ISSN: 2310-2799
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546,196 artículos
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Año:
2022
ISSN:
2341-2313, 0210-2773
Torres-García, Sheila; Valverde, Teresa; Salvador-García, Celina
Universidad de Oviedo
Resumen
Engaging recesses was a Service Learning project aimed at improving social relationships among a group of secondary school students (ESO). We present such experience in students of ESO and Vocational Education and Training on Physical Activities and Animation (TAFAD) by analyzing the dimensions of socialization, friendship, usefulness, conflicts and learning. We conclude that the project has achieved its objectives: to improve ESO students’ socialization, integration and inclusion, as well as promote the integral development of TAFAD students.
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Año:
2022
ISSN:
2659-5230
Barberena, Candy
Universidad Pablo de Olavide
Resumen
The artistic legacy of the Vice Royalty period in Panama was rediscovered in the mid-twentieth century. This interest led to intensive investigations in archaeology, social-religious, and ethnographic and historic research. The historiography of Panamanian art during the Vice Royalty period, and especially the artworks created by Indigenous artisans and carpenters, remains mostly unknown. The main objective of this paper is to present new interpretative proposals in the symbolism and iconography of the baroque artworks in the Religious Colonial Art Museum located in Casco Antiguo, Old Quarters of Panama. It is important to establish the link between these artifacts and the schools or workshops in the Azuero Peninsula and the provinces of Chiriqui and Veraguas, as centers of Vice Royal artistic works, originally taught by the mendicant brotherhood orders.
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Año:
2022
ISSN:
2659-5230
Rey Ashfield, William
Universidad Pablo de Olavide
Resumen
Modern architecture in Uruguay does not arise from elite trends of modern lines and forms as it does in other Latin American countries. Already in the twenties, a commitment to the modern could be observed, consolidating between 1930 and 1940 when the Uruguayan State built almost all of its representative architecture from that experience. In Europe, this experience would be observed into the thirties with the reintroduction of classical tendencies and a certain degree of monumentalism adopted by different left and right-wing regimes and even by many liberal governments. Among these alternatives to the avant-garde experience of the first two decades, the Uruguayan government set up a small pavilion at the Universal Exhibition of 1937 in Paris, which was foreign and uncontaminated by such transformations.
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Año:
2022
ISSN:
2659-5230
Muñoz Jiménez, José Miguel
Universidad Pablo de Olavide
Resumen
Almost half a century after their execution, Pradillo’s assemblages on paper, as obvious Pop works, have caused a sensation in all exhibitions due to renewed liveliness in new technical support and the modern aesthetic. These collages from this adolescent years, now refreshed by digital technology, date back to 1977-1980, predating the effervescence of Madrid’s Movida. Therefore, it is more than admirable how, at such a young age, Pradillo was able to become a chronicler of his generation. However, I understand that these early works should still be open to exploration by critics, in search of their possible visual mechanisms. Considering all of the above as well as the simultaneity of opposing images, one can comprehend how difficult it is to read most of the collages featured in this article from a literary sense.
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Año:
2022
ISSN:
2659-5230
Roda Peña, José
Universidad Pablo de Olavide
Resumen
Based on the consultation of unpublished documentary sources, we expand the study of the image of Our Lady of Joy and its original altarpiece-tabernacle, completed in 1558 by Flemish sculptor Roque de Balduque for the first chapel built in the Home Hospital of Mercy in the Sevillian parish of San Andrés. Now located in the new Mercy church, this altarpiece was replaced by another baroque piece built by engraver Cristóbal Márquez between 1731 and 1733, and gilded in 1739 by José Moreno (who also completed the mural paintings of that chapel in the same year). He then returned to complete the Marian carving of Balduque and to polychrome the small sculptures of San José and San Isidoro made by Pedro Duque Cornejo specifically to accompany the Virgin of Joy on this altar.
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Año:
2022
ISSN:
2659-5230
García Baeza, Antonio; Martín Pradas, Antonio
Universidad Pablo de Olavide
Resumen
Within the great patrimony that the schools of the Compañía de Jesús possessed at the time of their expulsion, the most difficult to trace is the ecclesiastical patrimony, specifically movable property. This group is made up of an extensive typology that varies depending on the support and use. After the expulsion of the order from his kingdoms, Carlos III and his council planned a system of inventories of all kinds of goods, passing the paintings to the property of the Crown. In this article we are going to focus on the realm of painting, thanks to the inventory that was made of the premises of the school of San Teodomiro in Carmona in 1767. Some of them were sold, others were transferred to institutions such as the university, archbishopric and even to local parishes and convents. Finally, those of famous painters went on to swell the funds of the Royal Academies.
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Año:
2022
ISSN:
2659-5230
Viz González, Jorge
Universidad Pablo de Olavide
Resumen
After the unification of the cultural policies of the Xunta de Galicia in the last decade of the 20th century, a dichotomy was observed that oscillated between the institutional (with ambitious cultural events that were backed by generous economic funding), self-managed (born of projects ranging from creation to dissemination), and independent groups (capable of causing tension within the institutions and generating collective responsibility). To understand the synergies that fed the fabric of the cultural networks of the Galician Community, this article tries to approach this duality, clarifying the experiences and alternative projects of these communities of independent creatives, as well as the institutional projects that took place from 1990 to 2010.
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