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

This paper study the mural paintings that the painter Juan Miguel Sánchez Fernández achieved in 1953 in order to decorate the inside of the chapel of Our Lady of Mount Carmel in the Sevillian neighborhood of Elcano. Starting from an analysis of technical, compositional and iconographic aspects, this paper aims to increase the knowledge of this painter’s work, to rescue this mural decoration from oblivion, which has been mentioned in previous publications, but remains practically unseen and is a significant contribution to the Sevillian pictorical panorama of the first half of the 20th century.

The present paper provides unknown information on the Romantic and Sevillian painter José María Romero biography, for example dates of birth and death and aspects related to family life and artistic career in Seville, Cádiz or Madrid are prominent among others. In addition, seven new paintings are added to his artistic catalogue. These unique pieces have been localized in the Casa Generalicia of the Franciscan Order of Rebaño de María in Cádiz.

We study in this paper the artistic renovation of the Vera Cruz Brotherhood Chapel in the disappeared Saint Francis Convent in Seville, carried out between the years 1788 and 1840, giving to know new works by several artists of the Neoclassical period.

This paper analyzes the modifications that the architect Melchor Cano made in the walls of Seville. His work is within the debate between engineers and architects in the 19th century. In the lines that follow will be studied the different approaches that supported or not the works of the architects in the fortified heritage. This is a new study on a scholar of limited production but with a high theoretical sense.

This paper summarizes the civil and professional path that Lionello Venturi (Modena, 1885-Rome, 1961) has led, for over fifty years, to more than half of the 20th century. A path that has crossed the two World Wars and that saw Venturi fighting for a radical renewal of studies on art and art criticism, especially by addressing the critical issues highlighted by the eminent purovisibility, continuing with the careful analysis of the various contemporary artistic realities and, in any case, always connecting his intense activity as a scholar to the social and political contingencies experienced.

This paper analyzes the practice of Fantastic Realism in Seville in the 1970s, as a singular entity of a way of conceiving figuration and as a reflection of a “return to painting” represented by a group of prominent representatives of this trend.

In the late Seventies and early Eigthies of the 20th century, Joaquín González Quino produced a series of works –most of them technical collographs– in which he resolved urban or semi-rural perspectives through geometrically synthetic planes connected with the help of superpositions and juxtapositions.With them, he started an alternative plan to the painting of his day. The old textures of the collographs, authentic bas-reliefs with woods fitted together and organic materials that provide complex and dense surfaces, now correspond to such a delicate treatment of the planes. These simplified and minimal planes, both in the superficial demarcation and their physical nature, become known through the established relations as a whole. This is not only determining but also an indispensable ally to keep essential reference to visual reality. This New Geometry is the work of a mature and creative artist who initiated an own and innovative line in the art of his day, as it happens with the good painting, with the true art, capable of resisting the passing of decades and the mentalities that created it, and able to show itself impetuously on the intellective sphere of the current art. This, Quino, is an unquestionable reference, an artist with personality and own point of view, who is already imitated by young artists interested in soul rising through painting.

The objective of this paper is to contribute to the studies on the relation and influences of painting in cinema. Taking painting as a reference, medium and point of exchange between the pictorial and cinematographic image, the research analyses the space as a meeting place of both disciplines, goes through the stages of relationship and conformation of the pictorial image for the cinema, passes through the trompe l’oeil as a visual deception, and leads to the dilemma between the work of the easel painter and that of his homonym in the cinema. We make use of an analytical-comparative methodology, and our main conclusion underlines the clear influence of painting on film, as an entity of meaning off-screen.

This paper studies the relationship between the Sevillian artist José Jiménez Aranda and the French capital, where he presented to the Salon of 1889 a work of unknown whereabouts. This painting, now localized, supposes the ratification of his association to the pictorial “casaconismo”.

This paper reveals a pair of paintings attributed to the artist Juan Ruiz Soriano: a Good Shepherd Child and a Divine Shepherdess. Together they conform a devotional model spread in Sevillian Baroque painting.