Una nueva obra atribuida a Urbano Fos (Arnes, Tarragona, c. 1615-Valencia, 1658)

Urbano Fos fue uno de los mejores representantes del Barroco valenciano. En este estudio atribuimos a su pincel un lienzo inédito de gran calidad. Se trata de una magnífica representación de San Pascual Bailón. Con nuestra investigación hemos demostrado sus filiaciones técnico-artísticas y resaltado aquellos aspectos por los que se popularizó su pintura.

La indumentaria como fuente para la didáctica de la historia: problemática y estado de la cuestión

La indumentaria es un objeto de incuestionable valor para la didáctica de la historia y de otras ciencias sociales, ya que posee todas las cualidades de la didáctica del objeto con un atractivo añadido muy vinculado a su aspecto y funcionalidad estética y a su reclamo visual; es fácil vincular períodos históricos con su indumentaria característica, puesto que nuestro imaginario cultural está lleno de películas, pinturas e incluso disfraces que proporcionan datos al respecto. Lo que resulta complicado es dilucidar qué imágenes son las más fidedignas, y esta cuestión no es otra que la relacionada con la veracidad y rigor de las fuentes de la indumentaria. El presente artículo analiza dicha problemática, además de la relacionada con la polisemia de su nomenclatura, con la necesidad de conocer su contexto estético o con la naturaleza de sus cambios y continuidades.

Les pintures murals de la basílica paleocristiana de «Es Cap des Port» (Fornells, Menorca): materials i tècniques

[cat]El present treball ofereix una revisió de les pintures murals de la basílica de «Es Cap des Port» (Fornells, Menorca), així com un estudi de caracterització arqueomètrica deIs materials i tècniques per microscòpia òptica, tant amb lupa binocular com amb microscopi petrogràfic mitjançant làmina prima, difracció de raigs X i microscòpia electrònica de rastreig. Els resultats han permès identificar els pigments emprats, així com la seva tècnica d'aplicació. Igualment, han permès caracteritzar els morters i han desvelat l' existència de dos tipus diferents de suport. Malgrat aquestes diferències en els morters, els pigments són sempre els mateixos per a tots els conjunts pictòrics caracteritzats [eng] The present paper offers a revision of the wall paintings found at the early Christian church of 'Es Cap des Port' (Fornells, Menorca). Moreover, the materials and techniques employed have been archaeometrically studied by means of optical microscopy, both with steromicroscope and petrographic microscope by thin section, X-ray diffraction and scanning electron microscopy. The results enable to identify the pigments used, as well as the techniques of application. It has also been possible to characterize the mortars, revealing the existence of two different types of support. In spite of these differences in the mortars, the pigments used are the same ones for all the studied wall paintings

Addenda a la biografia i l'obra del pintor Joan Arnau Moret (1603-1693)

The present article treats of the painter Joan Arnau Moret, catalan painter of the 17th century. Aspects treat each other as the order of the great picture preserved in the cathedral of Barcelona with the iconography The de live ry o f the ke ys of the city of Barcelona to the Immaculate, the biographical news it extracted of the process of canonization of santa Maria of Cervelló or the professional relation that Joan Arnau joined with the prince Joan Josep d’Àustria newly finished the Segadors war (The Reapers’ War). Of them the study also announces a work – the Saint Cathe rine o f Ale xandria of the chapel of Saint Catherine of the cathedral of Girona – proposes to attribute four paintings more – the paintings of the altarpiece of The Saints fo ur Martyrs of the cathedral of Girona – and thinks about the controversial paintings of the altarpiece of the Castle of Vilassar and of the monastery of Sant Joan of the Abadesses. Finally, by means of the stylistic reading of the new works, which the author considers of the best of his catalogue, one tries to demonstrate that thesources of your figurative culture and stylistic are in the painting of Madrid of the first decades of the 17th century

Reconstrucción y activación del patrimonio artístico con tecnología audiovisual. Experiencia de Taüll 1123

With the aim of preserving artistic heritage, museums have typically removed paintings and furniture from the places they were created for. Over the decades, the curators of these places have begun to request that these artistic works be returned, conscious of the significance that many of these works now have. Some institutions and museums have responded to these requests by providing copies of the original works. Although traditionally these copies were handmade, digital resources, such as audiovisual technology, are now being used. The Taüll 1123 project (Lleida, Spain) is an example of the use of these new tools for the benefit of artistic heritage and of modern visitors.

Les Històries de Tobies d'Andrea Vaccaro: de Nàpols al Museu Nacional d'Art de Catalunya

[cat] Aquest article intenta reconstruir la història de quatre pintures de l'artista napolità Andrea Vaccaro, actualment al Museu Nacional d'Art de Catalunya, i originàriament part d'una sèrie de 12 peces dedicada a les històries bíbliques de Tobies, propietat del virrei de Nàpols Pedro Antonio de Aragón. L'anàlisi de les obres i del context de la seva comissió a la llum d'estudis recents permet corregir-ne la datació i comprendre la importància de les quatre peces de Vaccaro del MNAC, en el marc de la circulació d'obres d'art entre el Regne de Nàpols i la península Ibèrica al llarg del segle XVII.

Looking beneath Dalí's paint: non-destructive canvas analysis

A new analytical method was developed to non-destructively determine pH and degree of polymerisation (DP) of cellulose in fibres in 19th 20th century painting canvases, and to identify the fibre type: cotton, linen, hemp, ramie or jute. The method is based on NIR spectroscopy and multivariate data analysis, while for calibration and validation a reference collection of 199 historical canvas samples was used. The reference collection was analysed destructively using microscopy and chemical analytical methods. Partial least squares regression was used to build quantitative methods to determine pH and DP, and linear discriminant analysis was used to determine the fibre type. To interpret the obtained chemical information, an expert assessment panel developed a categorisation system to discriminate between canvases that may not be fit to withstand excessive mechanical stress, e.g. transportation. The limiting DP for this category was found to be 600. With the new method and categorisation system, canvases of 12 Dalí paintings from the Fundació Gala-Salvador Dalí (Figueres, Spain) were non-destructively analysed for pH, DP and fibre type, and their fitness determined, which informs conservation recommendations. The study demonstrates that collection-wide canvas condition surveys can be performed efficiently and non-destructively, which could significantly improve collection management.