Search results for "Altarpiece"
showing 10 items of 14 documents
Analysis of pigments from Spanish works of art using a portable EDXRF spectrometer
2002
Nowadays there is an intensive program for the conservation, restoration and analysis of the impressive and extensive Spanish cultural heritage. In the last few years, the Unidad de Arqueometria of the ICMUV has carry out a great quantity of in situ EDXRF analysis of pigments on materials of historic and cultural interest (altarpieces, frescoes, canvas, sculptures, etc.) from museums and churches of the whole of the Spanish geography. Here we present a few examples of the analysis of works of art using x-ray fluorescence spectrometry with a portable system based on x-ray tubes and a non-cryogenic Si-PIN detector. EDXRF qualitative and non-destructive analyses of stone, pigments and preparat…
Influencias flamencas en la obra de Joan de Joanes
2016
Joan V. Macip, alias Joan de Joanes, fue sin lugar a dudas el renovador estilístico del taller dirigido por su padre, Vicent Macip, hasta al menos 1542, fecha en la que aparece como titular del mismo. En este contexto, con la culminación del retablo de Segorbe se inicia una etapa en la que el genio creativo de Joanes se manifiesta progresivamente con mayor nitidez, al combinar magistralmente en su producción artística los italianismos importados con los influjos flamencos presentes en la ciudad a través de Mencía de Mendoza, culta noble y ardua coleccionista que vivió a caballo entre España y Flandes, especialmente en Valencia.
Jaume Mateu y el retablo de San Sebastián de Villar del Cobo (Teruel)
2014
[ES] In 1428 the painter Jaume Mateu, who was trained in the workshop of the international Gothic master of Valencia, Pere Nicolau, painted an altarpiece dedicated to San Blas for the jurist Juan Gomez from Villar del Cobo. The parish church of this town still retains some paintings that belong to an old Gothic altarpiece with scenes of San Sebastián, San Fabián, San Jorge and a Crucifixion. This study analyzes the style of the preserved works and places them in the circle of the Valencian painter documented in Villar.
Pervivencia de motivos islámicos en el Renacimiento: El lema «ʼIzz Li-Mawlānā Al-Sulṭān» en las puertas del retablo mayor de la catedral de Valencia …
2018
El aprecio que se tuvo por los tejidos islámicos desde el Medievo es patente en la pintura religiosa. A través de estas líneas se analiza la pervivencia de motivos ornamentales en el Renacimiento, en concreto, el uso de letras árabes a partir del estudio de tres escenas de las puertas del retablo mayor de la catedral de Valencia pintadas por los Hernandos. En ellas los maestros copiaron un tejido nazarí con una inscripción cuya traducción ha pasado inadvertida hasta este momento y que plantea distintas hipótesis sobre su utilización en la obra.The appreciation of Islamic textiles since the Middle Ages is evident in religious painting. The aim of this paper is to analyze the survival of orna…
“Com fa faena de fusta”. El retablo renacentista del gremio de carpinteros de Valencia
2021
El gremio de carpinteros de Valencia costeó un nuevo retablo a partir de 1542, que fue realizado por el escultor Damià Gonçalbes. Sus pinturas fueron contratadas con Onofre Falcó, y los temas representados constituyen un discurso autorreferencial que justifica visualmente el viraje en el patronazgo corporativo y dignifica el oficio al vincularlo a san José y otros santos.
Miguel del Prado, pintor de retablos en Valencia. Su fallecimiento en las Germanías (1521)
2017
Miguel del Prado, a painter who formed a company with Miguel Esteve in order to paint the now-lost Valencia town hall chapel in 1519, is an artist for whom there is scant documentary evidence. He has been identified with the anonymous Master of the Grifo, but this has been questioned recently. The author here offers news of a contract given to del Prado for an altarpiece in the Rosary Chapel of the old convent of Santo Domingo in Valencia that he was unable to fulfill due to his untimely death. It has been possible to certify that he perished on the battlefield of Almenara during the Germanias Revolt of 1521. Therefore the chronology for this painter has now been reduced by more than 16 yea…
Images of Chalices in Transylvanian Panel Paintings
2014
Abstract The study of the items illustrated on mural and panel painting, in connection with still existing items, can document medieval material culture. The representation of chalices on almost half of such paintings from Transylvania is a proof of its important symbolist value in religious rituals. These representations also certify the high level of the goldsmiths’ art from Transylvania. The present study is intended both as a repertory and an analysis of these sacral objects illustrated in mural and panel paintings.
EDXRF analysis of the Pentecost Triptych from the “São Pedro de Miragaia” church (Porto, Portugal)
2013
Abstract EDXRF spectrometry was used to determine the pigment composition of the Pentecost Triptych, a Flemish masterpiece located at the Church of Sao Pedro de Miragaia (Porto, Portugal). The triptych was restored at the beginning of the 20th century and presents a great number of zones with repaints and colour alterations that can be observed on the whole of their surface. The identification of the original pigments and restoration pigments was based on their characteristic colour and the correlation between the detected elements and the named “key elements” of ancient pigments (Ca, Fe, Cu, Hg, Pb,…) and modern pigments (Ti, Ba, Cr, Zn, Co, Cd,…). The analysis of the triptych has been car…
Un contrato inédito de Juan de Juanes. El retablo de la Cofradía de la Sangre de Cristo de Valencia (1539)
2012
This article is based on an unpublished contract signed in 1539 by Vicente and Juan Macip for an altarpiece for the Valencian Brotherhood of the Blood of Christ. The agreement stipulates that Juan, later known as Juan de Juanes, had to paint the scenes. Thus the document reinforces the hypothesis that Juan Macip was the most important painter in the Macip workshop during the 1530’s. It also fills a documental void in between the completion of the Silversmith’s Guild altarpiece (1534-1539) and the contract for the Fuente la Higuera altarpiece (1548). This study also verifies the popularity of the iconography of the seven sheddings of the Blood of Christ and processions of disciplinants.<b…
Un contrato de los Hernandos para la capilla de les Febres de la Seo de Xàtiva en 1511
2006
The contract dated 1511 signed by Fernando Llanos and Fernando Yáñez de la Almedina, Castillian painters known as “the Hernandos,” for the termination of an altarpiece in the chapel of the “Virgen de les Febres” is presented here. This chapel was founded in 1497 in the collegiate church of Jàtiva (Valencia) by Francisco de Borja, Bishop of Teano and Cardinal of Cosenza. Based on this document, a series of hypotheses are put forth concerning the trajectory and works of “the Hernandos” following their execution of the doors of the main altarpiece of the Cathedral of Valencia.<br><br>Se presenta el contrato firmado en 1511 por Fernando Llanos y Fernando Yañez de la Almedina, pintor…