Este articulo aborda el tema de las relaciones artisticas entre Cataluna y el Cono Sur, durante la primera mitad del siglo XX, de la mano de un grupo de artistas, principalmente escultores formados en Barcelona, que se instalaron en Buenos Aires y Santiago de Chile, y que, ademas de destacar por la escultura publica que alli desarrollaron, tambien desempenaron la docencia universitaria en sus lugares de adopcion, formando a nuevas generaciones de profesionales. Las figuras estudiadas hoy son poco conocidas en nuestro pais —incluso algunas de ellas resultan casi ineditas—, pese a haber ocupado lugares destacados en el ambiente cultural e intelectual argentino y chileno de su epoca. El texto hace hincapie en como estos artistas exportaron los conocimientos adquiridos en Espana a America, y en como desarrollaron sus labores profesionales, tanto en su produccion artistica como en su tarea docente. En un momento relevante en lo que atane a migraciones espanolas hacia las antiguas colonias y de modernizacion de los paradigmas culturales americanos, el conocimiento de la obra de estos artistas resulta particularmente interesante. Su contribucion al desarrollo de la escultura contemporanea y del sistema universitario americanos, no estudiada hasta el momento, es uno de los puntos relevantes del texto.
{"title":"Artistas catalanes en las universidades argentinas y chilenas a principios del siglo XX.","authors":"C. Samaniego, I. Valero","doi":"10.1344/MATERIA2015.9.6","DOIUrl":"https://doi.org/10.1344/MATERIA2015.9.6","url":null,"abstract":"Este articulo aborda el tema de las relaciones artisticas entre Cataluna y el Cono Sur, durante la primera mitad del siglo XX, de la mano de un grupo de artistas, principalmente escultores formados en Barcelona, que se instalaron en Buenos Aires y Santiago de Chile, y que, ademas de destacar por la escultura publica que alli desarrollaron, tambien desempenaron la docencia universitaria en sus lugares de adopcion, formando a nuevas generaciones de profesionales. Las figuras estudiadas hoy son poco conocidas en nuestro pais —incluso algunas de ellas resultan casi ineditas—, pese a haber ocupado lugares destacados en el ambiente cultural e intelectual argentino y chileno de su epoca. El texto hace hincapie en como estos artistas exportaron los conocimientos adquiridos en Espana a America, y en como desarrollaron sus labores profesionales, tanto en su produccion artistica como en su tarea docente. En un momento relevante en lo que atane a migraciones espanolas hacia las antiguas colonias y de modernizacion de los paradigmas culturales americanos, el conocimiento de la obra de estos artistas resulta particularmente interesante. Su contribucion al desarrollo de la escultura contemporanea y del sistema universitario americanos, no estudiada hasta el momento, es uno de los puntos relevantes del texto.","PeriodicalId":33243,"journal":{"name":"Materia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66407123","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}
Jose Campo Perez was a very influential figure in the city of Valencia in the nineteenth century, as well as in the rest of Spain and even beyond its borders. Having been the Mayor of Valencia he became a senator in Madrid, and was appointed Marquis by Alfonso XII, in thanks for his work in suport of Alfonso’s accession to the throne. His character as a businessman, banker and politician is complemented by his role, unknown until now, as a philanthropist, architectural promoter, patron of the arts and art collector. Over decades, he gathered a large collection of paintings, sculptures, reliefs, tapestries and other valuables objects, which on his death were dispersed and partially lost, with the odd exception. This paper presents an introduction to this distinguished personality and his activity as an art collector.
{"title":"Un coleccionista desconocido en la corte de Alfonso XII: el marqués de Campo (1814-1889).","authors":"A. Morant","doi":"10.1344/MATERIA2015.9.5","DOIUrl":"https://doi.org/10.1344/MATERIA2015.9.5","url":null,"abstract":"Jose Campo Perez was a very influential figure in the city of Valencia in the nineteenth century, as well as in the rest of Spain and even beyond its borders. Having been the Mayor of Valencia he became a senator in Madrid, and was appointed Marquis by Alfonso XII, in thanks for his work in suport of Alfonso’s accession to the throne. His character as a businessman, banker and politician is complemented by his role, unknown until now, as a philanthropist, architectural promoter, patron of the arts and art collector. Over decades, he gathered a large collection of paintings, sculptures, reliefs, tapestries and other valuables objects, which on his death were dispersed and partially lost, with the odd exception. This paper presents an introduction to this distinguished personality and his activity as an art collector.","PeriodicalId":33243,"journal":{"name":"Materia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66407007","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 : 2019-01-01DOI: 10.1344/materia2019.14-15.7
{"title":"Space, painting and music: Houston chapel, Rothko, Feldman and the total work of art in contemporary aesthetics.","authors":"","doi":"10.1344/materia2019.14-15.7","DOIUrl":"https://doi.org/10.1344/materia2019.14-15.7","url":null,"abstract":"","PeriodicalId":33243,"journal":{"name":"Materia","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66407934","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}
En aquest article s’analitza tipologicament un dels retaules barrocs mes ornamentats de la catedral de Barcelona: l’altar de la Glorificacio de la Verge. A partir d’aquest singular exemple, de gran exuberancia decorativa, es busquen vincles amb alguns tractats d’art del sis-cents i el set-cents, com ara el Tratado de la pintura sabia , de Juan Andres Ricci, i l’obra Perspectiva pictorum et architectorum , d’Andrea Pozzo. El text preten ajudar a enriquir el ventall de les fonts que els nostres artistes i obradors van poder utilitzar per tirar endavant les mes diverses comandes artistiques.
{"title":"El retaule de la Glorificació de la Verge de la catedral de Barcelona: un cas singular de recerca tipològica en la retaulística catalana del Set-Cents.","authors":"S. M. Saavedra","doi":"10.1344/Materia2015.9.4","DOIUrl":"https://doi.org/10.1344/Materia2015.9.4","url":null,"abstract":"En aquest article s’analitza tipologicament un dels retaules barrocs mes ornamentats de la catedral de Barcelona: l’altar de la Glorificacio de la Verge. A partir d’aquest singular exemple, de gran exuberancia decorativa, es busquen vincles amb alguns tractats d’art del sis-cents i el set-cents, com ara el Tratado de la pintura sabia , de Juan Andres Ricci, i l’obra Perspectiva pictorum et architectorum , d’Andrea Pozzo. El text preten ajudar a enriquir el ventall de les fonts que els nostres artistes i obradors van poder utilitzar per tirar endavant les mes diverses comandes artistiques.","PeriodicalId":33243,"journal":{"name":"Materia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66406868","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}
Els experts en moda classifiquen la morfologia de l’anatomia femenina a partir de formes geometriques simples i compostes, les quals tambe poden emprar-se per classificar la silueta resultant despres de vestir la dona. Si observem detingudament les principals modes que han regit el segle XX, podrem establir tres grans grups segons les siluetes resultants: el rellotge de sorra (compost per dos triangles contraposats), el cilindre i el triangle invertit. Pero si analitzem de manera detallada els moments en els quals es produeixen, es posa de manifest que cada moda representa i determina un model de dona concret, amb una manera d’actuar en el context i de relacionar-se amb el sexe masculi, diferent de la resta. Davant d’aquests fets se’ns planteja la questio si aquesta associacio segueix vigent en l’actualitat, en un moment en que, com a consequencia del canvi de paradigma que representa la postmodernitat, els pilars i les estructures que han regit el nostre pensament han estat totalment alterats.
{"title":"Moda, cos i geometria en el segle XX.","authors":"Sílvia Rosés Castellsaguer","doi":"10.1344/MATERIA2015.9.7","DOIUrl":"https://doi.org/10.1344/MATERIA2015.9.7","url":null,"abstract":"Els experts en moda classifiquen la morfologia de l’anatomia femenina a partir de formes geometriques simples i compostes, les quals tambe poden emprar-se per classificar la silueta resultant despres de vestir la dona. Si observem detingudament les principals modes que han regit el segle XX, podrem establir tres grans grups segons les siluetes resultants: el rellotge de sorra (compost per dos triangles contraposats), el cilindre i el triangle invertit. Pero si analitzem de manera detallada els moments en els quals es produeixen, es posa de manifest que cada moda representa i determina un model de dona concret, amb una manera d’actuar en el context i de relacionar-se amb el sexe masculi, diferent de la resta. Davant d’aquests fets se’ns planteja la questio si aquesta associacio segueix vigent en l’actualitat, en un moment en que, com a consequencia del canvi de paradigma que representa la postmodernitat, els pilars i les estructures que han regit el nostre pensament han estat totalment alterats.","PeriodicalId":33243,"journal":{"name":"Materia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66406679","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 : 2019-01-01DOI: 10.1344/materia2019.14-15.11
{"title":"Music in cinematographic and audiovisual theory.","authors":"","doi":"10.1344/materia2019.14-15.11","DOIUrl":"https://doi.org/10.1344/materia2019.14-15.11","url":null,"abstract":"","PeriodicalId":33243,"journal":{"name":"Materia","volume":"54 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66406972","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 : 2019-01-01DOI: 10.1344/materia2019.14-15.12
{"title":"The art dialectic in Passolini’s Salò or the the 120 days of Sodom.","authors":"","doi":"10.1344/materia2019.14-15.12","DOIUrl":"https://doi.org/10.1344/materia2019.14-15.12","url":null,"abstract":"","PeriodicalId":33243,"journal":{"name":"Materia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66407488","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 : 2019-01-01DOI: 10.1344/materia2019.14-15.3
{"title":"String and chisel: personal and artistic attributes of Vinnie Ream.","authors":"","doi":"10.1344/materia2019.14-15.3","DOIUrl":"https://doi.org/10.1344/materia2019.14-15.3","url":null,"abstract":"","PeriodicalId":33243,"journal":{"name":"Materia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66408099","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}
Il retablo di san Bernardino , dipinto nel 1455 dai pittori catalani Joan Figuera e Rafael Tomas, e da considerarsi un’opera chiave per la comprensione delle dinamiche della pittura tardogotica in Sardegna. Negli ultimi anni le novita piu interessanti, giunte dagli studi dedicati al retablo, riguardano le discussioni sulla reale appartenenza al polittico di alcune tavole probabilmente estranee all’impianto originario. L’attuale restituzione compositiva dell’opera, esposta presso la Pinacoteca Nazionale di Cagliari, riprende lo schema indicato da Carlo Aru nei primi anni del Novecento e ancora oggi accoglie, oltre alle tavole con la narrazione della vita e dei miracoli del santo francescano, anche due tavole dedicate alla Crocifissione di Cristo e al suo Compianto ai piedi della croce. Recenti acquisizioni documentarie ribaltano la suddetta configurazione e tracciano, invece, un nuovo assetto compositivo per le tavole del retablo cagliaritano.
加泰罗尼亚画家琼·菲格拉(Joan Figuera)和拉斐尔·托马斯(Rafael Tomas)于1455年创作的《圣贝纳迪诺的画报》(retablo of san Bernardino)被认为是了解撒丁岛塔尔多哥特绘画动态的关键作品。近年来，从retablo的研究中获得的最有趣的新发现涉及到一些可能与原始工厂无关的表是否真正属于政治的讨论。作品目前compositiva归还,在国家药物制剂所表示的卡利亚里,包括查理Aru和20世纪的头几年,除了表仍然欢迎圣方济的奇迹和生活的叙事、专用于基督的十字架的两个表也和他的已故的十字架的脚下。最近的文献研究推翻了这种结构，并为cagliaritano retablo表绘制了一种新的组合结构。
{"title":"Un documento chiave per la ricomposizione del Retablo di san Bernardino di Cagliari.","authors":"E. Pusceddu","doi":"10.1344/MATERIA2015.9.2","DOIUrl":"https://doi.org/10.1344/MATERIA2015.9.2","url":null,"abstract":"Il retablo di san Bernardino , dipinto nel 1455 dai pittori catalani Joan Figuera e Rafael Tomas, e da considerarsi un’opera chiave per la comprensione delle dinamiche della pittura tardogotica in Sardegna. Negli ultimi anni le novita piu interessanti, giunte dagli studi dedicati al retablo, riguardano le discussioni sulla reale appartenenza al polittico di alcune tavole probabilmente estranee all’impianto originario. L’attuale restituzione compositiva dell’opera, esposta presso la Pinacoteca Nazionale di Cagliari, riprende lo schema indicato da Carlo Aru nei primi anni del Novecento e ancora oggi accoglie, oltre alle tavole con la narrazione della vita e dei miracoli del santo francescano, anche due tavole dedicate alla Crocifissione di Cristo e al suo Compianto ai piedi della croce. Recenti acquisizioni documentarie ribaltano la suddetta configurazione e tracciano, invece, un nuovo assetto compositivo per le tavole del retablo cagliaritano.","PeriodicalId":33243,"journal":{"name":"Materia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66406186","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 : 2019-01-01DOI: 10.1344/materia2019.14-15.8
{"title":"Music and literature as phenomena in time.","authors":"","doi":"10.1344/materia2019.14-15.8","DOIUrl":"https://doi.org/10.1344/materia2019.14-15.8","url":null,"abstract":"","PeriodicalId":33243,"journal":{"name":"Materia","volume":"66 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66407660","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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