Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

Together with the collective background of the artistic practices in the so-called Silver Age, we should give the cultural policy of the Second Spanish Republic the importance it deserves. In addition, the progressive governments of this period of Spain’s history were concerned with cultural management, although due to the hastiness of their government, many of these projects remained on paper only. In these pages we are going to analyze one of the most interesting and lesser-known initiatives of this period: the failed project of the Cars and Popular Arts Museum of 1934, which in 1936 was renamed the Weapons and Tapestries Museum, which would not come to fruition either. The current project for the Royal Collections Museum is the inevitable consquence of both these ideas.

The interpretation on the meanings contained in the main chapel of Granada cathedral have usually revolved around their funerary character. Bearing in mind the Hieronymite condition of Pedro Ramiro de Alba, the Granada archbishop who commissioned the project to Diego Siloe, this article proposes an eucharistic reading of this church in order to articulate those meanings in an integrating vision, that includes both the architecture and the liturgical and decorative elements, specially the stained glass. In this context, the writings of Hernando de Talavera, Hieronymite monk and first archbishop of Granada, are revealed as an important source that has been neglected by those who studied the cathedral until now.

In his essay On the ruins of the museum, Douglas Crimp proposed the need for critics to open a forgotten chapter about the entrails of modernity. Foucault had dissected much of the knowledge and institutions of the new epistemological theatre, but one discipline had avoided his surgical procedure: art history. Conceived as a historical sequence of interrelated paradigms or as a scientific and purely taxonomic knowledge, art history functions as the discursive artifact that produces and legitimizes a new truth for images. Therefore, the text presents the synthesis of a series of hypotheses that encourage us to rethink the discipline as a modern kinswoman of disciplinary devices such as crime, mental disease or sexuality in order to integrate it into the new somatic-political regime of images and the epicenter of the new power techniques.

Antoni Clavé’s long artistic career is characterized by the use of several materials and techniques, as well as different stylistic periods. This article shows that the illustrations made for Rabelais’s Gargantua were a turning point. The sixty-one lithographs that make up the suite have influenced many subsequent works and have been a milestone in the modern illustration of artist’s books. At the same time, the literary content of this work has marked the vital and artistic evolution of Clavé.

The formal relationship which artistic historiography has always perceived between the now-lost Christ on the Cross of the Madrid Church of Gracia and the Christ of the Foresaken in Escurial has allowed us, once the Christ of Gracia was validated as the work of Luis Salvador Carmona as from the Compendium of 1775, to conclude the long series of attributions of the sculptor of Escurial. Furthermore, he can also be proposed as the author of this work, taking into consideration its documented Madrid origin. It forms a pair with an image of Our Lady of Sorrow of the same date, 1730-1732, which the artist carved together with the Crucifix when he was still employed in the workshop of his master Juan Alonso Villabrille y Ron. This early but little known stage of his career accounts for the three works mentioned.