Umfang:
389 Seiten
,
Illustrationen
,
23 cm
Ausgabe:
Primera edición
ISBN:
9786073031318
,
6073031319
Inhalt:
Introducción -- I. Mito y realidad. Debates sobre autoria y procedencia -- El siglo XIX -- El Siglo XX -- Murillo y su taller -- Murillo a debate -- APuesta novoshiapna -- Avances y retrocesos -- Hacia una serie sevillana -- El regreso de Murillo -- Un nuevo siglo -- Aproximación a una biografia cultural -- II. Una serie sevillana en el convento de San Francisco de Guadalajara (1694-1860) -- Vidas pintadas -- El caso franciscano -- A todo mi leal saber y entender -- Fernando Ramirez de Arellano -- Esteban Marquez de Velasco (1652-1696) -- Una hagiografia pictórica. La serie del Museo Regional de Guadalajara -- Convento de San Francisco de Guadalajara -- La ruta del arte. De Sevilla hacia América atando cabos -- III. De lo devocional a lo histórico-artistico (1860-1918) -- IV. Institucionalización y restauración (1918-2014) -- V. Cruce de los caminos. Una visión interdisciplinaria.
Inhalt:
The Museo Regional de Guadalajara, in Jalisco, México it houses a pictorial series composed of eleven large-format canvases that represent various passages of the life of St. Francis of Assisi. According to the sources, the cycle belonged to the old convent of San Francisco of this same city, where it decorated the walls of the cloister. Throughout the nineteenth and twentieth centuries, the lack of clarity as to its authorship and origin led to the emergence of different legends around its origin, as well as the support of several attributions. Of the latter, the most widespread had been maintained that the paintings were elaborated in the workshop of the famous Sevillian architect Bartolomé Esteban Murillo. Recently an interdisciplinary investigation -historical, aesthetical and technological-, allowed to discard this authorship and, at the same time, establish that the series was the product of a commission to a Sevillian workshop during the last years of the 17th century. The presentation begins with a brief historiographical account that gives an account of the prevailing debates regarding the attribution and origin of the collection, as well as the difficulties in its identification. The analysis of a notarial contract is the nodal point to support the new attribution, by virtue of important coincidences with the repertoire. The stylistic analysis, on the other hand, refers to interesting formal similarities between the paintings of Guadalajara and other works of an artist who, in addition to having worked for the American market, has often been confused with Murillo: Esteban Marquez de Velasco (1652-1696) . The results of the scientific-experimental study correspond to the technology of the Sevillian school of painting. In the end, the study contributes to expanding knowledge regarding the mechanisms and conditions in which artistic traffic developed between Spain and the overseas territories during the viceregal period
Anmerkung:
Includes bibliographical references (pages 363-385)
,
In Spanish
Sprache:
Spanisch
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