The image as a source for a cultural history
DOI:
https://doi.org/10.24310/Eviternare.vi12.14550Keywords:
Art history, History of culture, Iconography, Iconology, ImageAbstract
The article’s objective is to develop several practical proposals to introduce the primary contents of the iconographic-iconological methodology in the analysis and study of the image. These proposals are the result of teaching experience of the subjects ‘Introduction to Art History’ and ‘Analysis and Interpretation of Image’. These subjects are taught in the first course of the History and Art History degrees at the University of Valencia. Since the framework of the European Higher Education Area was implanted, studying the image as a source for a cultural history has been a challenge to teach in two semesters. These didactic proposals approach the artistic object by dealing with several topics, such as artistic disciplines, shapes and composition, and approach to meaning. For this purpose, the explanatory speech is structured around three key aspects: location, formal analysis and approach to meaning. Students learn how to decipher the artistic language by analyzing its aspects and approaching the content and meaning of the visuality. Therefore, these didactic guides lead the learning process and ease the comprehension and practice application of the content.
Downloads
Metrics
References
Alba, L. y Jover, M. (2013). Bartolomé Bermejo, personalidad y técnica. El retablo de Daroca en el Museo del Prado. Recuperado de: https://www.youtube.com/watch?v=atGYe44u_7I
Borrás Gualis, G. M. (1982). Santo Domingo de Silos (Bermejo). Recuperado de: http://www.rtve.es/alacarta/videos/mirar-un-cuadro/mirar-cuadro-santo-domingo-silos-bartolome-bermejo/1881787/
Borrás Gualis, G. M. (2006). Santo Domingo de Silos entronizado como obispo [Bartolomé Bermejo]. Recuperado de: https://www.museodelprado.es/aprende/enciclopedia/voz/santo-domingo-de-silos-entronizado-como-obispo/27e837fb-504b-4fcd-9ae8-1a8a2366949d
Brower, G. (2014). La influencia y el rol del género en la promoción artística bajomedieval. El monasterio femenino de Santa María de Pedralbes [Trabajo Final de Máster, Universitat Rovira i Virgili].
Cardini, F., Castellano i Tresserra, A. y Gómez i Pellegrín, I. (2001). Los Reyes Magos de Oriente. Historia de una tradición. Colección Thyssen-Bornemisza y Museu Monestir de Pedralbes.
Font, L. y Senserrich, R. (2013). Murals sota la lupa. Les pintures de la capella de Sant Miquel. Ajuntament de Barcelona.
García Mahíques, R. (1992). La Adoración de los Magos. Imagen de la Epifanía en el Arte de la Antigüedad. Instituto Municipal de Estudios Iconográfico EPHIALTE.
--- (2009). Iconografía e Iconología. Volumen II. Cuestiones de Método. Encuentro.
Lacarra Ducay, M.C. (1993). Encuentro de Santo Domingo de Silos con el rey Fernando I de Castilla: identificación de una pintura gótica aragonesa en el Museo del Prado. Aragón en la Edad Media, nº 10, 437-460.
Mateo Gómez, I. (1985). Reflexiones sobre aspectos iconográficos en el Santo Domingo de Silos, de Bermejo. Boletín del Museo del Prado, vol. 6, nº 16, 5-13.
Molina, J. (2018a). Bartolomé Bermejo y el arte de pintar. En Molina, J. (ed.). Bartolomé Bermejo (pp. 18-24). Museo Nacional del Prado.
--- (2018b). Bartolomé Bermejo y Martín Bernat. En Molina, J. (ed.). Bartolomé Bermejo (pp. 165-173). Museo Nacional del Prado.
--- (2018c). Bartolomé Bermejo y el arte de pintar. Recuperado de: https://www.youtube.com/watch?v=1lTCrA89AKk
--- (2018d). Bartolomé Bermejo. Santo Domingo de Silos entronizado como obispo, h. 1474-1474. Obras comentades 2018. Recuperado de: https://www.museodelprado.es/actualidad/multimedia/santo-domingo-de-silos/79163930-814c-1fc4-f06b-067b3c8914fd
Museo del Prado. Santo Domingo de Silos y sus virtudes. Recuperado de: https://www.museodelprado.es/actualidad/multimedia/santo-domingo-de-silos-y-sus-virtudes/ea0d1240-e386-4f51-4198-ac3d3dce479f
Ruiz, F. (2009-2010). La incidencia de las fuentes escritas en la iconografía del retablo de Santo Domingo de Silos, de Bartolomé Bermejo. RACBASJ, nº 23-24, 33-53.
Sagué i Guarro, M. (1989). Ferrer Bassa. Les pintures de la capella de Sant Miquel al monestir de Pedralbes. Taller Editorial.
Santos Otero, A. (2002). Los Evangelios Apócrifos. Biblioteca de Autores Cristianos.
Silva Maroto, S. (2003). La pintura hispanoflamenca a Castella. En Ruiz y Quesada, F. (dir.). La pintura gótica hispanoflamenca: Bartolomé Bermejo y su época. Museu Nacional d’Art de Catalunya, pp. 77-85.
Trens, M. (1936). Ferrer Bassa i les pintures de Pedralbes. Institut d’Estudis Catalans.
Downloads
Published
How to Cite
Issue
Section
License
All the contents published in Revista Eviterna are subject to the Creative Commons Reconocimento-NoComercia-Compartirigual 4.0 license, the full text of which can be found at <http://creativecommons.org/licenses/by-nc-sa/4.0>
They may be copied, used, disseminated, transmitted and publicly exposed, provided that:
The authorship and original source of your publication (Journal, editorial and URL of the work) are cited.
They are not used for commercial purposes.
The existence and specifications of this use license are mentioned.
Copyright is of two kinds: moral rights and patrimonial rights. Moral rights are perpetual, inalienable, inalienable, inalienable, inalienable and imprescriptible prerogatives.
In accordance with copyright legislation, Revista Eviterna recognizes and respects the moral rights of the authors, as well as the ownership of the economic right, which will be transferred to the University of Malaga for dissemination in open access.
The economic rights refer to the benefits obtained by the use or disclosure of the works. Revista Eviterna is published in open access and is exclusively authorized to carry out or authorize by any means the use, distribution, disclosure, reproduction, adaptation, translation or transformation of the work.
It is the responsibility of the authors to obtain the necessary permissions of the images that are subject to copyright.
12.png)
