Engravings Research Papers - Academia.edu (original) (raw)

Esta tesis concentra los resultados del análisis de las representaciones rupestres prehispánicas documentadas en el Parque Provincial Ischigualasto y su área de amortiguación, ubicado en el noreste de la provincia de San Juan. A partir de... more

Esta tesis concentra los resultados del análisis de las representaciones rupestres prehispánicas documentadas en el Parque Provincial Ischigualasto y su área de amortiguación, ubicado en el noreste de la provincia de San Juan. A partir de investigaciones previas, éstas y otras evidencias documentadas en el área fueron referidas a ocupaciones esporádicas de baja densidad correspondientes a los últimos 2000 años y, en particular, a los Períodos Agroalfarero Medio y Tardío.

This paper discusses the intended argument and conceptual backgrounds of two satirical engravings published during the Truce Conflicts in the Dutch Republic (ca. 1611-1621), with a special focus on the use of fish imagery and its... more

This paper discusses the intended argument and conceptual backgrounds of two satirical engravings published during the Truce Conflicts in the Dutch Republic (ca. 1611-1621), with a special focus on the use of fish imagery and its political implications.

Powerful categories of evidence for symbolically mediated behaviour, variously described as 'modern' or 'cognitively modern' human behaviour, are geometric or iconographic representations. After 40,000 years ago such evidence is well... more

Powerful categories of evidence for symbolically mediated behaviour, variously described as 'modern' or 'cognitively modern' human behaviour, are geometric or iconographic representations. After 40,000 years ago such evidence is well documented in much of the Old World and is widely considered as typifying 'modern human culture,' but earlier evidence is rare. In Africa, this includes two deliberately engraved ochre pieces from c. 75,000 year old levels at Blombos Cave, Western Cape, South Africa and the greater than 55,000 year old incised ostrich egg shell from the Diepkloof shelter, located in the same province. Here we report on thirteen additional pieces of incised ochre recovered from c. 75,000-100,000 year old levels at Blombos Cave. These finds, taken together with other engraved objects reported from other southern African sites, suggest that symbolic intent and tradition were present in this region at an earlier date than previously thought.

Rrsum6-Un art schrmatique grav6 par fine incision du support fait son apparition A la fin de l'Age du Fer et couvre toute la prriode historique. Le corpus iconographique est restreint en drpit de nombreuses variantes graphiques. I1 semble... more

Rrsum6-Un art schrmatique grav6 par fine incision du support fait son apparition A la fin de l'Age du Fer et couvre toute la prriode historique. Le corpus iconographique est restreint en drpit de nombreuses variantes graphiques. I1 semble qu'on puisse attester une organisation des panneaux gravrs avec des figures centrales (personnages, animaux...), des signes qui leur sont associrs (signe solriforme, zigzag...) et des signes prriphrriques ~ la composition grnrrale (pentacle, grille, traits non organisrs...). Les sites recensrs dans le sud-est de la France sont des grottes, des abris sous-roche et deux 6difices architecturaux. L'orientation au sud et la couleur rouge des parois sont deux crit~res du choix des sites naturels. Certains abris ~ gravures linraires sont des sites drjA ornrs au Nrolithique. Il semble qu'on privilrgie des lieux aux marges des terroirs agropastoraux.

Jeremias Falck (c. 1605/09–1677) is considered to be the greatest engraver of early modern times working in the Polish-Lithuanian Commonwealth. Graphical representa- tions of ower forms constitute a signi cant part of his oeuvre. So far... more

Jeremias Falck (c. 1605/09–1677) is considered to be the greatest engraver of early modern times working in the Polish-Lithuanian Commonwealth. Graphical representa- tions of ower forms constitute a signi cant part of his oeuvre. So far they have not been of special interest to researchers, therefore it is worth giving them more attention now. It seems necessary to look at the existing attributions to estimate the real number of Falck’s works on this subject, and to formally analyse various prints. It is also necessary to critically approach the questions of the original prints, later editions, and copies.
Up to date researchers have recorded selected ower representations, without referring to the information in the only catalogue raisonné of Falck’s works by Block, who attributed to him up to 98 compositions on the subject. Only by compar- ing prints from the Polish museums with various collections abroad the answer to the question how many ower arrangements were actually created by Jeremias Falck can be provided.
Falck’s authorship of the series Novae et exquisitae FLORUM ICONES has been con rmed. It is also highly likely that he elaborated most of the plates of the series Verscheyde Nieuwe TULPEN.
From the frontispiece of the series Novae et exquisitae FLORUM ICONES we can
conclude that Falck was not only the engraver, but also the author of the composition (inventor). Flowers in his works do not map a particular set of a botanical collection, but are a recommendation for an artistic representation of the plant. ey could have been a kind of a template for painters, and at the same time objects d’art for collectors. anks to their artistic qualities, perfect workmanship, and attention to the highest editorial standards, Falck’s ower engravings became desirable works in the art mar- ket, copied by other designers and reprinted by other publishers.
e analysis of the preserved prints linked to Falck can also lead to a number of general conclusions on the functioning of the market for graphic art in the 17th cen- tury. Florilegia were usually formed in series containing a few to a dozen composi- tions. Herbaria’s cards could circulate in the form of a compact collection of a few series together, but also in smaller folders or even as loose cards. e study shows that they were particularly popular in 17th-century France and the Netherlands. e increase in production, mainly of the copies of previous cycles, occurred in the 1670s and lasted until the early 18th century. Falck and Vauquer were copied by Gerard Valck, Nicolaes Visscher and many others.

Este texto revisa el desarrollo de la gráfica del artista y diseñador ruso Lazar Markovich Lissitzky, en relación a la vanguardia del grabadismo y sus antecedentes en el constructivismo y el suprematismo . Entre las aportaciones... more

Este texto revisa el desarrollo de la gráfica del artista y diseñador ruso Lazar Markovich Lissitzky, en relación a la vanguardia del grabadismo y sus antecedentes en el constructivismo y el suprematismo . Entre las aportaciones discutidas destacan el rechazo a la figuración a favor de la geometrización, la transición a la fotolitografía y las experimentaciones tipográficas durante la época de la "faktura".

L a stele di Cevo e il frammento Furloni sono gli ultimi rinvenimenti, fuori contesto primario, di massi istoriati calcolitici nel quadro camuno-tellino: la prima proveniente da un'area sinora insospettata, la Valsaviore, ben oltre i... more

L a stele di Cevo e il frammento Furloni sono gli ultimi rinvenimenti, fuori contesto primario, di massi istoriati calcolitici nel quadro camuno-tellino: la prima proveniente da un'area sinora insospettata, la Valsaviore, ben oltre i margini settentrionali dell'areale camuno sinora appurato per tali manifestazioni, la seconda, all'opposto, dalla zona con la massima concentrazione alpina in merito, l'altopiano di Ossimo-Borno. I due pezzi, di cui solo congetturalmente possiamo comprendere l'ambito di provenienza, testimoniano ulteriormente lo straordinario sviluppo della manifestazione calcolitica su roccia nella media Valcamonica: considerando i siti Foppe di Nadro roccia 30 e Plas ed anche le recenti scoperte su affioramento di Boscatelle di Nadro (roccia 8, con armi del Rame 2 in disposizione ordinata, topografici ed oranti), quelle precedenti dei supponibili siti con di poter affermare che una miriade di siti cerimoniali del III millennio sorgessero sia al fianco che in relativa vicinanza alle coeve espressioni su roccia affiorante. Escludendo il frammento Furloni, l'intera serie dei recenti rinvenimenti è sul medio versante orientale della Valle, in quel vasto tratto di media costa che ospita la quasi totalità delle espressioni su affioramento del IV e del III millennio, sinora considerate alquanto sganciate dal fenomeno dei siti cerimoniali. Se è pur vero che il maggiore sito individuato è a Pian delle Greppe, esso è al momento l'unico del medio versante occidentale, ma in buona misura spazialmente vicino alle aree di Seradina (con topografici e pugnali del Rame 2), sia alle contigue più alte (con topografici del IV-III millennio), sia, al di là dell'Oglio, ai bordi della macroarea orientale. Una polarizzazione rituale deve aver presieduto alle due manifestazioni, in cui ora sono meglio visibili relazione e ruoli simbolici.

Темчин С.Ю., Тау-крест в треугольнике на гравюрном портрете Франциска Скорины, in Груша А.І. (ред.), Францыск Скарына: асоба, дзейнасць, спадчына, Мінск, 2017, с. 146‒153.

Los integrantes del grupo llamado Artistas del Pueblo, formados dentro de la cultura obrera, accionaron directamente sobre la estructura del campo artístico local, buscando una función social del arte en la sociedad moderna. El quehacer... more

Los integrantes del grupo llamado Artistas del Pueblo, formados dentro de la cultura obrera, accionaron directamente sobre la estructura del campo artístico local, buscando una función social del arte en la sociedad moderna. El quehacer artístico era un compromiso con la realidad cotidiana de los trabajadores que habitaban los suburbios y los barrios obreros de la ciudad; ellos eran, a su vez, el tema y el destinatario de las obras. La ciudad entendida como metáfora y escenario de la lucha obrera, el arrabal y su gente vistos con un sentido socialmente revolucionario, contrastaba con la pintura ?oficial? de los Salones, y con aquella de los grupos de vanguardia. Dinamizaron así las visiones de la ciudad y tensionaron los programas artísticos en pugna en ese momento. Dentro de su programa estético-ideológico, la utilización casi exclusiva del grabado como técnica y la participación en numerosas publicaciones periódicas, les permitió una mayor y más fácil difusión de sus obras. Las connotaciones políticas y sociales de estas producciones han sido estudiadas por diversos autores, sin embargo el análisis del papel de la ciudad como actor fundamental no ha sido abordado. La fábrica, el puerto, el bar y la calle dejan de ser un mero escenario y se convierten en lecturas no sólo de la vida del trabajador, sino de los márgenes de una ciudad en pleno proceso de modernización. Se estudiarán también los espacios de circulación de esas imágenes, analizando su penetración en los espacios institucionales legitimados y en el imaginario urbano.

O estudo da cópia de modelos europeus na pintura colonial brasileira foi iniciado na década de 1940 por pesquisadores que colaboravam com o Serviço do Patrimônio Histórico e Artístico Nacional (SPHAN). No hiato entre a década de 1940 e a... more

O estudo da cópia de modelos europeus na pintura colonial brasileira foi iniciado na década de 1940 por pesquisadores que colaboravam com o Serviço do Patrimônio Histórico e Artístico Nacional (SPHAN). No hiato entre a década de 1940 e a contemporaneidade, percebemos que o assunto não foi muito explorado pela historiografia da arte brasileira. Atualmente, motivado pelos programas de pós-graduação, um renovado interesse recaiu sobre o tema, gerando uma eclosão de novas pesquisas e abordagens. O artigo em questão faz um panorama das abordagens historiográficas no que diz respeito ao estudo da cópia de modelos europeus na pintura colonial brasileira, define o estado da questão e aborda novas perspectivas de pesquisa.

ერთ-ერთი საინტერესო წყარო, რომელიც თბილისის XVII-XVIII საუკუნეების წარმოდგენაში გვეხმარება - XVII საუკუნის ცნობილი ფრანგი მოგზაურის, ჟან შარდენის გრავიურაა, რომელიც მან „სპარსეთისა და სხვა აღმ. ქვეყნების მოგზაურობაში“ დააფიქსირა. იგი... more

ერთ-ერთი საინტერესო წყარო, რომელიც თბილისის XVII-XVIII საუკუნეების წარმოდგენაში გვეხმარება - XVII საუკუნის ცნობილი ფრანგი მოგზაურის, ჟან შარდენის გრავიურაა, რომელიც მან „სპარსეთისა და სხვა აღმ. ქვეყნების მოგზაურობაში“ დააფიქსირა. იგი აღწერს თბილისს, როგორც
ერთ-ერთ ყველაზე ლამაზ ქალაქად.
ასევე XVIII საუკუნის დასაწყისში, თბილისში ცნობილი ფრანგი ბოტანიკოსი - ჟოზეფ ტურნეფორი მოგზაურობდა, რომელმაც დაგვიტოვა ქალაქის კიდევ ერთი ისტორიული წყარო.

Si on connaît assez bien les sentiments des Français du xviii e siècle sur la production des peintres italiens de leur temps grâce aux écrits artistiques, aux guides de voyages et aux collections de tableaux, on ne s'est pas interrogé sur... more

Si on connaît assez bien les sentiments des Français du xviii e siècle sur la production des peintres italiens de leur temps grâce aux écrits artistiques, aux guides de voyages et aux collections de tableaux, on ne s'est pas interrogé sur l'utilisation de la gravure par les Français dans la diffusion de cette production. Quels sont les artistes italiens du xviii e siècle dont les graveurs français, amateurs et profession-nels, ont retranscrit les oeuvres ? Pour qui et pourquoi les ont-ils interprétées ? Quelle vision ou quelle connaissance de l'art italien du Settecento ressortent de cette production et que révèle-elle du goût des amateurs pour les créations ultra-montaines ? Telles sont les questions abordées dans cette étude. Le corpus comprend 472 gravures d'après 81 artistes 1 , dont 33 ne sont représentés que par une pièce, 13 par deux, 20 par trois à huit gravures et 14 par neuf ou plus. La disparité est considérable. On compte 9 gravures d'après Amigoni, 11 d'après Creti (11), et pour S. Ricci 12, Cignani 13, Zuccarelli 14, Tiepolo 18, Marco Ricci 20, Cipriani 27, Rosalba 23, Giordano 37, Pannini 30, Solimena 37, Maratti 63. Parmi eux, deux artistes du xvii e siècle : Maratti et Luca Giordano ; exclure le premier obligerait à supprimer le second, mais l'interprétation de son oeuvre par les Français commence au xviii e siècle, et c'est avec lui que prend naissance l'école napolitaine du xviii e siècle dont les amateurs furent si friands. Les inclure permet de juger de l'importance de la réception des oeuvres du xvii e et du xviii e siècle, puisqu'à eux deux Maratti et Giordano totalisent 100 gravures. Amputé de leurs créations, ce corpus ne monte plus qu'à 372 estampes, exécutées par des Français travaillant en Italie, en France et en Angleterre.

The paper covers the research conducted in 2018 to identify the provenance of an early-nineteenth-century engraving of The Sistine Madonna after Raphael, which has been part of the collection of the Maymont Mansion Museum since its... more

The paper covers the research conducted in 2018 to identify the provenance of an early-nineteenth-century engraving of The Sistine Madonna after Raphael, which has been part of the collection of the Maymont Mansion Museum since its foundation. The engraving, of exceptional clarity and crispness, is a proof made "before any letters," i.e., before any inscriptions, dedications, or other identifying marks. The research led to its identification as an “Avanti Lettera” of the famous Madonna di San Sisto by Johann Friedrich Wilhelm Müller.
Maymont is a late-Victorian estate in Richmond, Virginia, considered a nationally important treasure house and a distinct testimonial of the Gilded Age. The eclectic collection at The Maymont Mansion Museum comprises a great variety of different styles and epochs and many treasures, including tapestries, fine European and Asian porcelain, oriental rugs, Tiffany & Co. treasures, paintings, and other works of art. Marian themes, mainly through reproductions of famous paintings, represent a particular tract of the collection itself.
Alongside researching the provenance of the Müller engraving, the paper focuses on the "why" such a print became part of the Maymont collection. Ample sections are dedicated to the fortune of Johann Friedrich Wilhelm Müller's work and to the influence of Marian imagery to taste and collecting in America in the second half of the nineteenth century.

Descripción completa del entorno geográfico y vegetal de este importante enclave cultural de la Sierra de Albarracín. Se da especial importancia a la descripción de los diferentes conjuntos de pinturas y grabados rupestres que se... more

Descripción completa del entorno geográfico y vegetal de este importante enclave cultural de la Sierra de Albarracín. Se da especial importancia a la descripción de los diferentes conjuntos de pinturas y grabados rupestres que se localizan en el Parque Cultural, su tipología, cronología y significación.
Complete description of the plant and geographic environment of this important cultural site of Sierra de Albarracín. Special importance is attached to the description of the different sets of rock paintings and engravings that are located in the Cultural Park, its typology, chronology and significance.

This thesis aims to reframe the way art historians think about early Florentine engravings from around 1460 to 1485, especially the devotional print. Although some scholars have considered engravings within cultural histories of Florence,... more

This thesis aims to reframe the way art historians think about early Florentine engravings from around 1460 to 1485, especially the devotional print. Although some scholars have considered engravings within cultural histories of Florence, on the whole the prints havebeen viewed through the lens of connoisseurship. Most of this scholarship has focused on secular and semi-religious prints; even less attention has been granted to those with religious subjects. This dissertation readdresses these engravings by examining them from severalhistorical perspectives: workshop organisation, artistic practice, trade, the compiling of manuscripts and devotional practices. As a result, it highlights the inventiveness of the early Florentine engravers and shows how they transformed the way people could view images, particularly in the veneration of saints, meditation on Christ and the Virgin and contemplationof God

La continuidad de los hallazgos de arte rupestre que vienen realizándose en Aragón, ha sido posible gracias al Inventario de Arte Rupestre de Aragón –I.A.R.A.-, dependiente de la Dirección General de Patrimonio Cultural del Gobierno de... more

La continuidad de los hallazgos de arte rupestre que vienen realizándose en Aragón, ha sido posible gracias al Inventario de Arte Rupestre de Aragón –I.A.R.A.-, dependiente de la Dirección General de Patrimonio Cultural del Gobierno de Aragón. El trabajo de documentación y protección de estos conjuntos, ha sido complementado con el estudio y publicación de algunos enclaves que han permitido que Aragón sea hoy un referente nacional e internacional en el conocimiento de los grabados prehistóricos y protohistóricos, como Masada de Ligros, Arroyo del Horcajo, Valmayor I, Cueva de Lasque, Pozos Bolletes, Peñalba, Puntal del Tío Garrillas II, o Barranco Cardoso. Frente a las clasificaciones clásicas
o simplistas de «grabados del Bronce» o «grabados de pastores» que durante muchos años se les han asignado, los catálogos tipológicos e iconográficos publicados, nos ofrecen hoy en día un panorama mucho más claro de este tipo de manifestaciones, consideradas como representaciones gráficas de menor entidad. En este trabajo presentamos nuevos conjuntos grabados, repartidos entre las provincias de Zaragoza y norte de Teruel, con una cronología entre el final de la Prehistoria Reciente y la Protohistoria. Los yacimientos se localizan en los municipios
zaragozanos de Mequinenza (Vall Perera I y III, Vallbufandes VIII), Maella (Sta. Barbara), Lumpiaque (Chilos II), o Luna (Valfría I-IV) y en los turolenses de Valacloche (Las Cañadillas I-X), Samper de Calanda (El Montecico I-II), La Puebla de Hijar (La Sombrerera) y Castejón de Tornos (Bco. de Salcegatillo), sumando un total de 22 rocas o paneles grabados.
Se da una visión general de estos conjuntos, de su ubicación geográfica y de su contexto iconográfico y arqueológico, así como sus técnicas de factura que, comparados con otros conjuntos bien contextualizados en áreas cercanas del valle medio del Ebro, pueden contribuir a completar el panorama del arte rupestre prehistórico y protohistórico, tanto en áreas
del Bajo Aragón, como del valle medio del Ebro, de las Cinco Villas o de las serranías ibéricas.

Il Mezzogiorno ha costituito, rispetto all'espandersi dell'Islam, il piú tormentato confine tra due mondi, l'avamposto d'Europa, un argine a difesa della civiltà occidentale. E tuttavia le popolazioni meridionali, finite ai margini... more

Il Mezzogiorno ha costituito, rispetto all'espandersi dell'Islam, il piú tormentato confine tra due mondi, l'avamposto d'Europa, un argine a difesa della civiltà occidentale. E tuttavia le popolazioni meridionali, finite ai margini dell'orbita spagnola, furono disarmate dal governo centrale, che della nobiltà di spada non poteva fidarsi, avendone sperimentato l'indipendenza. Infatti la sanguinosa rivoluzione che scoppiò a Napoli nel 1547 contro la violenta autocrazia del viceré Pedro de Toledo indusse la corte spagnola ad adottare verso i benestanti una mediazione politica fondata sull'incremento del debito pubblico, la cui amministrazione e tutela fu affidata alle magistrature di toga e ai Seggi nobiliari di Napoli. Ne nacque un modello di sviluppo 'coloniale', che esaltò la burocrazia, mortificando, con la gente d'armi, la tecnologia, la difesa dei mercati e lo spirito imprenditoriale. Inoltre impedí che si superasse l'ambigua conciliazione medievale tra formalismo idealistico assoluto e dominio pratico dell'egoismo e del cinismo.

Capítulo 6 de mi tesis doctoral defendida el 14 de Noviembre de 2018 en la Universidad de Granada.

En este trabajo se aborda el estudio de una serie de representaciones grabadas al aire libre, de temática ecuestre, repartidas por la Península Ibérica, fechadas a partir del siglo V a. C. y coincidentes con el ascenso de las élites... more

En este trabajo se aborda el estudio de una serie de representaciones grabadas al aire libre, de temática ecuestre, repartidas por la Península Ibérica, fechadas a partir del siglo V a. C. y coincidentes con el ascenso de las élites ecuestres en las culturas prerromanas. Se estudian también los principales paralelos iconográficos con la cultura mueble y el contexto arqueológico de dichos grabados rupestres.
This work deals with the study of a series of engravings outdoor, equestrian-themed, throughout the Iberian Peninsula, dated from the 5th century BC and coincide with the rise of the equestrian elite in pre-Roman cultures. Also explores the main iconographic parallels with furniture culture and the archaeological context of these engravings.

Estudio sobre los grabados con representaciones ecuestres del Puntal del Tío Garrillas y su relación con otras representaciones ecuestres en la Península Ibérica que permitien definir con seguridad la existencia de un arte rupestre... more

Estudio sobre los grabados con representaciones ecuestres del Puntal del Tío Garrillas y su relación con otras representaciones ecuestres en la Península Ibérica que permitien definir con seguridad la existencia de un arte rupestre fechado en la Edad del Hierro repartido por toda la Península Ibérica.
Study on the engravings with equestrian depictions of the strut of the uncle Garrillas and its relationship with other equestrian performances in the Iberian Peninsula to workbooks set safely the existence of a dated rock art in the age of the iron distributed throughout the Iberian Peninsula.

Journal of Modern History, 94 (2022)

This paper aims to analyse the construction of the “Spanish Fury” image in engravings during the Eighty Years War. In the focus of this research are engravings by Frans Hogenberg published in 1572–1576 and depicting “the bloodbaths” in... more

This paper aims to analyse the construction of the “Spanish Fury” image in engravings during the Eighty Years War. In the focus of this research are engravings by Frans Hogenberg published in 1572–1576 and depicting “the bloodbaths” in Naarden, Zutphen as well as the capture and looting of Antwerp later named “the Spanish Fury.” They were used to illustrate two co-existing phenomena: constructing of the image of “the Spanish Fury” by Hogenberg himself and copying as well as borrowing of certain elements from his engravings in other ones (published to illustrate “the History of Spanish Tyranny in the Netherlands” and tractate “Origin, Beginning, and Continuation of the Dutch Wars” by Pieter Bor). Current research has detected two key topics addressed by this series: the city on fire and the tortures committed by Spanish soldiers (“the tyranny”). The city was considered to be the symbol of the prosperity of the Nether-lands that gave a huge potential to contrasting it with its antitype — the razed and looted ruins. The second topic is related with the outrageous scale of atrocities committed by “the godless” (Ger. “gottlosen”) Spaniards associating them with the established perception of the Spanish Inquisition introduced in the Netherlands in the 1520s by Charles V.It is evident that Hogenberg had been consciously constructing his war images. They underwent numerous further constructions and deconstruc-tions serving the needs of the audience and authors, and have become an essential tool of the anti-Spanish propaganda of the Seventeenth century United Provinces.

Remnants of materials used during the engraving process of eight hard microquartz gemstones from the Eastern Roman Empire were investigated. This random case study reveals that engravings were made by a rotational lathe of bronze and iron... more

Remnants of materials used during the engraving process of eight hard microquartz gemstones from the Eastern Roman Empire were investigated. This random case study reveals that engravings were made by a rotational lathe of bronze and iron drill-wheels using abrasive materials. Found in the engraved grooves were grains of the tin, lead and barite lubricant agents that held the abrasives facilitating the engraving and polishing process. Iron-oxide was used for painting the gemstones dark colours by bonding with bone glue in a heat process. Calcium carbonate was used in whitening carnelian by controlled heat treatment. Substantial silver and gold particles were observed within the grooves indicating their decoration purposes, by emphasizing the engraved motif.

The sites mentioned in this paper come from the Gafsa region, more particularly, from the Métlaoui mountain chain orientated East-West, which extends from centralsouthern Tunisia as far as Négrine in Algeria. This chain, 900m average... more

The sites mentioned in this paper come from the Gafsa
region, more particularly, from the Métlaoui mountain
chain orientated East-West, which extends from centralsouthern
Tunisia as far as Négrine in Algeria. This chain,
900m average altitude, contains, in the Alima-Negueb-
Bliji part, an interesting group of Tazina-style engravings
(stricto sensu) across two sites: Douken Jefara and Jebel
Negueb

Advances in methods of dating Cave Art are allowing us to deepen every time more on the knowledge and possible authorship of the first graphic manifestations of the Upper Paleolithic. In this article, we want to join the tribute to our... more

Advances in methods of dating Cave Art are allowing us to deepen every time more on the knowledge and possible authorship of the first graphic manifestations of the Upper Paleolithic. In this article, we want to join the tribute to our friend Vicente Baldellou, we go back to the study of the main panel of paleolithic engravings which we documented in 2012 in the Segoviana cave of La Zarzamora, within the framework of a research project cofinanced by the Board of Castilla y Leon and under the scientific direction of Nohemí Sala, Milagros Algaba and Juan Luis Arsuaga.

Estudio de un abrigo con grabados rupestres asociados a la necrópolis celtibérica de Arcóbriga (Monreal de Ariza, Zaragoza) y que se ha interpretado como un pequeño santuario, posiblemente de uso funerario, fechado entre los siglos IV y... more

Estudio de un abrigo con grabados rupestres asociados a la necrópolis celtibérica de Arcóbriga (Monreal de Ariza, Zaragoza) y que se ha interpretado como un pequeño santuario, posiblemente de uso funerario, fechado entre los siglos IV y II a. C.
Study of a shelter with rock engravings associated with the celtiberian necropolis of Arcobriga (Monreal de Ariza, Zaragoza) and that has been interpreted as a small shrine, possibly use funeral, dated between the IV and II centuries b.c.

The consideration of Mary as Our Lady Queen of All Creation becomes one of the mainstays of the discourse put forward by the hurch to defend the Virgin from the very first centuries, so, despite its late main definition –the encyclical Ad... more

The consideration of Mary as Our Lady Queen of All Creation becomes one of the mainstays of the discourse put forward by the hurch to defend the Virgin from the very first centuries, so, despite its late main definition –the encyclical Ad caeli Reginam (1954)–, the recognition of her royal dignity can be traced throughout the Patristics. Not in vain, the acknowledgement of her royalty is a direct consequence of some of her prerogatives and virtues –basically, her Divine Motherhood, Co-redemption and Humility– and, at the same time, it is the cause of her control and superiority over all creatures, justifying, therefore, the mediation she undertakes in favour of mankind. In this article we analyse how all this theological background underlies symbols and emblems that, conceived within the marian counter-reformist apologia, whether individually or taking part in other figurative scenes, declare suitable for the Virgin the title of Our Lady Queen.