Sistema Regional de Información
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Tomaré la bubble vision («visión burbuja») –el paradigma acuñado por Hito Steyerl con el que alude a la globalización neoliberal– como punto de partida para trazar (desde «el hoy») una incursión en la construcción estética del ojo moderno y su pulsión escópica: paseante, viajero, burgués ocioso y, sobre todo, curioso. Un paseo por la inmersión, la curiosidad y la pulsión escópica del turismo visual decimonónico dictado por el capital. Intentaré mostrar cómo ese mundo de divertimento que florecía alrededor de los aparatos de visión suponía, ya entonces, algo más que simples cambios tecnológicos en las formas de entretenimiento de masas. Lo entenderé como una forma de adiestramiento para aprender a vivir en la lógica del capital.AbstractFrom the bubble vision –the paradigm proposed by Hito Steyerl to make reference to  neoliberal globalization– as started point I would trace (from «today») an incursion in the aesthetic construction of the modern eye and its scopic drive: walker, traveler, idle bourgeois; and, above all, curious. A walk by the immersion, curiosity and the scopic drive of nineteenth-century visual tourism promoted by capital. I aim to show how the world of entertainment that flourished around the viewing devices meant, already then, much more than just technological changes in the forms of mass entertainment. I will suggest that it was a form of training how to live in the logic of capital.  

Reseña de:  Mínguez, Víctor (dir.), El linaje del rey monje. La configuración cultural e iconográfica de la Corona aragonensis (1164-1516). Castelló de la Plana, Publicacions de la Universitat Jaume I, 2018. ISBN: 978-84-17429-12-6. 447 pp.

Schumacher, Andreas (ed.), Florenz und seine maler: Von Giotto bis Leonardo da Vinci.Munich, Himer Publishers, 2018. ISBN 978-3-7774-3064-5 (edición alemana), 384 pp.Schumacher, Andreas (ed.), Florence and its Painters: From Giotto to Leonardo da Vinci. Himer Publishers, 2018. ISBN: 978-3-7774-3062-1 (edición inglesa), 384 pp.

Con la diffusione della prospettiva lineare, l’architettura divenne uno dei principali temi di studio degli artisti rinascimentali. La necessità di rappresentare architetture credibili impose ai pittori di imparare a disegnare come gli architetti, combinando piante e alzati e applicando le regole proporzionali e morfologiche tramandate da Vitruvio. I trattati di prospettiva accolsero sistematicamente mirate istruzioni sul disegno degli edifici, così come i trattati di architettura dedicarono spazio alla rappresentazione prospettica, considerandola come una disciplina corrispondente a ciò che Vitruvio chiamava «scaenographia». A sancire lo stretto legame tra la prospettiva dei pittori e la scenografia vitruviana fu principalmente Daniele Barbaro che compose il suo celebre trattato di prospettiva come approfondimento del tema che tanto lo aveva impegnato nel suo altrettanto celebre commento a Vitruvio.AbstractWith the spread of linear perspective, architecture became one of the main disciplines studied by Renaissance artists. The need to represent credible architecture forced painters to learn how to draw like architects, combining plans and elevations and applying the proportional and morphological rules handed down by Vitruvius. The treatises of perspective systematically welcomed instructions on the design of buildings, just as the architectural treatises dedicated space to perspective representation, considering it as a discipline corresponding to what Vitruvius called «scaenographia». To establish the close link between the perspective of painters and the Vitruvian scenography was mainly Daniele Barbaro who composed his famous treatise on perspective as a deepening of the theme that had so busy him in his equally famous commentary on Vitruvius.

Dossier

Il saggio prende in considerazione due problemi vitruviano-pierfrancescani rimasti sino a oggi senza spiegazione e neppure riconosciuti come tali dai moderni esegeti del De prospectiva pingendi: la lunghezza del plinto della base attica (Libro III, propositio sexta) e la dimensione della concavità dell’abaco del capitello composito (Libro III, propositio septima).In ambedue i casi i dati numerici danno conto dell’obbligata impossibilità di Piero nell’offrire soluzioni ai passi guasti dei codici vitruviani, tutti con numerosi errori. La condizione di Piero è la stessa di Leon Battista Alberti: nessuno dei due è un filologo. Lo studio rende ragione anche delle oscillazioni dimensionali proposte da Alberti per il lato del plinto.Il saggio è occasione per «smascherare» un plagio di Luca Pacioli proprio in relazione ai due temi principali dell’intervento.AbstractThe essay takes into consideration two problems related to Vitruvius and Piero della Francesca that have remained unexplained up to now and are not even recognized as such by the modern exegetes of De prospectiva pingendi: the length of the plinth of the Attic base (Book III, propositio sexta) and the size of the concavity of the abacus of the composite capital (Book III, propositio septima). In both cases the numerical data reveal Piero’s impossibility to offer solutions to faulty passages of the Vitruvian codes, all with numerous errors. Piero’s condition is the same as Leon Battista Alberti: neither is a philologist. The study also explains the dimensional oscillations proposed by Alberti for the plinth side.The essay is an opportunity to «unmask» a plagiarism by Luca Pacioli precisely in relation to the two main themes examined here.

La Biblioteca Histórica y el Museo de Historia de Madrid atesoran el borrador autógrafo de la partitura, el manuscrito original del libreto y los figurines diseñados para el estreno en 1864 de la zarzuela Pan y Toros, compuesta por Francisco Asenjo Barbieri, una de las más célebres del repertorio musical español de mediados del siglo XIX. El presente artículo arroja datos inéditos sobre este patrimonio documental y artístico escasamente difundido, asegurando al pintor Manuel Castellano como autor de los figurines y localizando las fuentes de las que se sirvió para ambientar esta obra en la España de Carlos IV. Del mismo modo, se analizan dos diseños para el escenario del segundo acto, conservados en el libreto original de José Picón. A lo largo del artículo se trazan vínculos entre este repertorio dedicado al espectáculo y otras obras literarias y pictóricas inspiradas en ese mismo periodo histórico, demostrando cómo ese imaginario goyesco acabó siendo determinante para la configuración de la imagen nacional de España en las artes del siglo XIX.AbstractThe Historical Library and the Museum of History of Madrid hoard the score, the original libretto and the dress designs for the 1864 premiere of the zarzuela Pan y Toros composed by Francisco Asenjo Barbieri, one of the most famous pieces of the Spanish musical repertoire from mid-19th century. This article generates unpublished data on this scarcely disseminated heritage, assuring the painter Manuel Castellano as author of the dress designs and locating the sources used to set this work in the Spain of Charles IV. In the same way, two designs are analyzed for the setting of the second act preserved in the original libretto by José Picón. Throughout the article, several links are drawn between this repertoire dedicated to the show and other literary and pictorial works inspired by that same historical period, as well as demonstrating how that goyaesque imaginary became decisive for the configuration of the national image of Spain in the arts of the nineteenth century.

Partiendo de algunas perspectivas teóricas sobre la construcción social del espacio y teniendo presentes los estudios que vinculan el arte actual y ese nuevo concepto espacial, este artículo investiga las posibles articulaciones entre espacio social, arte y forma de exposición de ese arte. Con la ayuda de dos propuestas artísticas de la última edición de documenta, se reflexiona acerca de la construcción social del espacio expositivo. Documenta 14 se entiende como el resultado de unos cambios políticos y sociales más generalizados. Su propuesta expositiva sigue una tendencia que viene consolidándose los últimos años. En el presente artículo sirve como ejemplo de creación de un nuevo espacio relacional, ampliado hacia lo temporal y lo social, como medio de representación de una sociedad inclusiva en un entorno social adverso.AbstractBased on some theoretical perspectives on the social construction of space and bearing in mind the studies that link current art and this new spatial concept, this article investigates the possible articulations between social space, art and ways of exhibition of that art. With the help of two artistic proposals from the latest edition of documenta, we reflect on the social construction of the exhibition space. Documenta 14 is understood as the result of more generalized political and social changes. Its expository proposal follows a trend that has been consolidated in recent years. In this article serves as an example of creating a new relational space extended to temporal and social dimensions, as a way of representing an inclusive society in an adverse social environment.

El tratado Perspectiva Pictorum Architectorum es uno de los principales méritos que han consagrado al hermano coadjutor Andrea Pozzo (1642-1709) como el más renombrado artista de la Compañía de Jesús. A pesar de haber servido a pintores, geómetras y arquitectos del último Barroco en cuatro continentes como fuente de formación y repertorio visual, sigue siendo un texto citado mayormente de modo superficial. El presente examen de sus contenidos pretende analizar su organización y los diferentes propósitos que fundamentaron la obra, esto es: ponderar la arquitectura de la Orden y del propio Pozzo; servir de eficaz manual de taller; y, entonces como hoy en día, interesar como objeto de bibliofilia.AbstractThe treatise Perspective Pictorum Architectorum is one of the main reasons that have consecrated brother coadjutor Andrea Pozzo (1642-1709) as the most renowned artist of the Society of Jesus. Despite having served painters, geometricians and architects of four continents as a source of instruction and visual repertoire during the Late Baroque, it still remains –save honorable exceptions– as a superficially read text. Our examination of its contents analyzes how the plates were grouped to fulfill the different functions which the treatise was meant to accomplish, i.e.: praising Jesuit architecture and the one designed by Pozzo himself; being effective as a workshop manual; and, then as now, drawing attention to its character as an object of bibliophilia.