Fernando Gutiérrez Baños | Universidad de Valladolid (original) (raw)
Papers by Fernando Gutiérrez Baños
Journal of the British Archaeological Association, 2023
A set of three Castilian panel paintings of the late 13th century is usually on display in the Me... more A set of three Castilian panel paintings of the late 13th century is usually on display in the Met Cloisters in New York. These paintings, of unknown provenance, have long been recognized as part of a tabernacle-altarpiece or tabernacle shrine, but in spite of this and their relatively good condition, they have attracted little attention in studies on Gothic painting in Castile. Recent scholarship on tabernacle shrines provides a new basis for their research. By analysing the panels’ most unique feature (the depiction of small-scale scenes offering a cycle of the Passion, visible when the altarpiece was closed), and through comparison with other contemporary works, this article proposes a possible context and use for this important example of early Gothic painting in Castile.
PLEASE, NOTE THAT THE FULL ARTICLE IS ONLY AVAILABLE AT THE JOURNAL'S WEBSITE, MANAGED BY TAYLOR % FRANCIS
Producción CientíficaThis article explores the origins and distinctive features of Castilian tabe... more Producción CientíficaThis article explores the origins and distinctive features of Castilian tabernaclealtarpieces. Less attention will be paid to the well-known examples of the fourteenth century (as for example the Castildelgado and Yurre altarpieces) and the focus will be on a number of poorly preserved, fragmented and altered examples of the late thirteenth century, for which proposals of reconstruction are provided in some instances. To investigate the origins of Castilian tabernacle-altarpieces, this study centres on several thirteenth-century sculptures that were made prominent by being placed either before back panels or within baldachins. These displays are usually regarded as the forerunners of genuine tabernacle-altarpieces. In this context, special attention is paid to the images of the Virgin and Child in the church of Villalcázar de Sirga (Palencia). Concerning the distinctive features of Castilian tabernacle-altarpieces, the text points out the relationship between th...
Presentació a càrrec de Fernando Gutiérrez Baños de la Universidad de Valladolid sobre el debat a... more Presentació a càrrec de Fernando Gutiérrez Baños de la Universidad de Valladolid sobre el debat al voltant de la Mare de Déu, és a dir a partir de quin moment un 'ésser humà és humà' i com s'ha representat, el cas concret de les 'Cantigas de Santa María
BSAA arte, 2021
Obituario dedicado a Juan Carlos Ruiz Souza, Profesor de la Universidad Complutense de Madrid
Alfonso X El Sabio Exposicion Sala San Esteban Murcia 27 Octubre 2009 31 Enero 2010 2009 Isbn 9788475645223 Pags 156 159, 2009
El arte gótico en el territorio burgalés, 2006
... La pintura en el territorio burgalés en los siglos XIII y XIV: el desarrollo del estilo gótic... more ... La pintura en el territorio burgalés en los siglos XIII y XIV: el desarrollo del estilo gótico lineal. Autores: Fernando Gutiérrez Baños; Localización: El arte gótico en el territorio burgalés / coord. por Emilio Jesús Rodríguez Pajares ...
Anales de la Real Academia Matritense de …, 2005
... Exposición "Westminster Retable, England's oldest altar piece". Autores: Fernan... more ... Exposición "Westminster Retable, England's oldest altar piece". Autores: Fernando GutiérrezBaños; Localización: Anales de la Real Academia Matritense de Heráldica y Genealogía, ISSN 1133-1240, Nº. 9, 2005-2006 , págs. 377-382. Fundación Dialnet. ...
… espontáneo: eremitas y eremitorios en el …, 2011
... La imagen del ermitaño en el arte medieval hispano. Autores: Fernando GutiérrezBaños; Localiz... more ... La imagen del ermitaño en el arte medieval hispano. Autores: Fernando GutiérrezBaños; Localización: El Monacato espontáneo: eremitas y eremitorios en el mundo medieval / coord. por José Angel García de Cortázar y Ruiz ...
Boletín del Seminario de Estudios de Arte y …, 1996
... págs. 155-160. Alexander Florentiae dux: el primer duque de Florencia y el imperio. Muerte, p... more ... págs. 155-160. Alexander Florentiae dux: el primer duque de Florencia y el imperio. Muerte, política y arte. Jesús Félix Pascual Molina. págs. 161-166. ... págs. 219-224. El arte después de la modernidad: ¿final de un período artístico? Simón Marchán Fiz. págs. 225-228. ...
Medievalia, 2020
altarpieces are among the most outstanding and celebrated achievements of medieval art. They were... more altarpieces are among the most outstanding and celebrated achievements of medieval art. They were the fruits of the joint efforts, skills and ambitions of artists and patrons. often combining different media, they reflected a great deal of the faith, ideals, hopes, anxieties and devotions of christian communities. altarpieces were erected in churches of all ranks, from cathedrals and monumental abbeys down to modest country churches. over the ages, medieval altarpieces continuously grew larger and more magnificent. They became symbols of the identity and pride of communities and individuals, for whom they sometimes even became the object of emulation. altarpieces are at the core of Western art history; one only needs to think about duccio's Maestà that was erected on the high altar in siena cathedral (italy), veit stoß's high altarpiece in st Mary's church in cracow (Poland) or Gil de siloe's high altarpiece in the carthusian monastery of Miraflores, in the vicinity of burgos (spain). Given their eminent status as art works, it is hardly surprising that altarpieces have received the attention of art history since it became an academic discipline. The pioneering study by Joseph braun, Der christliche Altar in seiner geschichtli
Codex Aquilarensis 38, 2022
At the beginning of the 12th century, the man who was to become the first archbishop of Santiago ... more At the beginning of the 12th century, the man who was to become the first archbishop of Santiago de Compostela, Diego Gelmírez, equipped the high altar of his cathedral, by then under construction, with what was for sure the most ambitious altar decoration produced up to this moment for any Hispanic church. At the end of the 14th century, the archbishop of Toledo Pedro Tenorio completely renewed the decoration of the high altar of his cathedral by fabricating a monumental altarpiece that became the reference for the great wall altarpieces of the Late Gothic period. In the western kingdoms of the Iberian Peninsula, the period of two hundred and fifty years between both landmarks was one of an extraordinary flourishing of the arts of the altar, even though, unfortunately, only a limited number of remnants are preserved. The legacy of the Compostela ensemble, together with the involvement in general trends of the Medieval West, define this long period. Our purpose is offering an overview of it through available textual and material evidence.
Società Internazionale per lo Studio del Medioevo Latino, 2020
Producción CientíficaThis article explores the history and early iconography of the doctrine of t... more Producción CientíficaThis article explores the history and early iconography of the doctrine of the Immaculate Conception with particular reference to the subject as found in the thirteenth-century wall paintings of the chapel of San Martín in the Old Cathedral of Salamanca. It moves beyond this case study and looks at the theology, liturgy, iconography and changing approaches to the theme over time and space and suggests that it was a subject that worked on multiple levels and encompassed far more than has hitherto been believed. The role of the Crown of Castile during the initial stages of the development of this subject deserves special attention, as it received, adapted and created images to express both immaculist and maculist beliefs. Text is being published in two parts in two successive issues of Iconographica. The first part focuses on the history of the doctrine and its earliest representations and claims that the wall paintings in Salamanca are an outstanding example of one of the first formulas developed to express it, here called the Annunciation-type for the Meeting at the Golden Gate.Ministerio de Economía, Industria y Competitividad - FEDER (Project HAR2017-82949-P
In the 14th and 15th centuries, the choir of the convent of Poor Clares of Salamanca was decorate... more In the 14th and 15th centuries, the choir of the convent of Poor Clares of Salamanca was decorated with several cycles of wall paintings expressing the devotional interests of the nuns. In this paper, focus is set on the one depicting the story of St Sebastian, painted in the early 15th century. It is interesting because it displays a full cycle of his life, with some astonishing scenes, as for example the one concerning his death, where he is beheaded instead of beaten. In search of an explanation the cycle is compared with the ones so popular in Provence and adjoining Italy in the 15th and 16th centuries.
espanolEn 2013 el empresario Jose Varez Fisa (1928-2014) dono al Museo del Prado una seleccion de... more espanolEn 2013 el empresario Jose Varez Fisa (1928-2014) dono al Museo del Prado una seleccion de obras de su coleccion privada, correspondientes a la Edad Media y a los inicios del Renacimiento, que incluia un alfarje castellano de epoca gotica ricamente pintado. Se decia que el alfarje procedia de la demolida iglesia de Santa Marina de Valencia de Don Juan (Leon). En este articulo, un profundo analisis de las noticias sobre su origen y de sus caracteristicas estructurales nos conducira a concluir que, en realidad, es un producto del mercado anticuario, elaborado a partir de autenticas vigas pintadas de diferentes fechas y procedencias para satisfacer el interes de los coleccionistas de arte del siglo XX en este tipo de obras. EnglishIn 2013 the entrepeneur Jose Luis Varez Fisa (1928-2014) donated to the Museo del Prado several outstanding works of art dating from the Medieval and Early Renaissance periods, including a richly painted Castilian Gothic "alfarje", or flat wo...
Sarmental, 2022
Research carried out by the chapter of Zamora in 2010 in its cathedral led to the discovery of tw... more Research carried out by the chapter of Zamora in 2010 in its cathedral led to the discovery of two tombs of the early 15th century that had been walled in the 17th century. Decorated with reliefs and wall paintings, both tombs were recovered and restored in 2011-12 and are a significant addition to the corpus of Castilian sepulchral art of the Late Middle Ages. The one belonging to Lope Rodríguez de Olivares shows a relief of the Transfiguration, while the one belonging to Alfonso García shows a wall painting of the Mass of St Gregory that is the most outstanding, as it is the earliest representation of this theme recorded to this date in the Crown of Castile.
El mundo de las catedrales. Pasado, presente y futuro, 2022
RESUMEN La catedral de Burgos conserva numerosos testimonios de pintura gótica, tanto mural como ... more RESUMEN La catedral de Burgos conserva numerosos testimonios de pintura gótica, tanto mural como sobre tabla. Casi todos ellos han sido objeto de importantes estudios que han ido desentrañando las cuestiones formales, de atribución y de cronología, así como la identificación de sus escenas, pero, puesto que las obras de arte son susceptibles de ser analizadas desde múltiples puntos de vista, proponemos, en este estudio, un análisis contextual de algunos de estos testimonios, restituyéndolos, en el tiempo y en el espacio, a su entorno originario para, de esta manera, intentar comprender las motivaciones que, en su día, justificaron su creación. Nos centraremos en la capilla de San Juan Bautista (pinturas murales de su portada) y en la ya desmantelada capilla o altar de los Santos Reyes (pinturas sobre tabla de su tríptico de la Adoración de los Magos de Diego de la Cruz)
Journal of the British Archaeological Association, 2023
A set of three Castilian panel paintings of the late 13th century is usually on display in the Me... more A set of three Castilian panel paintings of the late 13th century is usually on display in the Met Cloisters in New York. These paintings, of unknown provenance, have long been recognized as part of a tabernacle-altarpiece or tabernacle shrine, but in spite of this and their relatively good condition, they have attracted little attention in studies on Gothic painting in Castile. Recent scholarship on tabernacle shrines provides a new basis for their research. By analysing the panels’ most unique feature (the depiction of small-scale scenes offering a cycle of the Passion, visible when the altarpiece was closed), and through comparison with other contemporary works, this article proposes a possible context and use for this important example of early Gothic painting in Castile.
PLEASE, NOTE THAT THE FULL ARTICLE IS ONLY AVAILABLE AT THE JOURNAL'S WEBSITE, MANAGED BY TAYLOR % FRANCIS
Producción CientíficaThis article explores the origins and distinctive features of Castilian tabe... more Producción CientíficaThis article explores the origins and distinctive features of Castilian tabernaclealtarpieces. Less attention will be paid to the well-known examples of the fourteenth century (as for example the Castildelgado and Yurre altarpieces) and the focus will be on a number of poorly preserved, fragmented and altered examples of the late thirteenth century, for which proposals of reconstruction are provided in some instances. To investigate the origins of Castilian tabernacle-altarpieces, this study centres on several thirteenth-century sculptures that were made prominent by being placed either before back panels or within baldachins. These displays are usually regarded as the forerunners of genuine tabernacle-altarpieces. In this context, special attention is paid to the images of the Virgin and Child in the church of Villalcázar de Sirga (Palencia). Concerning the distinctive features of Castilian tabernacle-altarpieces, the text points out the relationship between th...
Presentació a càrrec de Fernando Gutiérrez Baños de la Universidad de Valladolid sobre el debat a... more Presentació a càrrec de Fernando Gutiérrez Baños de la Universidad de Valladolid sobre el debat al voltant de la Mare de Déu, és a dir a partir de quin moment un 'ésser humà és humà' i com s'ha representat, el cas concret de les 'Cantigas de Santa María
BSAA arte, 2021
Obituario dedicado a Juan Carlos Ruiz Souza, Profesor de la Universidad Complutense de Madrid
Alfonso X El Sabio Exposicion Sala San Esteban Murcia 27 Octubre 2009 31 Enero 2010 2009 Isbn 9788475645223 Pags 156 159, 2009
El arte gótico en el territorio burgalés, 2006
... La pintura en el territorio burgalés en los siglos XIII y XIV: el desarrollo del estilo gótic... more ... La pintura en el territorio burgalés en los siglos XIII y XIV: el desarrollo del estilo gótico lineal. Autores: Fernando Gutiérrez Baños; Localización: El arte gótico en el territorio burgalés / coord. por Emilio Jesús Rodríguez Pajares ...
Anales de la Real Academia Matritense de …, 2005
... Exposición "Westminster Retable, England's oldest altar piece". Autores: Fernan... more ... Exposición "Westminster Retable, England's oldest altar piece". Autores: Fernando GutiérrezBaños; Localización: Anales de la Real Academia Matritense de Heráldica y Genealogía, ISSN 1133-1240, Nº. 9, 2005-2006 , págs. 377-382. Fundación Dialnet. ...
… espontáneo: eremitas y eremitorios en el …, 2011
... La imagen del ermitaño en el arte medieval hispano. Autores: Fernando GutiérrezBaños; Localiz... more ... La imagen del ermitaño en el arte medieval hispano. Autores: Fernando GutiérrezBaños; Localización: El Monacato espontáneo: eremitas y eremitorios en el mundo medieval / coord. por José Angel García de Cortázar y Ruiz ...
Boletín del Seminario de Estudios de Arte y …, 1996
... págs. 155-160. Alexander Florentiae dux: el primer duque de Florencia y el imperio. Muerte, p... more ... págs. 155-160. Alexander Florentiae dux: el primer duque de Florencia y el imperio. Muerte, política y arte. Jesús Félix Pascual Molina. págs. 161-166. ... págs. 219-224. El arte después de la modernidad: ¿final de un período artístico? Simón Marchán Fiz. págs. 225-228. ...
Medievalia, 2020
altarpieces are among the most outstanding and celebrated achievements of medieval art. They were... more altarpieces are among the most outstanding and celebrated achievements of medieval art. They were the fruits of the joint efforts, skills and ambitions of artists and patrons. often combining different media, they reflected a great deal of the faith, ideals, hopes, anxieties and devotions of christian communities. altarpieces were erected in churches of all ranks, from cathedrals and monumental abbeys down to modest country churches. over the ages, medieval altarpieces continuously grew larger and more magnificent. They became symbols of the identity and pride of communities and individuals, for whom they sometimes even became the object of emulation. altarpieces are at the core of Western art history; one only needs to think about duccio's Maestà that was erected on the high altar in siena cathedral (italy), veit stoß's high altarpiece in st Mary's church in cracow (Poland) or Gil de siloe's high altarpiece in the carthusian monastery of Miraflores, in the vicinity of burgos (spain). Given their eminent status as art works, it is hardly surprising that altarpieces have received the attention of art history since it became an academic discipline. The pioneering study by Joseph braun, Der christliche Altar in seiner geschichtli
Codex Aquilarensis 38, 2022
At the beginning of the 12th century, the man who was to become the first archbishop of Santiago ... more At the beginning of the 12th century, the man who was to become the first archbishop of Santiago de Compostela, Diego Gelmírez, equipped the high altar of his cathedral, by then under construction, with what was for sure the most ambitious altar decoration produced up to this moment for any Hispanic church. At the end of the 14th century, the archbishop of Toledo Pedro Tenorio completely renewed the decoration of the high altar of his cathedral by fabricating a monumental altarpiece that became the reference for the great wall altarpieces of the Late Gothic period. In the western kingdoms of the Iberian Peninsula, the period of two hundred and fifty years between both landmarks was one of an extraordinary flourishing of the arts of the altar, even though, unfortunately, only a limited number of remnants are preserved. The legacy of the Compostela ensemble, together with the involvement in general trends of the Medieval West, define this long period. Our purpose is offering an overview of it through available textual and material evidence.
Società Internazionale per lo Studio del Medioevo Latino, 2020
Producción CientíficaThis article explores the history and early iconography of the doctrine of t... more Producción CientíficaThis article explores the history and early iconography of the doctrine of the Immaculate Conception with particular reference to the subject as found in the thirteenth-century wall paintings of the chapel of San Martín in the Old Cathedral of Salamanca. It moves beyond this case study and looks at the theology, liturgy, iconography and changing approaches to the theme over time and space and suggests that it was a subject that worked on multiple levels and encompassed far more than has hitherto been believed. The role of the Crown of Castile during the initial stages of the development of this subject deserves special attention, as it received, adapted and created images to express both immaculist and maculist beliefs. Text is being published in two parts in two successive issues of Iconographica. The first part focuses on the history of the doctrine and its earliest representations and claims that the wall paintings in Salamanca are an outstanding example of one of the first formulas developed to express it, here called the Annunciation-type for the Meeting at the Golden Gate.Ministerio de Economía, Industria y Competitividad - FEDER (Project HAR2017-82949-P
In the 14th and 15th centuries, the choir of the convent of Poor Clares of Salamanca was decorate... more In the 14th and 15th centuries, the choir of the convent of Poor Clares of Salamanca was decorated with several cycles of wall paintings expressing the devotional interests of the nuns. In this paper, focus is set on the one depicting the story of St Sebastian, painted in the early 15th century. It is interesting because it displays a full cycle of his life, with some astonishing scenes, as for example the one concerning his death, where he is beheaded instead of beaten. In search of an explanation the cycle is compared with the ones so popular in Provence and adjoining Italy in the 15th and 16th centuries.
espanolEn 2013 el empresario Jose Varez Fisa (1928-2014) dono al Museo del Prado una seleccion de... more espanolEn 2013 el empresario Jose Varez Fisa (1928-2014) dono al Museo del Prado una seleccion de obras de su coleccion privada, correspondientes a la Edad Media y a los inicios del Renacimiento, que incluia un alfarje castellano de epoca gotica ricamente pintado. Se decia que el alfarje procedia de la demolida iglesia de Santa Marina de Valencia de Don Juan (Leon). En este articulo, un profundo analisis de las noticias sobre su origen y de sus caracteristicas estructurales nos conducira a concluir que, en realidad, es un producto del mercado anticuario, elaborado a partir de autenticas vigas pintadas de diferentes fechas y procedencias para satisfacer el interes de los coleccionistas de arte del siglo XX en este tipo de obras. EnglishIn 2013 the entrepeneur Jose Luis Varez Fisa (1928-2014) donated to the Museo del Prado several outstanding works of art dating from the Medieval and Early Renaissance periods, including a richly painted Castilian Gothic "alfarje", or flat wo...
Sarmental, 2022
Research carried out by the chapter of Zamora in 2010 in its cathedral led to the discovery of tw... more Research carried out by the chapter of Zamora in 2010 in its cathedral led to the discovery of two tombs of the early 15th century that had been walled in the 17th century. Decorated with reliefs and wall paintings, both tombs were recovered and restored in 2011-12 and are a significant addition to the corpus of Castilian sepulchral art of the Late Middle Ages. The one belonging to Lope Rodríguez de Olivares shows a relief of the Transfiguration, while the one belonging to Alfonso García shows a wall painting of the Mass of St Gregory that is the most outstanding, as it is the earliest representation of this theme recorded to this date in the Crown of Castile.
El mundo de las catedrales. Pasado, presente y futuro, 2022
RESUMEN La catedral de Burgos conserva numerosos testimonios de pintura gótica, tanto mural como ... more RESUMEN La catedral de Burgos conserva numerosos testimonios de pintura gótica, tanto mural como sobre tabla. Casi todos ellos han sido objeto de importantes estudios que han ido desentrañando las cuestiones formales, de atribución y de cronología, así como la identificación de sus escenas, pero, puesto que las obras de arte son susceptibles de ser analizadas desde múltiples puntos de vista, proponemos, en este estudio, un análisis contextual de algunos de estos testimonios, restituyéndolos, en el tiempo y en el espacio, a su entorno originario para, de esta manera, intentar comprender las motivaciones que, en su día, justificaron su creación. Nos centraremos en la capilla de San Juan Bautista (pinturas murales de su portada) y en la ya desmantelada capilla o altar de los Santos Reyes (pinturas sobre tabla de su tríptico de la Adoración de los Magos de Diego de la Cruz)
I JORNADAS ARS MEDIAEVALIS: ARTE Y CULTURA VISUAL EN LA EDAD MEDIA MURCIA, 4 Y 5 DE MAYO DE 2016 ... more I JORNADAS ARS MEDIAEVALIS: ARTE Y CULTURA VISUAL EN LA EDAD MEDIA MURCIA, 4 Y 5 DE MAYO DE 2016 Organizan: Red nacional de excelencia Ars mediaevalis Grupo de Excelencia de la Región de Murcia Estudios Visuales Grupo TEMPLA
Registration now open for those wishing to attend the international symposium on early altarpiece... more Registration now open for those wishing to attend the international symposium on early altarpieces that will take place in Valladolid eraly in June. Details, including the full programme, in the attached file.
Almost every Medieval church had one or more sculptures of saints, many of which were placed on a... more Almost every Medieval church had one or more sculptures of saints, many of which were placed on altars, in wall niches or in so-called tabernacle-altarpieces. This last category refers to three-dimensional, canopied structures, embellished with bright colours and equipped with movable wings that housed cult images of the Virgin and Child or saints. This early type of altarpiece became widespread in Europe between c.1150 and 1400. Nowadays, examples are scarce and often fragmented, overpainted and reconstructed. Most of them come from the geographical periphery of Europe and almost all of them are now without their original context, as they hang on museum walls or in churches as isolated relics. The purpose of this international symposium is to explore and discuss early tabernacle-altarpieces in different regions of Europe: their provenance, patronage, function, and role in popular piety. We invite speakers to submit proposals for 15-minute papers to be presented during the symposium. Proposals should go beyond case studies and look at such topics as the use and re-use of tabernacle-altarpieces, media involved in their creation, regional differences, etc.
In 2019 conservation in progress in the chapel of St Barbara of the Old Cathedral of Salamanca br... more In 2019 conservation in progress in the chapel of St Barbara of the Old Cathedral of Salamanca brought to light the ensemble of wall paintings that originally decorated its altar. Restored immediately, this books explores the importance of this ensemble of Gothic wall paintings dating from c. 1350-60 and comprising ten episodes of the fabulous life of this female saint, so popular in the Middle Ages and later. In accordance with the reception of the cult and legend of St Barbara in Medieval Castile, this ensemble depicts one of the oldest versions of Barbara's life, with such problematic episodes as her self-baptising (the only representation of this bizarre scene known to this date). The book is available for purchase at the cathedral of Salamanca at the prize of 25 euros.
by Revista Quintana, José Manuel B. López Vázquez, minia bravo, Joaquín García Nistal, Fernando Gutiérrez Baños, Rosario LLamas-Pacheco, Maite Mendez-Baiges, Monica Ortuzar, rosa perales-piqueres, Iñigo Sarriugarte, Natalia Tielve, Carlos Villar-Taboada, Mercedes López-Mayán, Patricia Andrés González, María Rivo Vázquez, Teresa Llácer Viel, Victoria Soto Caba, Alfredo Vigo Trasancos, and Jesus Angel Sanchez-Garcia
In this paper, presented to an international conference held in Valladolid in 1999 on the occasio... more In this paper, presented to an international conference held in Valladolid in 1999 on the occasion of the fourth centenary of the endowment to Valladolid of the title of 'city', a well-known late 13th century monumental gate, usually known as 'palacio de doña María de Molina', is discussed on the basis of textual sources and its placement with respect to the city and its successive precincts. My argument is that this gate lead from the interior of the city to the royal palaces known as ‘palacios de la Magdalena’, created by king Sancho IV (r. 1284-95), husband of María de Molina. This gate, built in the fashion of great Almohad gates, had a propagandistic and metonymic value.
The convent of Santa Clara of Toro (Zamora), founded in the mid-13th century and restored in the ... more The convent of Santa Clara of Toro (Zamora), founded in the mid-13th century and restored in the early 14th century, housed in its choir one of the richest ensembles of Medieval wall paintings ever recorded in Castile and León or even in Spain. However, these wall paintings were detached in 1962 and, after different disgusting circumstances, are now exhibited in another building of the very same city of Toro. The aim of this contribution is demonstrating how virtual rendering techniques can restore the wall paintings to its original location providing a vivid impression of its appearance by the time they were created. Essential for this is not only an accurate art historical analysis of both the building and the wall paintings, but also the use of photogrammetry to generate reliable 3D models.
This text was published in the proceedings of ARQUEOLÓGICA 2.0: 8th International Congress on Archaeology, Computer Graphics, Cultural Heritage and Innovation, held in Valencia in 2016. A more complete versión of this text is expected to appear in the next issue of VAR (Virtual Arcaheology Review)
Ver y Crear. Obradores y Mercados Pictóricos en la España Gótica es el resultado del esfuerzo del... more Ver y Crear. Obradores y Mercados Pictóricos en la España Gótica es el resultado del esfuerzo del proyecto de investigación I+D+i "La Formación del Pintor y la Práctica de la Pintura en los Reinos Hispanos" (HAR2012-32720) por hacer converger de forma multidisciplinar y poliédrica los estudios materiales, de imagen e histórico-artísticos de la obra de arte, en una visión integradora que enhebre el conocimiento de la práctica de la pintura, la formación artística y la transmisión del conocimiento, el papel de las transferencias entre artesanías o el uso, la visión y la valoración del arte gótico.
La couleur jouait un rôle important dans la mise en scène du défunt et de sa mémoire dans l’art f... more La couleur jouait un rôle important dans la mise en scène du défunt et de sa mémoire dans l’art funéraire de la fin du Moyen Âge. La tombe sculptée en pierre ou en bois était souvent peinte, mais elle pouvait aussi être réalisée à partir de matériaux choisis pour leur effet chromatique, comme le métal émaillé ou comme certaines pierres colorées. Dans certains cas, le monument funéraire en lui-même faisait partie d’un dispositif incluant des peintures murales et des tissus, en lien avec les pratiques rituelles. La permanence (ou la réactivation) des pratiques mémorielles autour d’un défunt, parfois pendant plusieurs siècles, a conduit à une restauration de la polychromie de certains monuments, adaptée au goût de l’époque. La restitution de cette dimension polychrome de l’art funéraire médiéval et son interprétation impliquent une approche interdisciplinaire. À travers les interventions d’une dizaine de chercheurs européens qui présenteront des travaux en cours, ces journées aborderont différents cas d’étude et différentes questions méthodologique.
Cette rencontre vient à la fois conclure la première phase du programme « Medieval Art Across Time » (IdEx Bordeaux), porté par Haude Morvan, et s’inscrire dans un cycle de colloques autour de l’art funéraire médiéval organisés par Giulia Rossi Vairo et Joana Ramôa Melo à Lisbonne en 2017 et 2019 (Souls of Stone. Funerary Sculpture : from Creation to Musealization ; Interventions in Memory. Modern Era Restorations of Medieval Funerary Monuments, 15th-20th centuries).