoricamente informada o, finalmente, la potencia politica que puede contener la memoria. English«We stop everything and we think» was a slogan sung by the French insurrectionists of ‘68. This episode was not only an exercise in revolutionary frenzy but also a call for the interruption of the daily rhythms of developmental capitalism and a denial of its historical narratives. Starting with an introduction to the phenomenon followed by an analysis of some key films, I will investigate this idea of detention in the imaginary of ‘68, whose echoes resonate throughout the following decade. The films —L’An 01 by Doillon, Resnais and Rouch; Le Gai Savoir by Godard; In girum imus nocte et consumimur igni by Debord and Le fond de l’air est rouge by Marker— illustrate this saving suspension of time and exemplify the virtues attributed to it: the liberation of life from the insane tempo of production, the aspiration to a responsible and theoretically informed gaze or, finally, the political potential that memory can contain.
西班牙人“我们停止了一切并反思”是68年法国人起义者唱的座右铭。这一事件不仅是一场革命狂热的运动，也是一场要求中断发展资本主义日常节奏和否认其历史故事的呼吁。从对现象的介绍，然后对一些关键磁带的分析，我们将探讨在68年的想象中停下来的想法，其回声将在接下来的十年中回荡。电影-L'An 01 de Doillon，Resnais和Rouch；戈达尔的快乐知识；在Girum Imus Nocte et消费主义者Igni de Debord和Le fond de l'Air Est Rouge de Marker中，他们说明了这种暂停节省了时间，并举例说明了赋予它的优点，即从生产中解放出不健康的同伴的生命，渴望负责任和理论上知情的目光，或者最后，记忆中可能包含的政治力量。英语“我们停止一切，我们认为”是68年法国叛乱分子的口号。这一集不仅是革命狂热的练习，也是对发展资本主义日常节奏的中断和对其历史叙事的否认的呼吁。从介绍这一现象开始，然后分析一些关键电影，我将调查68年想象中的这种拘留想法，这种想法在接下来的几十年中引起了共鸣。电影-L'AN 01 by Doillon、Resnais和Rouch；戈达尔知道的快乐；在Girum Imus Nocte et Consumermur Igni by Debord和Le fond de l'Air Est Rouge by Marker中，说明了这种节省时间的暂停，并举例说明了归因于它的优点：将生命从疯狂的生产节奏中解放出来，渴望负责任和理论上知情的天然气，或者最后，记忆所包含的政治潜力。
{"title":"On arrêt tout et on réfléchit. La detención del tiempo en el cine del 68 francés: varias paradas para otra erótica de la existencia, otra mirada al cuerpo y otro pensamiento de la Historia","authors":"Irene Valle Corpas","doi":"10.5944/ETFVII.9.2021.28922","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.28922","url":null,"abstract":"espanol«Lo paramos todo y reflexionamos» era un lema cantado por los insurrectos del 68 frances. Este episodio no fue solo un ejercicio de frenesi revolucionario sino tambien una llamada a la interrupcion de los ritmos cotidianos del capitalismo desarrollista y una negacion de sus relatos historicos. A partir de una introduccion al fenomeno seguida de un analisis de algunas cintas clave, indagaremos en la idea de la detencion en el imaginario del 68, cuyos ecos resuenan durante la decada siguiente. Las peliculas —L’An 01 de Doillon, Resnais y Rouch; Le Gai Savoir de Godard; In girum imus nocte et consumimur igni de Debord y Le fond de l’air est rouge de Marker— ilustran esa suspension salvifica del tiempo y ejemplifican las virtudes que se le atribuian, a saber, la liberacion de la vida del malsano compas de la produccion, la aspiracion a una mirada responsable y teoricamente informada o, finalmente, la potencia politica que puede contener la memoria. English«We stop everything and we think» was a slogan sung by the French insurrectionists of ‘68. This episode was not only an exercise in revolutionary frenzy but also a call for the interruption of the daily rhythms of developmental capitalism and a denial of its historical narratives. Starting with an introduction to the phenomenon followed by an analysis of some key films, I will investigate this idea of detention in the imaginary of ‘68, whose echoes resonate throughout the following decade. The films —L’An 01 by Doillon, Resnais and Rouch; Le Gai Savoir by Godard; In girum imus nocte et consumimur igni by Debord and Le fond de l’air est rouge by Marker— illustrate this saving suspension of time and exemplify the virtues attributed to it: the liberation of life from the insane tempo of production, the aspiration to a responsible and theoretically informed gaze or, finally, the political potential that memory can contain.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"585-608"},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41335170","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-15DOI: 10.5944/ETFVII.9.2021.30842
N. Rius
Between 1900 and 1930, amateur photography spread notoriously in Catalonia. This extension had particular roots among the wealthy classes who found a form of commitment to the nation in photography and hiking. In this articulation, between photography and nation, the stereoscopic format, which was very popular at the time, played a capital role. Stereoscopic allowed the taking of double photographs that, thanks to a viewfinder, offered a profound experience of immersion, transparency and physical transit. The article interrogates the processes of construction of national visual culture not only in terms of the productive instance of amateur photography but also in its observational and experiential instance, which places the body at the centre of the processes of construction of national identities and underlines the relevant role that photographic amateurism played in cultural Catalanism.
{"title":"Experiencias inmersivas y nación: la fotografía estereoscópica amateur en Cataluña 1900-1936","authors":"N. Rius","doi":"10.5944/ETFVII.9.2021.30842","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.30842","url":null,"abstract":"Between 1900 and 1930, amateur photography spread notoriously in Catalonia. This extension had particular roots among the wealthy classes who found a form of commitment to the nation in photography and hiking. In this articulation, between photography and nation, the stereoscopic format, which was very popular at the time, played a capital role. Stereoscopic allowed the taking of double photographs that, thanks to a viewfinder, offered a profound experience of immersion, transparency and physical transit. The article interrogates the processes of construction of national visual culture not only in terms of the productive instance of amateur photography but also in its observational and experiential instance, which places the body at the centre of the processes of construction of national identities and underlines the relevant role that photographic amateurism played in cultural Catalanism.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"161-188"},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46945951","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-15DOI: 10.5944/ETFVII.9.2021.30464
Silvia García Alcázar
The main purpose of this article is to explore some of the literary pieces that alluded the monastery of San Juan de los Reyes (Toledo) during the 19th century. To do so, we will discuss the idea that had been spread about the Middle Ages due to the influence of the Romantic movement. Last but not least, we will analyze specific examples that have incorporated both Spanish (e.g. Becquer) and foreign authors (Gautier and Davillier, among others). The data and impressions each of these writers offered has contributed to shape our comprehension of a harsh period for the monument, which had been widely affected by several historical events, specially related to war.
{"title":"Gótico y romanticismo: el monasterio toledano de San Juan de los Reyes a través de la literatura romántica","authors":"Silvia García Alcázar","doi":"10.5944/ETFVII.9.2021.30464","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.30464","url":null,"abstract":"The main purpose of this article is to explore some of the literary pieces that alluded the monastery of San Juan de los Reyes (Toledo) during the 19th century. To do so, we will discuss the idea that had been spread about the Middle Ages due to the influence of the Romantic movement. Last but not least, we will analyze specific examples that have incorporated both Spanish (e.g. Becquer) and foreign authors (Gautier and Davillier, among others). The data and impressions each of these writers offered has contributed to shape our comprehension of a harsh period for the monument, which had been widely affected by several historical events, specially related to war.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"515-534"},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48973924","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-15DOI: 10.5944/ETFVII.9.2021.30984
A. Alberti
Resena de: Colorado Castellary, Arturo, Arte, botin de guerra. Expolio y diaspora en la posguerra franquista. Madrid, Catedra, 2021. ISBN: 978-84-376-4225-3, 352 pp.
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