Les pintures murals de Sant Martí de Puig-reig (original) (raw)
Related papers
1983
va ser trobat un cofre amb 20 quilos de monedes d'or i plata. El 1982 el Gabinet Numismatic de Catalunya féu una exposició de 475 d'aquestes monedes. En aquest article donem una mostra del que fou aquesta exposició.
Les pintures murals de Sant Climent de Talltorta
Les pintures murals de Sant Climent de Talltorta, 2021
The interior of the church of Sant Climent de Talltorta (Bolvir, La Cerdanya) preserves an extensive pictorial program from the Baroque period. The scenes represented and the striking decorative accompaniment make this ensemble declared BCIN one of the best showcases of Baroque art and culture in the Catalan Pyrenees. The paintings are an example of the use of art as a doctrinal instrument, understood here and once again as a powerful and suggestive visual bible for the literate. The sophistication of the message hidden in the elaborate iconographic program aimed at saving the human soul contrasts, however, with the artisanal tone with which it has been resolved, giving it a unique uniqueness and charm.
Los paisajes "que pintó Martí"
Editorial Feijóo, 2020
Este libro da cuenta de lo que resultó un trabajo excitante y paciente tras las huellas de más de un paisaje atribuido al Héroe Nacional José Martí. La ardua tarea llevó al autor de estas páginas a investigar en fuentes documentales y testimoniales, e incluso a perseguir los rollos de una ya desaparecida película silente en colores que databa de 1940. Las conclusiones apuntan a la existencia de dos óleos que algún día habrán de autentificarse definitivamente; uno de ellos, aún extraviado. El texto ofrece una adecuada contextualización acerca de los conocimientos martianos en torno al arte de la pintura, y cierra con el abordaje de la llamada “vocación frustrada” de José Martí, de interesante solución solidaria entre pintura y literatura.
SANT MARTÍ DE PUIGBÒ: AN ICONOGRAPHY FOR RAMON BERENGUER III? Since the 19th century Catalan scholars have considered the altar frontal from the Romanesque church of Sant Martí de Puigbò (Gombrèn, El Ripollès) to be the oldest surviving example of panel painting in Catalonia. Nevertheless, this alleged ‘antiquity’ should be discussed in the light of a new possible framework. First, its close technical, stylistic and iconographical relationship with other panel paintings from the so-called Ripoll workshop - such as the altar Canopy of Ribes or the frontal from Esquius - would suggest their artists served a common apprenticeship within the abbey of Ripoll. However, the artist responsible for the altar frontal of Puigbò seems to be less skilled, and to have been more limited in his choice of pigments. Notwithstanding this, the panel shows an awareness of other works and media in the abbey, especially the reliefs of the tomb of Ramon Berenguer III (+ 1131), with which he exchanged iconographical formulae. In this context, the altar frontal was probably given to the humble parish of Puigbò to ensure a proper decor for worship. Its hagiographical programme highlights the importance of the cult of Saint Martin as protector of Christian warriors in Catalonia and connects the work with the viscounts of Berga, who were the owners of the Castle of Puigbò at that time.
FROM SANT MARTÍ DE PUIG-REIG TO THE ALTAR OF LLUÇÀ: TWO EXTREMES IN ART C.1200 IN CATALONIA From the end of the 12th Century Catalan Painting entered a new phase, characterised by a marked Byzantine imprint. Although many scholars have argued this Byzantine influence was indirect, and suggested the intermediaries were Anglo-Norman or German miniatures, some have preferred to entertain the possibility that there were direct artistic contacts between the Eastern Mediterranean and the West as a result of the fall of Jerusalem in 1187 and the capture of Constantinople by the Crusaders in 1204. The focus of this contribution is to demonstrate the rich polarity of this phenomenon in the Catalan lands between 1196 and 1220, using the examples of the mural paintings at Sant Martí de Puig-reig (El Berguedà) and the altar frontal of Santa Maria de Lluçà (Lluçanès). These cannot be attributed to a same master – the so-called Master of Lluçà - as many scholars have argued until now, but are the work of two different artists. It is very likely that the paintings of Sant Martí de Puig-reig were made for the entombment of the Lord of the Castle of Puig-reig, the troubadour Guillem de Berguedà, who unexpectedly died in 1196. As his heirs, the Order of Knights Templar buried him in the castle chapel of Saint-Martin, and commissioned a cycle of paintings to embellish his enfeu. There is no doubt about the Crusader imprint of this cycle, which was created by an itinerant painter who had probably travelled to the Holy Land (or Cyprus) and who adapted Byzantine schemes he had encountered there for his new audience. Conversely, as Rosa Alcoy has pointed out, the altar from Lluçà (ca. 1210) is the work of two or three masters who were aware of the novelties of the Gothic style and had access to a Byzantine repertoire in the context of the art of Northern Europe. Its iconographical program, which aims to glorify the figure of the Virgin Mary, was probably inspired by the liturgical rites performed in the high altar of the church by the Augustine community of canons. Some of its depictions, such as the Coronation of the Virgin or the Virgin Mary as Wisdom, demonstrate the high level of training of the painters and their familiarity with scholastic culture in cathedral centres such as Vic.
2012
Gracies a algunes fotografies d’entre l’any 1933 i el 1935 de l’arxiu personal de Walter W. S. Cook, es confirma que el responsable de l’arrencament i venda de les pintures de la capella de Santa Caterina de la Seu d’Urgell va ser l’antiquari catala Josep Bardolet. A mes, recents analisis de laboratori d’aquestes pintures, realitzades entre el 1242 i el 1255, confirmen una tecnica pictorica fonamentalment a sec, amb una estreta capa de preparacio i amb l’aplicacio diversificada de pigments a l’aigua de calc o al tremp. Per comparacio amb altres casos europeus i del Mediterrani es tractaria d’una evolucio propia de la tecnica de la pintura medieval des de finals del segle xii que hauria de contrastar-se, en el futur, amb la llarga tradicio de pintura sobre taula a la Seu d’Urgell i tambe amb altres conjunts de pintura mural encara no analitzats.
Les peripècies de la imatge de Sant Pere Màrtir
Vicissituds diverses que van haver de suportar tant l’ermita de Sant Pere Màrtir com la imatge que en ella es venerava, i que a la fi van acabar suposant la ruïna de la primera i la posterior desaparició de la segona.