SARMENTAL. Estudios de Historia del Arte y Patrimonio

Portada, créditos, evaluadores e índice

2024-11-29T10:50:43+01:00

La imagen y su contexto cultural. La iconografía medieval. LAHOZ GUTIÉRREZ, LUCÍA Madrid, Síntesis, 2022 ISBN: 978-84-1357-224-6.

2024-07-08T18:37:46+02:00

Mujer y retrato en la Edad Moderna. Usos, funciones y formas de exhibición

2024-09-27T14:15:39+02:00

Emulación cortesana y devoción en la promoción artística de María de Lazcano (1593-1664) en Guipúzcoa

2024-08-30T23:14:30+02:00

El dibujo en el proceso creativo de las artes. Trazas y diseños navarros, 1500-1800. Ricardo Fernández Gracia (dir. y ed.)

2024-08-15T21:36:51+02:00

Fernando González de Lara (1724-1806): in a plural time

2024-12-05T08:14:28+01:00

El escultor Juan de Montejo y la Abadía de Medina

2024-09-30T23:56:10+02:00

Crónica de la exposición Vicente Lampérez (1861-1923). Un arquitecto para Burgos

2024-09-04T17:58:02+02:00

The Seal of the collegiate Church of Saint Mary del Manzano in Castrojeriz. A representation of the original church’s main sculpture?

2024-12-05T08:14:46+01:00

This paper presents the unpublished matrix of the seal of the collegiate church of Santa María del Manzano in Castrojeriz, preserved in the Museum of Burgos. It is one of the few medieval Castilian ecclesiastical seal matrices that have survived to the present day. It shows a representation of the seated Virgin, possibly a reproduction of the original main sculpture of the collegiate church.

A proposal to the Flemish sculptor Gil de Ronza: an alabaster relief from the Museum of Avila

2024-12-05T08:14:48+01:00

This article attributes a small alabaster relief, now in the Museum of Ávila, to the Flemish sculptor Gil de Ronza, dating it to the early 16th century, when the artist was travelling from Toledo to Zamora. In this way, the origin of its commission, linked for some years to the Dios Padre hospital, is also reconsidered. The stylistic study and its relationship with other works from Zamora leaves no doubt as to its authorship, allowing us to dispel its condition as an anonymous work, imported, or linked to Vasco de la Zarza circle.

Appreciations on the lost sculpture of Our Lady of Candelaria, Canary Islands. New chronological cataloging and its assimilation with the Spanish Renaissance (ca. 1520)

2024-12-05T08:14:52+01:00

This studio inspects the canarian Virgen de Candelaria sculpture, lost in 1826, in depth from descriptions, portraits and truthful effigies. A new cataloguing for the sculpture is proposed. Until now, through the analysis of its formal elements and the revision of the existing documentation that attributes it to a Renaissance work from the Hispanic area, it had been catalogued in the mid-15th century. It is also searched to comprehend its original volumetric configuration based on several stylistic coincidences with the Spanish Renaissance around 1520

The Parish Sacristies of the Salado Valley. The Unique Iconographic and Iconological Program of the Paintings in the Sacristy of La Magdalena (Santamera, Guadalajara)

2024-12-05T08:14:59+01:00

The development of auxiliary spaces in the churches of the Salado region, bishopric of Sigüenza, appears at first glance to follow the model of the sacristy established in Trent. However, a preliminary examination of their types and the analysis of the iconography of the mural paintings of La Magdalena in Santamera (Guadalajara), shows that some sacristies, beyond being spaces for safeguarding sacred vestments, were conceived by ecclesiastical institutions as places for indoctrination and evidence of the distrust they should have towards new Christians.

An unpublished "Cristo de Burgos" by Mateo Cerezo “el Viejo” in Salamanca. Historical-artistic approach and restoration

2024-12-05T08:14:44+01:00

The ‘Christ of Burgos’ by Mateo Cerezo the Elder, now in a private collection in Salamanca, was until its recent restoration hidden in the artist's catalogue. This work is signed by the painter, who perhaps made it, if the graphite inscription on the stretcher is autograph, in Burgos, touched from the original, in January 1673

Biography and artistic career of the architect Miguel de Abaría (ca. 1610-1681):

2024-12-05T08:14:39+01:00

Miguel de Abaría was a prolific Guipuzcoan architect and stonemason from Beasain. His activity is known in the central decades of the 17th century in numerous religious projects and a few civil. His career shows his mastery of the Gothic stonework and the postulates of Classicism, to which added elements of the Decorative baroque in his latest artworks. In this article we intend to examine what is already known with new documentary information about his personal and professional career.

The porcelain from the Royal Moncloa Factory

2024-12-05T08:15:01+01:00

The text makes a state of question of the studies carried out on the Real Fábrica de la Moncloa and creates a corpus of pieces in the collection of them that in the Museo Arqueológico Nacional, Madrid, and other pieces scattered throughout different collections, both public and private.

The configuration of a new heritage. The wall as a canvas in the rural murals by the artists Sojo and Brea from Extremadura (Spain)

2024-12-05T08:14:54+01:00

The aesthetics of ‘Street Art’ as a heritage associated with a predominantly rural environment in the Spanish region of Extremadura is analysed. Several aspects are chosen for this purpose: two local artists, responsible for a large part of the contemporary murals in the area; the use of canvas as a leit-motiv on a wall and, finally, the aesthetic evolution of the two creators. We discover how, even as ephemeral art, the canvas is associated with the anthropological practice of rural women and is claimed as a political stance in the face of the so-called ‘empty Spain’.

Virtual reconstruction of a low-empire roman arca ferrata by means of 3D animation techniques

2024-12-05T08:14:41+01:00

This work presents a first approximation to the virtual reconstruction of a late Roman arca ferrata located at the archaeological site of Molino de Arriba (Buniel, Burgos). The poor state of preservation of the metallic remains of this object has led to an extensive discussion of its original appearance and dimensions. The reconstruction has been carried out using 3D modelling software with the aim of generating an explanatory vídeo for the Museum of Burgos about this unique object and, in the future, to integrate it into Virtual Reality interactive experiences.