Materialidad pictórica, estudio y percepción de la pintura tardogótica en la actualidad
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2018
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Abstract
El proyecto de innovación Materialidad pictórica, estudio y percepción de la pintura tardogótica en la actualidad II surge como continuación del proyecto I+D+i La formación del pintor y práctica de la pintura en los reinos hispanos (1350-1500) (HAR 2012-32720. IP: Matilde Miquel) y del anterior proyecto innova (Materialidad pictórica, estudio y percepción de la pintura tardogótica en la actualidad I) tanto desde un punto de vista temático como desde el grupo de profesionales integrantes del mismo compuesto por especialistas de heterogénea formación profesional y adscritos a diferentes centros de trabajo. Tomando como banco de pruebas el estudio interdisciplinar del retablo y la capilla de Álvaro de Luna en la catedral de Toledo, realizado durante el anterior proyecto, apreciamos la necesidad de ampliar esa metodología de trabajo a un espectro mayor de obras que definieron las corrientes del gusto artístico en la segunda mitad del siglo XV. El tema nodular plantea el objetivo último de renovar y ampliar el método de análisis de la pintura tardogótica española combinando el análisis estrictamente material (estudios físicos, químicos y fotográficos)con la investigación histórico-artística significando como reto preferente la transferencia a la sociedad, la ampliación de las pruebas de estudio,la innovación de su percepción social y educativa a partir de los nuevos canales informáticos.
The project Matheriality paintings, study and perception of the late Gothic painting in currently II arises as the logical continuation to the previous R&D project "Painter workshop training and the practice of painting in the Spanish Kingdoms (1350-1500) (HAR 2012-32720, lead investigator: Matilde Miquel Juan) y a previous project (Matherialithy painting, study and perception of the late Gothic painting in currently I). This comes up both from a thematic standpoint and from the group of participating professionals who are specialised in very different fields, with various backgrounds and linked to various working. Being the test bench the interdisciplinary study of the previous project of the Álvaro de Luna chapel and altarpiece in the Toledo Cathedral, accomplished during an extensive period of time, we note the need to expand this work methodology to a higher number of works that defined artistic taste in the second half of the 15th century. However, we do not consider a taxonomical or "catalogue raisonné" style approach to the subject; instead, we will try to explain how the Castilian late Gothic painting appeared and consequently developed. Special attention will be drawn to the art market networks and the way in which the "Flemish taste" was disseminated throughout the Iberian Peninsula, workshop practice, as will be the connexion between material and visual cultures. The project's ultimate purpose is to renew and expand on the methodology of the Spanish gothic painting. This will be achieved by combining the theoretical discourse with the chemical and technical analysis (radiography and reflectography), along with Art History studies. Not only will the scientific results allow us to improve our objective knowledge on the subject, but they will also be conveyed to society using the latest information channels.
The project Matheriality paintings, study and perception of the late Gothic painting in currently II arises as the logical continuation to the previous R&D project "Painter workshop training and the practice of painting in the Spanish Kingdoms (1350-1500) (HAR 2012-32720, lead investigator: Matilde Miquel Juan) y a previous project (Matherialithy painting, study and perception of the late Gothic painting in currently I). This comes up both from a thematic standpoint and from the group of participating professionals who are specialised in very different fields, with various backgrounds and linked to various working. Being the test bench the interdisciplinary study of the previous project of the Álvaro de Luna chapel and altarpiece in the Toledo Cathedral, accomplished during an extensive period of time, we note the need to expand this work methodology to a higher number of works that defined artistic taste in the second half of the 15th century. However, we do not consider a taxonomical or "catalogue raisonné" style approach to the subject; instead, we will try to explain how the Castilian late Gothic painting appeared and consequently developed. Special attention will be drawn to the art market networks and the way in which the "Flemish taste" was disseminated throughout the Iberian Peninsula, workshop practice, as will be the connexion between material and visual cultures. The project's ultimate purpose is to renew and expand on the methodology of the Spanish gothic painting. This will be achieved by combining the theoretical discourse with the chemical and technical analysis (radiography and reflectography), along with Art History studies. Not only will the scientific results allow us to improve our objective knowledge on the subject, but they will also be conveyed to society using the latest information channels.