Pub Date : 2021-10-15DOI: 10.5944/ETFVII.9.2021.30511
S. Martínez
La obra de Wolfgang Laib abarca mas de tres decadas y el artista se ha convertido en una de las figuras mas respetadas de la escena contemporanea. Profundamente espiritual e imbuida de un sentido de ritualidad, su practica incluye elementos de performance, escultura y arte minimalista y conceptual, ademas de referencias al jainismo, cristianismo e hinduismo. Empleando principalmente materiales naturales como la leche, el polen, el arroz y la miel de abeja, su trabajo es tan sensual como fragil. Este texto analiza las propuestas artisticas de Laib no como meros objetos sino como experiencia sensorial y fisica, centrandose en sus cualidades fragantes, hapticas y esteticas. Para ello, aqui se examina uno de los proyectos menos conocidos de Laib: una habitacion de cera de abeja en los Pirineos franceses.Este texto argumenta como, gracias a la paciencia, perseverancia y continuidad en su proceso artistico, Laib ofrece una concepcion temporal dilatada y transformadora a traves de la contemplacion, la inmersion y la sensorialidad.
{"title":"Leche, miel, polen. Experiencias temporales y sensoriales en la obra de Wolfgang Laib: la chambre des certitudes","authors":"S. Martínez","doi":"10.5944/ETFVII.9.2021.30511","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.30511","url":null,"abstract":"La obra de Wolfgang Laib abarca mas de tres decadas y el artista se ha convertido en una de las figuras mas respetadas de la escena contemporanea. Profundamente espiritual e imbuida de un sentido de ritualidad, su practica incluye elementos de performance, escultura y arte minimalista y conceptual, ademas de referencias al jainismo, cristianismo e hinduismo. Empleando principalmente materiales naturales como la leche, el polen, el arroz y la miel de abeja, su trabajo es tan sensual como fragil. Este texto analiza las propuestas artisticas de Laib no como meros objetos sino como experiencia sensorial y fisica, centrandose en sus cualidades fragantes, hapticas y esteticas. Para ello, aqui se examina uno de los proyectos menos conocidos de Laib: una habitacion de cera de abeja en los Pirineos franceses.Este texto argumenta como, gracias a la paciencia, perseverancia y continuidad en su proceso artistico, Laib ofrece una concepcion temporal dilatada y transformadora a traves de la contemplacion, la inmersion y la sensorialidad.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"281-302"},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48786292","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.9.2021.30891
Elena Paulino Montero
Resena de: Manzarbeitia Valle, Santiago; Azcarate Luxan, Matilde; Gonzalez Hernando, Irene (eds.), Pintado en la pared: el muro como soporte visual en la Edad Media. Madrid, Ediciones Complutenses, 2019. ISBN: 978-84-669-3606-4, 499 pp.
{"title":"Reseña de: Manzarbeitia Valle, Santiago; Azcárate Luxán, Matilde; González Hernando, Irene (eds.), Pintado en la pared: el muro como soporte visual en la Edad Media","authors":"Elena Paulino Montero","doi":"10.5944/ETFVII.9.2021.30891","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.30891","url":null,"abstract":"Resena de: Manzarbeitia Valle, Santiago; Azcarate Luxan, Matilde; Gonzalez Hernando, Irene (eds.), Pintado en la pared: el muro como soporte visual en la Edad Media. Madrid, Ediciones Complutenses, 2019. ISBN: 978-84-669-3606-4, 499 pp.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"647-650"},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49535716","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.9.2021.31202
Eduard Cairol
Este trabajo explora la presencia del ideal de obra de arte total en la trayectoria de Marcel Duchamp, desde sus creaciones más ambiciosas pasando por la concepción del conjunto de dicha trayectoria como una unidad, para acabar presentando el taller del artista en Nueva York, durante los años 1916-1918, como un verdadero ejemplo de arte de instalación.
{"title":"Calle 67, número 33 oeste. El taller de Duchamp: obra de arte total e instalación","authors":"Eduard Cairol","doi":"10.5944/etfvii.9.2021.31202","DOIUrl":"https://doi.org/10.5944/etfvii.9.2021.31202","url":null,"abstract":"Este trabajo explora la presencia del ideal de obra de arte total en la trayectoria de Marcel Duchamp, desde sus creaciones más ambiciosas pasando por la concepción del conjunto de dicha trayectoria como una unidad, para acabar presentando el taller del artista en Nueva York, durante los años 1916-1918, como un verdadero ejemplo de arte de instalación.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"47 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90038898","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.9.2021.30703
Nausikaä El-Mecky
La destrucción de imágenes es un proceso que a menudo produce un nuevo imaginario, un espectáculo visual en sí mismo. Incluso después de que la imagen original haya sido borrada, su ausencia puede crear una estética propia y poderosa que sobrevive durante siglos. El artículo se centra en dos estudios de casos históricos: la iconoclasia en Zúrich en la década de 1520 y el ataque nacionalsocialista al llamado arte degenerado. A través de ellos, pretende mostrar cómo la destrucción puede dar lugar a una obra de arte total a través de un proceso cuidadosamente planificado, incluso guionizado, que se aleja del estereotipo del ‘lunático corriendo con un mazo’. Sostiene que muchos ataques a las imágenes se caracterizan por la transformación, el misticismo y la performatividad, durante los cuales una cuidadosa oscilación entre la ausencia y la presencia desempeña un papel importante. En última instancia, la contribución se esfuerza por crear una nueva comprensión de las destrucciones de imágenes a través del marco de la Gesamtkunstwerk.
{"title":"La destrucción de imágenes como obra de arte total. La Gesamtkunstwerk como agujero negro","authors":"Nausikaä El-Mecky","doi":"10.5944/etfvii.9.2021.30703","DOIUrl":"https://doi.org/10.5944/etfvii.9.2021.30703","url":null,"abstract":"La destrucción de imágenes es un proceso que a menudo produce un nuevo imaginario, un espectáculo visual en sí mismo. Incluso después de que la imagen original haya sido borrada, su ausencia puede crear una estética propia y poderosa que sobrevive durante siglos. El artículo se centra en dos estudios de casos históricos: la iconoclasia en Zúrich en la década de 1520 y el ataque nacionalsocialista al llamado arte degenerado. A través de ellos, pretende mostrar cómo la destrucción puede dar lugar a una obra de arte total a través de un proceso cuidadosamente planificado, incluso guionizado, que se aleja del estereotipo del ‘lunático corriendo con un mazo’. Sostiene que muchos ataques a las imágenes se caracterizan por la transformación, el misticismo y la performatividad, durante los cuales una cuidadosa oscilación entre la ausencia y la presencia desempeña un papel importante. En última instancia, la contribución se esfuerza por crear una nueva comprensión de las destrucciones de imágenes a través del marco de la Gesamtkunstwerk.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89467099","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.9.2021.30490
Pablo Llamazares Blanco, Jorge Eduardo Ramos Jular
Since the sixties of the twentieth century, the sculptural has been abandoning the isolated and self-referential piece, to become interested in its relationships with the viewer and the room. The progressive dematerialization of the object led to new formats such as the «installation», closer to the scenography. This article aims to analyze, with architectural instruments, graphic and visual, that gradual predominance of spatiality, through some pioneering works in the Spanish context. The tour begins with those works that are most indebted to the objectual, and progresses through proposals that increase in scale and integrate the viewer. It ends with those creations that downplay the material, in favor of a message that aims to connect physical and mentally with the public. Thus the consolidation of the «installation» format is witnessed, structured as an immersive and multisensory experience.
{"title":"La instalación: del objeto a su desmaterialización. Algunas contribuciones en el contexto español","authors":"Pablo Llamazares Blanco, Jorge Eduardo Ramos Jular","doi":"10.5944/ETFVII.9.2021.30490","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.30490","url":null,"abstract":"Since the sixties of the twentieth century, the sculptural has been abandoning the isolated and self-referential piece, to become interested in its relationships with the viewer and the room. The progressive dematerialization of the object led to new formats such as the «installation», closer to the scenography. This article aims to analyze, with architectural instruments, graphic and visual, that gradual predominance of spatiality, through some pioneering works in the Spanish context. The tour begins with those works that are most indebted to the objectual, and progresses through proposals that increase in scale and integrate the viewer. It ends with those creations that downplay the material, in favor of a message that aims to connect physical and mentally with the public. Thus the consolidation of the «installation» format is witnessed, structured as an immersive and multisensory experience.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"357-378"},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47891195","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.9.2021.30531
M. Gutiérrez, Iván Rega Castro
espanolEste trabajo se ocupa de la imagineria de la Reconquista desarrollada a partir del programa disenado por Fray Martin Sarmiento para decorar el Palacio Real nuevo, en general, y de los relieves de las sobrepuertas de la Galeria Principal, mas en particular. Estas piezas escultoricas, terminadas entre 1753 y 1761, no solo fueron una forma de celebrar las glorias de la monarquia espanola en el pasado (medieval), sino tambien, y sobre todo, de publicitar una nueva imagen de la Reconquista que queremos revisar criticamente. Nos centraremos en las estrategias artisticas desarrolladas en la construccion de dichas imagenes de las guerras entre musulmanes y cristianos por parte de los intelectuales y artistas de la Ilustracion, dado que fue precisamente en la segunda mitad del siglo XVIII cuando se forjo el mito nacional de la Reconquista. EnglishThis paper deals with the imagery of the Spanish Reconquest developed from the Friar Martin Sarmiento’s program for the decoration of the new Royal Palace in Madrid, in general, and in the doors’ reliefs of Main Gallery, in particular. These sculptural works, completed between 1753 and 1761, were not only a way to celebrate the glories of Spanish Monarchy in the (Medieval) past, but also, over all, to publicize a new image of the Reconquista that we want to critically revise. Focus will be on the artistic strategies developed in the construction of those images of the Medieval wars between Muslims and Christians, by intellectuals and artists of the Ilustracion. In fact, it was precisely in the second half of the eighteenth century when the national myth of the Reconquest was first consolidated.
{"title":"Moros en palacio. Los relieves historiados del Palacio Real de Madrid, o el origen de una imaginería de la Reconquista a mediados del siglo XVIII","authors":"M. Gutiérrez, Iván Rega Castro","doi":"10.5944/ETFVII.9.2021.30531","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.30531","url":null,"abstract":"espanolEste trabajo se ocupa de la imagineria de la Reconquista desarrollada a partir del programa disenado por Fray Martin Sarmiento para decorar el Palacio Real nuevo, en general, y de los relieves de las sobrepuertas de la Galeria Principal, mas en particular. Estas piezas escultoricas, terminadas entre 1753 y 1761, no solo fueron una forma de celebrar las glorias de la monarquia espanola en el pasado (medieval), sino tambien, y sobre todo, de publicitar una nueva imagen de la Reconquista que queremos revisar criticamente. Nos centraremos en las estrategias artisticas desarrolladas en la construccion de dichas imagenes de las guerras entre musulmanes y cristianos por parte de los intelectuales y artistas de la Ilustracion, dado que fue precisamente en la segunda mitad del siglo XVIII cuando se forjo el mito nacional de la Reconquista. EnglishThis paper deals with the imagery of the Spanish Reconquest developed from the Friar Martin Sarmiento’s program for the decoration of the new Royal Palace in Madrid, in general, and in the doors’ reliefs of Main Gallery, in particular. These sculptural works, completed between 1753 and 1761, were not only a way to celebrate the glories of Spanish Monarchy in the (Medieval) past, but also, over all, to publicize a new image of the Reconquista that we want to critically revise. Focus will be on the artistic strategies developed in the construction of those images of the Medieval wars between Muslims and Christians, by intellectuals and artists of the Ilustracion. In fact, it was precisely in the second half of the eighteenth century when the national myth of the Reconquest was first consolidated.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"469-490"},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47253601","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.9.2021.30491
Anna Borisova Fedotova, I. Martín
After the October Revolution, Russian society faced the enormous challenge of building a socialist culture in a country with deep-rooted religious and monarchical traditions and a devastated economy. To reach this new cultural horizon and thus cement the political transformations, it was necessary to influence the construction of collective identities - bearers of renewed citizen awareness. In this article we will delve into the way in which mass theatre contributed to achieving this objective not only due to its nature as a rite linked to the heritage of the Orthodox Church, but also through new formulas of inhabiting and interacting with space public. Both the transformation of the meaning conferred on the place and the establishment of a renewed bond between the public and the space was emphasized through symbolic identification and collective action-transformation.
{"title":"Teatro de masas en la Rusia posrevolucionaria: la proto-performance en los contextos urbanos y su influencia en la construcción de las identidades colectivas","authors":"Anna Borisova Fedotova, I. Martín","doi":"10.5944/ETFVII.9.2021.30491","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.30491","url":null,"abstract":"After the October Revolution, Russian society faced the enormous challenge of building a socialist culture in a country with deep-rooted religious and monarchical traditions and a devastated economy. To reach this new cultural horizon and thus cement the political transformations, it was necessary to influence the construction of collective identities - bearers of renewed citizen awareness. In this article we will delve into the way in which mass theatre contributed to achieving this objective not only due to its nature as a rite linked to the heritage of the Orthodox Church, but also through new formulas of inhabiting and interacting with space public. Both the transformation of the meaning conferred on the place and the establishment of a renewed bond between the public and the space was emphasized through symbolic identification and collective action-transformation.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"189-210"},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47173387","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.9.2021.30255
Sonia Caballero Escamilla
The exit of artworks from suppressed convents during the confiscation decreed by Mendizabal caused an irreparable loss of a valuable heritage. Besides, the dispersion of the pieces resulted in a decontextualization that hasn’t allowed us to know their original location neither their meaning. This paper proposes to follow the travel of some remarkable paintings of The Prado collection, those that belonged to the monastery of St. Thomas of Avila, focusing on the reasons that produced the exit from their original places, their arrival to Madrid, the final ingress in the museum, and the dispersion of some of them, that modified the original purposes and their contextual meaning.
{"title":"Crónica de un viaje sin retorno del patrimonio eclesiástico: Julián y Antonio Zabaleta y las pinturas del convento de Santo Tomás de Ávila en el Museo del Prado","authors":"Sonia Caballero Escamilla","doi":"10.5944/ETFVII.9.2021.30255","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.30255","url":null,"abstract":"The exit of artworks from suppressed convents during the confiscation decreed by Mendizabal caused an irreparable loss of a valuable heritage. Besides, the dispersion of the pieces resulted in a decontextualization that hasn’t allowed us to know their original location neither their meaning. This paper proposes to follow the travel of some remarkable paintings of The Prado collection, those that belonged to the monastery of St. Thomas of Avila, focusing on the reasons that produced the exit from their original places, their arrival to Madrid, the final ingress in the museum, and the dispersion of some of them, that modified the original purposes and their contextual meaning.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"491-514"},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45176184","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.9.2021.31663
Eduard Cairol, Tomas Macsotay Bunt
Introducción al dossier.
档案简介。
{"title":"Introducción: cuando los espacios devienen arte. Obra de arte total, instalación, entornos inmersivos","authors":"Eduard Cairol, Tomas Macsotay Bunt","doi":"10.5944/etfvii.9.2021.31663","DOIUrl":"https://doi.org/10.5944/etfvii.9.2021.31663","url":null,"abstract":"Introducción al dossier.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"6 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85235510","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 : 2020-11-17DOI: 10.5944/etfvii.8.2020.25394
Gemma Cobo
La muerte del principe de Asturias, hijo de Isabel II, en 1850 sirvio como asunto de una amplia produccion visual, fue noticia durante mas de un mes, y causo la conmocion del pueblo. A traves de las imagenes y la prensa es posible recuperar los usos politicos que se hicieron de las emociones, asi como las practicas que se sucedieron con el propio cuerpo del nino. Tanto las funciones de las obras encargadas por el rey, Francisco de Asis, a Federico de Madrazo, Jose Piquer, Antonio Gomez Cros y Angel Maria Cortellini, como las excepcionales practicas que se llevaron a cabo durante el protocolo funerario no eran tanto reflejo de una nueva sensibilidad ante la muerte de los ninos como estrategias politicas basadas en los afectos, que pretendian ganar el favor de los subditos. Abstract The death of the Prince of Asturias, son of Isabel II, in 1850 was the subject of great artistic outpouring; it was news for more than a month, and it shocked people profoundly. Through the images created and the press, it is possible to observe the political uses that were made of the emotions, as well as the practices, related to the child’s body. Both the use made of the works commissioned by the king, Francisco de Asis, from Federico de Madrazo, Jose Piquer, Antonio Gomez Gros and Angel Maria Cortellini, as well as the exceptional practices carried out during the funeral rites were not so much a reflection of a new sensitivity regarding the death of children, but, rather, political strategies based on the affection generated by the death, which sought to win the favour of subjects.
{"title":"«Un ángel más»: prensa, imágenes y prácticas emocionales y políticas por el malogrado príncipe de Asturias = «One More Angel»: Press, Images and Emotional and Political Practices about the Deceased Prince of Asturias","authors":"Gemma Cobo","doi":"10.5944/etfvii.8.2020.25394","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.25394","url":null,"abstract":"La muerte del principe de Asturias, hijo de Isabel II, en 1850 sirvio como asunto de una amplia produccion visual, fue noticia durante mas de un mes, y causo la conmocion del pueblo. A traves de las imagenes y la prensa es posible recuperar los usos politicos que se hicieron de las emociones, asi como las practicas que se sucedieron con el propio cuerpo del nino. Tanto las funciones de las obras encargadas por el rey, Francisco de Asis, a Federico de Madrazo, Jose Piquer, Antonio Gomez Cros y Angel Maria Cortellini, como las excepcionales practicas que se llevaron a cabo durante el protocolo funerario no eran tanto reflejo de una nueva sensibilidad ante la muerte de los ninos como estrategias politicas basadas en los afectos, que pretendian ganar el favor de los subditos. Abstract The death of the Prince of Asturias, son of Isabel II, in 1850 was the subject of great artistic outpouring; it was news for more than a month, and it shocked people profoundly. Through the images created and the press, it is possible to observe the political uses that were made of the emotions, as well as the practices, related to the child’s body. Both the use made of the works commissioned by the king, Francisco de Asis, from Federico de Madrazo, Jose Piquer, Antonio Gomez Gros and Angel Maria Cortellini, as well as the exceptional practices carried out during the funeral rites were not so much a reflection of a new sensitivity regarding the death of children, but, rather, political strategies based on the affection generated by the death, which sought to win the favour of subjects.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"441-464"},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42702217","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}
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