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

From the abundant list of active foreigners artists in Spain between mid eighteen century and the first decades of nineteen century excels, in the field of Western Andalusia, the French Miguel Verdiguier (1706-1796), sculptor, great master of the baroque of Italian orientation who founded in 1753 the Painting and Sculpture Academy of Marseilles. Years later he appears in Cordova, working for his cathedral chapter and works of the bishopric, with orders in some localities of the province, Luque case, for whose church of the Jesus Nazareno´s Hospital designed in 1776 the altarpiece that presides over its main altar. The documentation consulted in the Hospital´s patronal archive confirms the authorship and other pieces of date in reference to his work.

The Camarín of Our Lady of the Rosary (1727-1773), which is considered the most outstanding work of its kind of the Spanish Baroque, was conceived from its origins for a symbolic purpose: that of being a small celestial palace. A project with worldly connotations, which follows the palace and court designs of the epoch, but also with elements that clearly convert this camarín into a piece of heaven on earth. Besides these symbolic evocations, it was also equipped with a powerful iconography that focuses on the interaction between good and evil and on the exaltation of the Virgin Mary. Such iconography was developed by the best Granada artists of the second half of the eighteenth century, resulting in an exceptional collection with great thematic unity.

This study examines an exceptional sculpture made toward the end of the XVIII century found in the mining town of Zacatecas, Mexico. The life-size sculpture in question is in reality a liturgical puppet, or rather a marionette, of Jesus Christ that dramatically performs during Holy Week. The image is here studied within the larger context of medieval puppets, the Church’s liturgy, and modern psycho-social theories. The sculpture appears to continue a pre-Columbian attitude towards puppets as ixiptla or actor-impersonators. The novelty of the research is the discovery of the mechanism for making this actor “perform” during one of the most dramatic moments of the Passion.

The main chapel and the sacristy of the church of La Merced de Baza, remarkable works of the conventual architecture of south-east Spain, follow the most usual solution in the stonework constructions of the XVI century in the north of the Kingdom of Granada, a synthesis between modern and ancient, a symbiosis between Renaissance architecture and the last throes of the Gothic. These buildings tell us about the importance of the architectural production of the five hundred in the granadian highlands and the prominent role of Rodrigo de Gibaja, and other stonemasons, at the Andalusian level.

   

  

   

At a time when art galleries in Spain were adapting to new times, Enrique Romero de Torres was a turning point with regard to the modernisation of the Museo de Bellas Artes of Córdoba .In Córdoba, such renovation included both improvements of the museum as well as the increase of the collection with the acquisition of works from the newest artistic trends, which allowed the creation of the Section of Modern Art in the early 20th century. Afterwards the museum reached an impasse that was resolved in 1981 with the appointment of new director, Fuensanta García de la Torre. She carried out valuable work regarding the expansion and acquisition of contemporary art pieces. Moreover, she organised exhibitions, workshops and activities involving both local artists and those with a close relation to the city of Córdoba.

The MOBAT is one of the most significant cultural spaces in Chile, due to the history that surrounds its emblematic building as well as the quantity and quality of artistic works and historical pieces that it treasures. However, since the 2010 earthquake, it remains closed to the public and awaiting restoration and rehabilitation. In this work we complete other previously published studies on the collection of European painting that the museum houses within its walls.

Los bosques secos interandino Shumaya, Huancabamba han sido considerados como áreasprioritarias para la conservación de la biodiversidad. Se estudió las aves entre lascoordenadas 5° 22' S, 79° 22' W y 5° 31' S, 79° 24' W y entre los 1600 y 2 200m.s.n.m. en el río Huancabamba, provincia de Huancabamba - departamento Piura,mediante el método de listas de Mackinnon. El área de estudios se dividió en cuatro tipos dezonas. En ellos, se registró la riqueza y su frecuencia relativa. Se calculó la eficiencia delestudio empleando la curva de acumulación de especies con el modelo de Clench. Se aplicóel índice de similitud de Sorensen. Se registraron 81 especies de aves pertenecientes a 27familias y 11 órdenes. La familia con mayor riqueza fue Thraupidae (15 especies). Seregistraron tres especies endémicas de Perú, siete de Rango Restringido, dos en estado de amenaza Vulnerable y una especie Euphonia saturata 170 km fuera de su rango dedistribución conocido. La especie más frecuente fue Leucippus taczanowskii (52,5%).Además, el 33,33% (27) de las especies fueron de amplio rango, y 09 estuvieron restringidasa un único tipo de zona. La curva de acumulación fue asintótica, hallándose el 92,94% de laavifauna potencial del área de estudios. Se concluye que los bosques secos de la cuenca delrío Huancabamba, entre los 1 600 y 2 200 m.s.n.m. es un área de mezcla entre la avifauna delos bosques secos tumbesino y los bosques secos del Valle del Marañón. Las zonas quepresentaron mayor similitud fueron BSD y BSR, seguido de BSD y MCP.Palabras clave: valle del Marañón, endemismo, bosque seco ecuatorial, relicto