Abstract:
Structures are often perceived to be static due to their immobility, or assumed to undergo fewer physical changes when compared to mobile objects. My project counters this assumption by demonstrating that architecture is subject to numerous physical changes: modification, elimination, expansion, adaptation, and evolution. Looking at Andalusia, Spain I focused on the city of Granada where I saw the impact of how these changes presented an intricate visible layering of Spain’s history. After my experience studying abroad in Granada, interviewing professors and researching at UGR’s libraries, my instinct was to categorize these seemingly immobile buildings. But through anthropological and art historical methods I found that a structure could not be subject to one particular style of architecture nor one particular function. To confine the structure to a single function or architectural style would deny the structure’s original function and diverse composition of its crucial role in the 21st century. In fact, both architecture and the purpose of a structure transgress two modes of restriction—categorization and classification—in a fluid and figuratively mobile manner. This type of mobility allows for structures to be considered outside of a stationary and inactive standpoint. My three structures chosen from originally twenty examples demonstrate that structures also act as vehicles for visual communication derived from the architectural elements. Important decisions are made behind the scenes about what, how and why changes happen to a building. In turn, these decisions indirectly influence the end result of a structure’s use and architectural organization. In the case of Granada, the structures narrate a timeline from the past to the present as purpose is appropriated and the layers of architectural styles can be seen.
To read more from this paper, email art historian, Madelyne Oliver, at:
madelyne.oliver@yahoo.com
Abstract:
Structures are often perceived to be static due to their immobility, or assumed to undergo fewer physical changes when compared to mobile objects. My project counters this assumption by demonstrating that architecture is subject to numerous physical changes: modification, elimination, expansion, adaptation, and evolution. Looking at Andalusia, Spain I focused on the city of Granada where I saw the impact of how these changes presented an intricate visible layering of Spain’s history. After my experience studying abroad in Granada, interviewing professors and researching at UGR’s libraries, my instinct was to categorize these seemingly immobile buildings. But through anthropological and art historical methods I found that a structure could not be subject to one particular style of architecture nor one particular function. To confine the structure to a single function or architectural style would deny the structure’s original function and diverse composition of its crucial role in the 21st century. In fact, both architecture and the purpose of a structure transgress two modes of restriction—categorization and classification—in a fluid and figuratively mobile manner. This type of mobility allows for structures to be considered outside of a stationary and inactive standpoint. My three structures chosen from originally twenty examples demonstrate that structures also act as vehicles for visual communication derived from the architectural elements. Important decisions are made behind the scenes about what, how and why changes happen to a building. In turn, these decisions indirectly influence the end result of a structure’s use and architectural organization. In the case of Granada, the structures narrate a timeline from the past to the present as purpose is appropriated and the layers of architectural styles can be seen.
To read more from this paper, email art historian, Madelyne Oliver, at:
madelyne.oliver@yahoo.com
Estudio de la escultura barroca española de los siglos XVII y XVIII. Se explican las características más importantes del arte en España, centrando el estudio en la imaginería religiosa. Hay una atención especial a la obra de Gregorio Fernández, Juan Martínez Montañés y Francisco Salzillo, entre otros autores. se comenta un retablo como singularidad hispana. Hay un capítulo final sobre la escultura generada para la monarquía de los austrias y de los borbones.
La obra de Gian Lorenzo Bernini. desde sus obras de juventud a las que realiza para San Pedro del Vaticano. Sin olvidarnos de las grandes obras contrarreformistas, los retratos y las esculturas que realiza para decorar las plazas de la ciudad de Roma. Tambien se apunta la obra de otros escultores como Algardi, Salvi, Mochi, Dequesnoy o Ferrata.
Gil de Siloe y los sepulcros de la Cartuja de Miraflores, BurgosAlfredo García
Los sepulcros de los reyes Juan II de Castilla e Isabel de Portugal (padres de Isabel, La Católica) y del infante Alfonso (hermano de Isabel la Católica) en la Cartuja de Miraflores de Burgos. Obra de Gil de Siloe entre los años 1486 y 1495.
Estudio de la escultura barroca española de los siglos XVII y XVIII. Se explican las características más importantes del arte en España, centrando el estudio en la imaginería religiosa. Hay una atención especial a la obra de Gregorio Fernández, Juan Martínez Montañés y Francisco Salzillo, entre otros autores. se comenta un retablo como singularidad hispana. Hay un capítulo final sobre la escultura generada para la monarquía de los austrias y de los borbones.
La obra de Gian Lorenzo Bernini. desde sus obras de juventud a las que realiza para San Pedro del Vaticano. Sin olvidarnos de las grandes obras contrarreformistas, los retratos y las esculturas que realiza para decorar las plazas de la ciudad de Roma. Tambien se apunta la obra de otros escultores como Algardi, Salvi, Mochi, Dequesnoy o Ferrata.
Gil de Siloe y los sepulcros de la Cartuja de Miraflores, BurgosAlfredo García
Los sepulcros de los reyes Juan II de Castilla e Isabel de Portugal (padres de Isabel, La Católica) y del infante Alfonso (hermano de Isabel la Católica) en la Cartuja de Miraflores de Burgos. Obra de Gil de Siloe entre los años 1486 y 1495.
4. O DESENVOLVEMENTO DA ECONOMÍA E O AUMENTO DA
POBOACIÓN NAS CIDADES ORIXINOU A NECESIDADE DE NOVAS
CONSTRUCIÓNS.
O GÓTICO É UN ESTILO ARTÍSTICO QUE NON SÓ TRABALLA
PARA A IGREXA. O GÓTICO VAI FACER OBRAS RELIXIOSAS E
OBRAS CIVÍS.
5. GÓTICO
OBRA
OBRA CIVIL
RELIXIOSA
IGREXAS CATEDRAIS PALACIOS CONCELLOS LONXAS
6. Características da arquitectura gótica
CARACTERISTICAS
DA
ARQUITECTURA
ARCO OXIVAL
BÓVEDA DE
CRUZARIA
ARCOBOTANTES
PINÁCULOS
VIDREIRAS
35. ESCULTURA GÓTICA
-DECORA OS EXTERIORES DAS IGREXAS E CATEDRAIS.
-MÁIS REALISTA QUE A ROMÁNICA.
-INDEPENDIZASE DA ARQUITECTURA.
-SON OBRAS DE AUTOR, COÑÉCESE O AUTOR.
37. Sepulcro do infante Afonso na Cartuxa
de Miraflores en Burgos.
O infante Afonso era
irmán de Isabel I de
Castela
Sepulcro de Xoán II
de Castela e Isabel
de Portugal.
Obra de autor: Gil de Siloé
39. Pintura Gótica
-Realista.
-Profundidade, con efectos de luz e cor.
-Retrata fielmente homes e mulleres da época ainda nos
temas relixiosos. Plasma a realidade.
-É capaz de representar os sentimentos.
-Coñécese o autor da obra.
-As igrexas góticas, ao ter grandes vidreiras que reducen a
superficie dos muros, van ter pinturas realizadas sobre
madeira que decoran os retablos.
40. O descendemento
Roger Van der
de Cristo. Museo
Weyden
do Prado-Madrid.
41. Retablo de San
Abdón e San
Senén, na Igrexa de
Santa María de
Tarrasa-Barcelona.
Autor: Jaume Huguet
42. Os sete
Roger Van
sacramentos.
der Weyden
Museo de
Bellas Artes
de Amberes.