{"title":"Sonia Jiménez-Hortelano. Arte y arquitectura en el Real Monasterio de Santiago de Uclés (1500-1750). Madrid: Consejo Superior de Investigaciones Científicas, 2022, 464 pp.","authors":"Luis Arciniega García","doi":"10.5209/anha.85506","DOIUrl":"https://doi.org/10.5209/anha.85506","url":null,"abstract":"","PeriodicalId":53993,"journal":{"name":"Anales de Historia del Arte","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134912114","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}
Vostell plantea en el ciclo dedicado a Juana la Loca (1980) una síntesis de diferentes recursos iconográficos, sean procedentes de la pintura clásica española (particularmente Goya) o de pintores contemporáneos, como Francis Bacon; pero también busca integrar el tema de la célebre pintura academicista dedicada a la reina de Castilla llevada a cabo por Francisco Pradilla en su propio repertorio creativo y, de paso, hacer referencias a la música popular española. El resultado de intertextualización deviene fuertemente extrañante y polisémico, pero también se constituye en reflejo de la madurez del dominio estético del artista alemán en los momentos de su elaboración.
沃斯特尔在《疯狂的胡安娜》(1980)中提出了不同肖像资源的综合，无论是来自西班牙古典绘画(尤其是戈雅)还是弗朗西斯·培根等当代画家;但它也试图将弗朗西斯科·普拉迪拉(Francisco Pradilla)为卡斯提尔女王(queen of castile)创作的著名学术绘画的主题整合到自己的创作曲目中，并参考西班牙流行音乐。在他的作品中，他使用了一种特殊的语言，这种语言在他的作品中是不存在的，在他的作品中是不存在的，在他的作品中是不存在的。
{"title":"El ciclo de Juana la Loca (1980) de Wolf Vostell: iconografía, intertextualidad e interpretación","authors":"Angélica García-Manso","doi":"10.5209/anha.83600","DOIUrl":"https://doi.org/10.5209/anha.83600","url":null,"abstract":"Vostell plantea en el ciclo dedicado a Juana la Loca (1980) una síntesis de diferentes recursos iconográficos, sean procedentes de la pintura clásica española (particularmente Goya) o de pintores contemporáneos, como Francis Bacon; pero también busca integrar el tema de la célebre pintura academicista dedicada a la reina de Castilla llevada a cabo por Francisco Pradilla en su propio repertorio creativo y, de paso, hacer referencias a la música popular española. El resultado de intertextualización deviene fuertemente extrañante y polisémico, pero también se constituye en reflejo de la madurez del dominio estético del artista alemán en los momentos de su elaboración.","PeriodicalId":53993,"journal":{"name":"Anales de Historia del Arte","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134912117","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}
El presente artículo aporta un estudio sobre la vida y obra del célebre pintor norteamericano Jackson Pollock desde una perspectiva que analiza su arte como una sintomatología de un malestar cultural. Se retomarán las críticas que le hicieron influyentes autores como Clement Greenberg o Rosalind Krauss (y en cierta medida, el mismo Pollock) al ver una involución o retroceso en su proceso creativo de sus últimas pinturas de la década de los cincuenta, caracterizadas por volver a una suerte de figuración. Nos preguntamos entonces si esa necesidad de reconocer constantemente un progreso y una autenticidad irrepetible en el proceso creativo responde a una característica propia de aquella modernidad que es cuestionada por Bruno Latour y que también encuentra críticas anteriores en obras como El malestar en la cultura de Sigmund Freud. Se intentará comprobar por tanto cómo la obra de Pollock refleja, no sólo su propio universo interior, sino toda una crisis interna de la modernidad, a través de la apropiación de un lenguaje visual innovador que sin embargo retoma muchos aspectos conceptuales y formales, no sólo de sus pares artistas, sino también de las lógicas visuales de culturas no occidentales.
{"title":"El Malestar de Jackson Pollock: Un síntoma artístico de la modernidad","authors":"Alessandra Francesca Caputo Jaffe","doi":"10.5209/anha.85404","DOIUrl":"https://doi.org/10.5209/anha.85404","url":null,"abstract":"El presente artículo aporta un estudio sobre la vida y obra del célebre pintor norteamericano Jackson Pollock desde una perspectiva que analiza su arte como una sintomatología de un malestar cultural. Se retomarán las críticas que le hicieron influyentes autores como Clement Greenberg o Rosalind Krauss (y en cierta medida, el mismo Pollock) al ver una involución o retroceso en su proceso creativo de sus últimas pinturas de la década de los cincuenta, caracterizadas por volver a una suerte de figuración. Nos preguntamos entonces si esa necesidad de reconocer constantemente un progreso y una autenticidad irrepetible en el proceso creativo responde a una característica propia de aquella modernidad que es cuestionada por Bruno Latour y que también encuentra críticas anteriores en obras como El malestar en la cultura de Sigmund Freud. Se intentará comprobar por tanto cómo la obra de Pollock refleja, no sólo su propio universo interior, sino toda una crisis interna de la modernidad, a través de la apropiación de un lenguaje visual innovador que sin embargo retoma muchos aspectos conceptuales y formales, no sólo de sus pares artistas, sino también de las lógicas visuales de culturas no occidentales.","PeriodicalId":53993,"journal":{"name":"Anales de Historia del Arte","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134913187","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}
As Raphael (1483–1520) before him, Carlo Maratti (1625–1713) supervised one of the most renowned schools of the day and became one of Rome's most prominent painters. By using primary sources such as his biographies by Giovan Pietro Bellori (1613–1696) and Lione Pascoli (1674–1744) as well as his graphic and painterly works, this chapter examines how the Baroque artist's image was constructed and displayed. A major point of comparison between Maratti and Raphael and Annibale Carracci (1560–1609) was that he was among the best draftsmen of the seventeenth century and was inspired by the ancient world. This chapter also explores the artist’s private life, from his long-lasting affair with a young model to his purported moderation and sobriety. During the Seicento, legitimacy and power were assigned to artists by connections to figures (actual or fabricated) and in biography, these connections were expressed through the reworking of tropes and motifs taken from the greatest biographers of the past. A joint project that Maratti undertook with his close friend Bellori focused on revalorizing and commemorating Raphael and Annibale Carracci which served as a legitimizing tool for his career. Maratti's self-fashioning contributed to his great success and his championing of the Classicist aesthetic and ideal artistic lineage with Raphael at the forefront is essential to understand the image of the modern artist.
{"title":"Hic est Raphael? Carlo Maratti and the Figure of the Artist in the Seventeenth Century","authors":"Francesca Susanna Croce","doi":"10.5209/anha.86000","DOIUrl":"https://doi.org/10.5209/anha.86000","url":null,"abstract":"As Raphael (1483–1520) before him, Carlo Maratti (1625–1713) supervised one of the most renowned schools of the day and became one of Rome's most prominent painters. By using primary sources such as his biographies by Giovan Pietro Bellori (1613–1696) and Lione Pascoli (1674–1744) as well as his graphic and painterly works, this chapter examines how the Baroque artist's image was constructed and displayed. A major point of comparison between Maratti and Raphael and Annibale Carracci (1560–1609) was that he was among the best draftsmen of the seventeenth century and was inspired by the ancient world. This chapter also explores the artist’s private life, from his long-lasting affair with a young model to his purported moderation and sobriety. During the Seicento, legitimacy and power were assigned to artists by connections to figures (actual or fabricated) and in biography, these connections were expressed through the reworking of tropes and motifs taken from the greatest biographers of the past. A joint project that Maratti undertook with his close friend Bellori focused on revalorizing and commemorating Raphael and Annibale Carracci which served as a legitimizing tool for his career. Maratti's self-fashioning contributed to his great success and his championing of the Classicist aesthetic and ideal artistic lineage with Raphael at the forefront is essential to understand the image of the modern artist.","PeriodicalId":53993,"journal":{"name":"Anales de Historia del Arte","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134913188","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}
{"title":"Raúl Romero Medina. La promoción artística de la Casa Ducal de Medinaceli. Memoria visual y arquitectura en Andalucía y Castilla (siglos XIV-XVI). Madrid: Ediciones Doce Calles, 2021, 500 pp.","authors":"Laura Rodríguez Peinado","doi":"10.5209/anha.85206","DOIUrl":"https://doi.org/10.5209/anha.85206","url":null,"abstract":"","PeriodicalId":53993,"journal":{"name":"Anales de Historia del Arte","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134913219","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}
{"title":"Joaquín Álvarez Barrientos. Maquetista y artillero. León Gil de Palacio (1778-1849). Entre ciudad y patrimonio. Zaragoza: Prensas de la Universidad de Zaragoza, 2022, 390 pp.","authors":"Jesús Cantera Montenegro","doi":"10.5209/anha.85912","DOIUrl":"https://doi.org/10.5209/anha.85912","url":null,"abstract":"","PeriodicalId":53993,"journal":{"name":"Anales de Historia del Arte","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134913225","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}
{"title":"Elena Paulino Montero. Arquitectura y nobleza en la Castilla bajomedieval. El patrocinio de los Velasco entre al-Andalus y Europa. Madrid: La Ergástula, 2020, 374 pp.","authors":"Sergio Ramiro Ramírez","doi":"10.5209/anha.85205","DOIUrl":"https://doi.org/10.5209/anha.85205","url":null,"abstract":"","PeriodicalId":53993,"journal":{"name":"Anales de Historia del Arte","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134913227","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}
{"title":"Sally Faulkner. Un cine contradictorio. Ocho filmes españoles de la década de 1960. Madrid: Iberoamericana-Vervuert, 2022, 358 pp.","authors":"Laura Caballero Ruiz de Martín-Esteban","doi":"10.5209/anha.88304","DOIUrl":"https://doi.org/10.5209/anha.88304","url":null,"abstract":"","PeriodicalId":53993,"journal":{"name":"Anales de Historia del Arte","volume":"214 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134912106","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}
Este artículo se propone explorar el tratamiento de Jacques-Louis David en la prensa española en el siglo transcurrido desde la que parece ser su primera mención, en 1782. Se consideran la utilización de la figura histórica del pintor como parte de la propaganda contrarrevolucionaria española en la década de 1790 y la reacción ante su conversión en pintor del Imperio con Napoleón. También se discuten las referencias a David en el contexto de diversos debates artísticos durante el siglo XIX, su relación con la figura de Francisco de Goya y su transformación en personaje de folletines románticos.
{"title":"La fortuna crítica de Jacques-Louis David en la prensa periódica española (1782-1882)","authors":"Mercedes Cerón","doi":"10.5209/anha.86289","DOIUrl":"https://doi.org/10.5209/anha.86289","url":null,"abstract":"Este artículo se propone explorar el tratamiento de Jacques-Louis David en la prensa española en el siglo transcurrido desde la que parece ser su primera mención, en 1782. Se consideran la utilización de la figura histórica del pintor como parte de la propaganda contrarrevolucionaria española en la década de 1790 y la reacción ante su conversión en pintor del Imperio con Napoleón. También se discuten las referencias a David en el contexto de diversos debates artísticos durante el siglo XIX, su relación con la figura de Francisco de Goya y su transformación en personaje de folletines románticos.","PeriodicalId":53993,"journal":{"name":"Anales de Historia del Arte","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134912116","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 : 2023-08-11eCollection Date: 2023-09-01DOI: 10.1093/fsr/owad024
Saad B Albishri, Fahed A Albednah, Nawaf S Alenazi, Nahaa E Alsubaie, Osama S Elserafy
The emergency room is the most likely location where victims of violent crime would be encountered by the healthcare system, as the emergency staff is the first to evaluate the victim or culprit, exposing them to a range of forensic evidence. Forensic evidence can help exclude, identify, and prosecute a suspect and is classified as informational or physical evidence. Emergency staff must be proficient and knowledgeable in gathering, preserving, and documenting forensic evidence in their practice. To our knowledge, this is the first study that assesses the emergency staff's level of practice in managing forensic evidence. The aims of this study are to assess the level of practice of emergency staff in managing forensic evidence and observe an association between emergency experience and the level of practice in managing forensic evidence, study a connection between forensic education/training and the level of practice in the management of forensic evidence. This observational cross-sectional analytical study in Saudi Arabia was conducted from January 2022 to December 2022. Participants completed a self-administered online survey. Measuring the level of practice was implemented through a researcher-designed questionnaire based on a paper that provided guidelines for forensic evidence collection in the emergency department. Most emergency healthcare workers had a good level of practice in managing forensic evidence (64.7%). Those with excellent practice scored the lowest in documentation, whereas participants in the poor practice category scored the lowest in the trace evidence and clothes domains. Emergency workers who encountered less number of forensic cases per month, i.e. less than two or three to five cases, were found to be more likely to have poor management of forensic evidence. Emergency personnel with no prior education or training are more likely to engage in poor practice in forensic evidence collection. Furthermore, those who had acquired forensic education/training had higher percentages of excellent forensic practice (56.52%) compared to poor practice (7.14%). Those who claimed that their institution had issued guidelines were more likely to have excellent practice (75.36%), whilst those who did not receive guidelines were more likely to have poor forensic evidence management (85.71%). More research is required involving local hospitals and utilizing consistently validated methods in evaluating forensic evidence collection.
Key points: A national assessment of emergency staff level of practice in the management of forensic evidence was performed.Most emergency staff had a good level of practice in the management of forensic evidence.More training and education are needed for emergency staff in the field of forensics.National evidence-based guidelines for managing forensic evidence in the emergency setting should be established.
{"title":"National assessment of emergency staff level of practice in the management of forensic evidence.","authors":"Saad B Albishri, Fahed A Albednah, Nawaf S Alenazi, Nahaa E Alsubaie, Osama S Elserafy","doi":"10.1093/fsr/owad024","DOIUrl":"10.1093/fsr/owad024","url":null,"abstract":"<p><p>The emergency room is the most likely location where victims of violent crime would be encountered by the healthcare system, as the emergency staff is the first to evaluate the victim or culprit, exposing them to a range of forensic evidence. Forensic evidence can help exclude, identify, and prosecute a suspect and is classified as informational or physical evidence. Emergency staff must be proficient and knowledgeable in gathering, preserving, and documenting forensic evidence in their practice. To our knowledge, this is the first study that assesses the emergency staff's level of practice in managing forensic evidence. The aims of this study are to assess the level of practice of emergency staff in managing forensic evidence and observe an association between emergency experience and the level of practice in managing forensic evidence, study a connection between forensic education/training and the level of practice in the management of forensic evidence. This observational cross-sectional analytical study in Saudi Arabia was conducted from January 2022 to December 2022. Participants completed a self-administered online survey. Measuring the level of practice was implemented through a researcher-designed questionnaire based on a paper that provided guidelines for forensic evidence collection in the emergency department. Most emergency healthcare workers had a good level of practice in managing forensic evidence (64.7%). Those with excellent practice scored the lowest in documentation, whereas participants in the poor practice category scored the lowest in the trace evidence and clothes domains. Emergency workers who encountered less number of forensic cases per month, i.e. less than two or three to five cases, were found to be more likely to have poor management of forensic evidence. Emergency personnel with no prior education or training are more likely to engage in poor practice in forensic evidence collection. Furthermore, those who had acquired forensic education/training had higher percentages of excellent forensic practice (56.52%) compared to poor practice (7.14%). Those who claimed that their institution had issued guidelines were more likely to have excellent practice (75.36%), whilst those who did not receive guidelines were more likely to have poor forensic evidence management (85.71%). More research is required involving local hospitals and utilizing consistently validated methods in evaluating forensic evidence collection.</p><p><strong>Key points: </strong>A national assessment of emergency staff level of practice in the management of forensic evidence was performed.Most emergency staff had a good level of practice in the management of forensic evidence.More training and education are needed for emergency staff in the field of forensics.National evidence-based guidelines for managing forensic evidence in the emergency setting should be established.</p>","PeriodicalId":53993,"journal":{"name":"Anales de Historia del Arte","volume":"1 1","pages":"265-273"},"PeriodicalIF":1.3,"publicationDate":"2023-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC10785582/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73740380","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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