Person:
Salvador González, José María

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First Name
José María
Last Name
Salvador González
URI
https://hdl.handle.net/20.500.14352/78449
Affiliation
Universidad Complutense de Madrid
Faculty / Institute
Geografía e Historia
Department
Historia del Arte
Area
Historia del Arte
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Now showing 1 - 3 of 3
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    The Iconographic Type of the Coronation of the Virgin in the Renaissance Italian Painting in the Light of the Medieval Theology
    (Religions, 2022) Salvador González, José María
    This article highlights the artistic and conceptual relevance of the iconographic type of the Coronation of Mary in Italy during the Late Middle Ages and Early Modernity. We have analyzed 14 Italian Renaissance paintings, aiming to discover the possible doctrinal sources that inspire them. From a conceptual perspective, we have specified that the iconography of The Coronation of the Virgin in Italy is directly inspired by the comments of some Church Fathers and medieval theologians and hymnographers. From the formal perspective, we discover that three different iconographyc types complement each other as progressively more complex variants of a similar basic structure.
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    Hortus Conclusus—A Mariological Metaphor in Some Renaissance Paintings of the Annunciation in the Light of Medieval Liturgical Hymns
    (Religions, 2022) Salvador González, José María
    This article seeks to shed light on the doctrinal meanings of the closed garden included in some Renaissance paintings of the Annunciation. To justify the iconographic interpretations that we will give of these paintings, we will base them on the analysis of many medieval liturgical hymns that poetically designate the Virgin Mary through the metaphorical expression hortus conclusus (closed garden) with which the Husband or Bridegroom requisites the Wife or Bride in the Song of Songs. We will divide our article into two parts as a strategy for analysis. First, we will analyze an extensive series of fragments of liturgical hymns that repeatedly praise Mary through this biblical metaphor. In the second part, we will examine some artistic representations of the Annunciation that, in the Italian Renaissance, depict a closed garden in the scene. From this double comparative analysis, textual and iconic, we will conclude that, in direct and essential correlation, those hymnic texts and those paintings clearly illustrate that the hortus conclusus is an eloquent symbol of the virginal divine motherhood of Mary and her perpetual virginity, as well as the excellence and fullness of her supernatural virtues and privileges.
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    The Vase in Paintings of the Annunciation, a Polyvalent Symbol of the Virgin Mary
    (Religions, 2022) Salvador González, José María
    This article tries to highlight the deep doctrinal meanings underlying the vase that is often included in artistic depictions of the Annunciation. This apparently banal everyday object has been deliberately placed there in a prominent position to symbolize the Virgin Mary in her condition as the virginal mother of God the Son, and the bearer of all virtues to the highest degree. As methodological resources to justify our iconographic interpretations of that symbol in these images, our study is based on the analysis of texts by several Church Fathers and medieval theologians, as well as numerous liturgical hymns, which for more than a millennium agreed to designate the Virgin Mary as a “vase”, “vessel”, and other types of containers. Thus, this ancient patristic, theological and hymnographic tradition legitimizes our iconographic interpretation of the “vase” included in fifteen paintings of the Annunciation produced by artists from Italy, Flanders and Spain during the 14th and 15th centuries.