The splendor of the Romanesque one

The splendor of the Romanesque one


Paintings of Àger: apostles Tadeo and Santiago

FOUNDATION MAPFRE. It salts Recluses

Recluses' walk, 23

28004 Madrid

From February 9 until May 15, 2011

On Monday, of 14:00 to 20:00 hours

From Tuesday until Saturday, of 10:00 to 20:00 hours

On Sundays and festive, of 11:00 to 19:00 hours

Last February 8 there appeared in Madrid the exhibition that goes for title “The splendor of the Romanesque one” organized by the Foundation MAPFRE in collaboration with Museu Nacional d'Art de Catalunya, Barcelona (MNAC).

At the act there were present Alberto Manzano (President of the Institute of Culture Foundation MAPFRE), Pablo Jiménez (Director-general), Mª Teresa Ocaña (Director of the MNAC) and Jordi Camps (Conservative Chief of the Area of Romanesque of the MNAC).

All of them emphasized the exceptional character of the sample. The MNAC is a holder of one of the best collections of Romanesque art, both for its extension and for its quality. Owing to the constant reshaping of its rooms (in this occasion it touches to the Romanesque art) the Institute of Culture of the Foundation MAPFRE finances with a contribution for 900.000 euros the works. For this reason it is possible that good part of its funds is exhibited in the Room of Madrid of Recluses.

This sample, in words of Jordi Camps, supposes an interruption in the habitual program of the Foundation, centred on later artistic movements at the end of the XIXth century. It was an opportunity that they could not allow to escape.

Pablo Jiménez emphasized that the pieces selection not only includes a very well-known aspect as it is the wall painting to the service of the architecture, but a series of magnificent pieces of different materials. They shape this exhibition: liturgical, frontal objects of altar, wall paintings penetrated to linen and a reconstruction, to real size, of an absidiola of Sant Quirze of Pedret with its wall paintings. The Director-general of the Foundation MAPFRE stood out of between 59 pieces: The Stone beating of San Esteban (Ca 1100, fresh air penetrated to linen, Saint John of Boi, Lerida) Majestat Batlló (the middle of the XIIth century, wooden size entelada partially, church of the region of the Lance), painting Faucet, (Ca. 1210, fresh air penetrated to linen, Saint Peter de Arlanza, Burgos) and the Support staff of Mondoñedo (Limoges, the first quarter of the XIIIth century, embossed copper with enamel applications, Mondoñedo, Lugo).

The sample articulates about five chapters or paragraphs that gather so much the works applied to the architecture (wall paintings or paintings in stone) as well as I object them of furniture (front of altar) and liturgical with its incrustations (pyx, support staff, etc.). Works that turn concerning a dark epoch (XIth and XIIth centuries), in that there takes place an important economic development that promoted the cultural exchange and that they constitute an example of the Catalan Romanesque art.

After leaving behind the magnificent reproduction of the small apse of Sant Quirze of Pedret to its real size and with the wall paintings in its interior we gain access to The color in the architecture, it salts where we can meet The Stone beating of San Esteban one. A piece that has been an object of an elegant restoration using new skills. For the one that he signs, to contemplate this piece produced a big satisfaction to me. One of the motives is to be able to contemplate the real piece after having contemplated the reproduction in its origin place. Recently I had the opportunity to realize a trip to enjoy the set of churches of Boi and Taull, considered the cradle of the Romanesque Catalan (a trip that I recommend as I complement for this exhibition).


Paintings of Boí: stone beating of San Esteban.

The church was lodging an iconographic program that took the vault of the apse as an attention focus. There often called Christ Pantocrátor was presiding quite at the image of the divinity a figure of the omnipresent, seated god framed inside one to order mystique as symbol of glory and majestad. The paintings were usually realized with flat, very living colors although of scale limited and separated by thick lines that delimit the drawing.

The second paragraph is dedicated to The monumental sculpture. The sculptural resource was adopted by sculptors and architects of late form in Catalonia. The main center was Ripoll with its monastery. The called Voussoir of Ripoll and the virtual representation of the front allow us to comprise the dimension and the iconographic program of the Romanesque fronts.

Voussoir of Ripoll

It is in this moment when there is generalized the use of the reliefs sculpted in the main points of the construction as there are the fronts, windows and columns with its decorated capitals.

A space for the story offers us beautiful examples of the tempera. Many of the churches, the most wealthy, have preserved its gold work hood, but the stage was also very valued. The altar was the focal attention point for the religious cult. This stage was realized in the main monastic centers (Ripoll, the Cathedral of Urgell and Vic) This way we can meet beautiful examples like the Altar of Tavérnoles or Baldaquino de Tost.

Baldaquino of Tost

The fourth space is The power of the images. The polychrome wooden sizes or not, were reflecting the power that the images had. They were occupying a position privileged inside the church. The most frequent typology was the classic Virgin with the Child and, of course, the crucifixes. Another wise move of the assembly of this great exhibition is the space that has enjoyed itself to be able to contemplate one of the jewels of the Romanesque one: the Majesty Batlló. Located in a small circular room to we allow to contemplate the piece with certain withdrawal and emphasizing the force of the religious representations of this epoch. This image represents a triumphant Christ on the death.

Majestat Batlló

“We neither adore these images, nor call them gods, nor put in them salvation hope, since this would be an idolatry. Earlier well, we venerate them for rememoración and memory of the things that happened in another time”.

Guillermo Durando (1230-1296).

The fifth section or paragraph with which the exhibition closes takes for title The treasure of the church. The church, each of the churches in particular, in the course of its history has been accumulating a series of pieces, of beautiful pieces that fulfill a double function: the liturgical one and object of art.

Pyx of the Cerdaña

The pieces were prepared by precious metals or diverse types of metals with color applications by means of enamels or gilded. Many of them had wooden soul. The typology changes according to its use. We can meet crossings, support staffs, reliquaries, lids of books, candelabra, etc.

The decoration could be geometric and floral or appear also Christ's images in Majesty or different angels or apostles.

In Catalonia, since in Hispanic the whole world there were coming products proceeding from the workshops of Limoges which production enjoyed an extraordinary diffusion.

A pair example is the worn out Pyx of the Cerdaña in golden copper decorated with enamels and the Support staff of Mondoñedo.

Finally it is necessary to emphasize the exceptional catalog of the exhibition. Almost it is possible to qualify of work of art. With a very elegant making, preciosista as for the graphic design but with a few texts that gather a few studies that undoubtedly constitute already a modality in the bibliography on the Romanesque art.

For whom they want to enter more before coming to the room they can consult the Web of the proper Foundation MAPFRE.

www.exposicionesmapfrearte.com / Romanesque /

For our part to be grateful to the Foundation for the sensitization that it has with groups who suffer from some disability. This way from the proper presentation that was provided with translation service in signs language up to the disposition of a service of Audioguías with audiodescripción, whose script and production is prepared specially for users with visual disability, which purpose is to achieve the biggest possible autonomy inside the enclosure and the use of skills of description to transform the images into sonorous explanations and a service of signoguías, multimedia portable device equipped with a screen that reproduces a video in which the chosen works of the exhibition are explained by means of the signs language and subalumnus.

You photograph: The photos have been provided by the Foundation MAPFRE who has all the rights for its reproduction.

Square Luisjo


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Filed file: Exhibitions

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The splendor of the Romanesque one | Magazine Atticus

The splendor of the Romanesque one

The splendor of the Romanesque one


Paintings of Àger: apostles Tadeo and Santiago

FOUNDATION MAPFRE. It salts Recluses

Recluses' walk, 23

28004 Madrid

From February 9 until May 15, 2011

On Monday, of 14:00 to 20:00 hours

From Tuesday until Saturday, of 10:00 to 20:00 hours

On Sundays and festive, of 11:00 to 19:00 hours

Last February 8 there appeared in Madrid the exhibition that goes for title “The splendor of the Romanesque one” organized by the Foundation MAPFRE in collaboration with Museu Nacional d'Art de Catalunya, Barcelona (MNAC).

At the act there were present Alberto Manzano (President of the Institute of Culture Foundation MAPFRE), Pablo Jiménez (Director-general), Mª Teresa Ocaña (Director of the MNAC) and Jordi Camps (Conservative Chief of the Area of Romanesque of the MNAC).

All of them emphasized the exceptional character of the sample. The MNAC is a holder of one of the best collections of Romanesque art, both for its extension and for its quality. Owing to the constant reshaping of its rooms (in this occasion it touches to the Romanesque art) the Institute of Culture of the Foundation MAPFRE finances with a contribution for 900.000 euros the works. For this reason it is possible that good part of its funds is exhibited in the Room of Madrid of Recluses.

This sample, in words of Jordi Camps, supposes an interruption in the habitual program of the Foundation, centred on later artistic movements at the end of the XIXth century. It was an opportunity that they could not allow to escape.

Pablo Jiménez emphasized that the pieces selection not only includes a very well-known aspect as it is the wall painting to the service of the architecture, but a series of magnificent pieces of different materials. They shape this exhibition: liturgical, frontal objects of altar, wall paintings penetrated to linen and a reconstruction, to real size, of an absidiola of Sant Quirze of Pedret with its wall paintings. The Director-general of the Foundation MAPFRE stood out of between 59 pieces: The Stone beating of San Esteban (Ca 1100, fresh air penetrated to linen, Saint John of Boi, Lerida) Majestat Batlló (the middle of the XIIth century, wooden size entelada partially, church of the region of the Lance), painting Faucet, (Ca. 1210, fresh air penetrated to linen, Saint Peter de Arlanza, Burgos) and the Support staff of Mondoñedo (Limoges, the first quarter of the XIIIth century, embossed copper with enamel applications, Mondoñedo, Lugo).

The sample articulates about five chapters or paragraphs that gather so much the works applied to the architecture (wall paintings or paintings in stone) as well as I object them of furniture (front of altar) and liturgical with its incrustations (pyx, support staff, etc.). Works that turn concerning a dark epoch (XIth and XIIth centuries), in that there takes place an important economic development that promoted the cultural exchange and that they constitute an example of the Catalan Romanesque art.

After leaving behind the magnificent reproduction of the small apse of Sant Quirze of Pedret to its real size and with the wall paintings in its interior we gain access to The color in the architecture, it salts where we can meet The Stone beating of San Esteban one. A piece that has been an object of an elegant restoration using new skills. For the one that he signs, to contemplate this piece produced a big satisfaction to me. One of the motives is to be able to contemplate the real piece after having contemplated the reproduction in its origin place. Recently I had the opportunity to realize a trip to enjoy the set of churches of Boi and Taull, considered the cradle of the Romanesque Catalan (a trip that I recommend as I complement for this exhibition).


Paintings of Boí: stone beating of San Esteban.

The church was lodging an iconographic program that took the vault of the apse as an attention focus. There often called Christ Pantocrátor was presiding quite at the image of the divinity a figure of the omnipresent, seated god framed inside one to order mystique as symbol of glory and majestad. The paintings were usually realized with flat, very living colors although of scale limited and separated by thick lines that delimit the drawing.

The second paragraph is dedicated to The monumental sculpture. The sculptural resource was adopted by sculptors and architects of late form in Catalonia. The main center was Ripoll with its monastery. The called Voussoir of Ripoll and the virtual representation of the front allow us to comprise the dimension and the iconographic program of the Romanesque fronts.

Voussoir of Ripoll

It is in this moment when there is generalized the use of the reliefs sculpted in the main points of the construction as there are the fronts, windows and columns with its decorated capitals.

A space for the story offers us beautiful examples of the tempera. Many of the churches, the most wealthy, have preserved its gold work hood, but the stage was also very valued. The altar was the focal attention point for the religious cult. This stage was realized in the main monastic centers (Ripoll, the Cathedral of Urgell and Vic) This way we can meet beautiful examples like the Altar of Tavérnoles or Baldaquino de Tost.

Baldaquino of Tost

The fourth space is The power of the images. The polychrome wooden sizes or not, were reflecting the power that the images had. They were occupying a position privileged inside the church. The most frequent typology was the classic Virgin with the Child and, of course, the crucifixes. Another wise move of the assembly of this great exhibition is the space that has enjoyed itself to be able to contemplate one of the jewels of the Romanesque one: the Majesty Batlló. Located in a small circular room to we allow to contemplate the piece with certain withdrawal and emphasizing the force of the religious representations of this epoch. This image represents a triumphant Christ on the death.

Majestat Batlló

“We neither adore these images, nor call them gods, nor put in them salvation hope, since this would be an idolatry. Earlier well, we venerate them for rememoración and memory of the things that happened in another time”.

Guillermo Durando (1230-1296).

The fifth section or paragraph with which the exhibition closes takes for title The treasure of the church. The church, each of the churches in particular, in the course of its history has been accumulating a series of pieces, of beautiful pieces that fulfill a double function: the liturgical one and object of art.

Pyx of the Cerdaña

The pieces were prepared by precious metals or diverse types of metals with color applications by means of enamels or gilded. Many of them had wooden soul. The typology changes according to its use. We can meet crossings, support staffs, reliquaries, lids of books, candelabra, etc.

The decoration could be geometric and floral or appear also Christ's images in Majesty or different angels or apostles.

In Catalonia, since in Hispanic the whole world there were coming products proceeding from the workshops of Limoges which production enjoyed an extraordinary diffusion.

A pair example is the worn out Pyx of the Cerdaña in golden copper decorated with enamels and the Support staff of Mondoñedo.

Finally it is necessary to emphasize the exceptional catalog of the exhibition. Almost it is possible to qualify of work of art. With a very elegant making, preciosista as for the graphic design but with a few texts that gather a few studies that undoubtedly constitute already a modality in the bibliography on the Romanesque art.

For whom they want to enter more before coming to the room they can consult the Web of the proper Foundation MAPFRE.

www.exposicionesmapfrearte.com / Romanesque /

For our part to be grateful to the Foundation for the sensitization that it has with groups who suffer from some disability. This way from the proper presentation that was provided with translation service in signs language up to the disposition of a service of Audioguías with audiodescripción, whose script and production is prepared specially for users with visual disability, which purpose is to achieve the biggest possible autonomy inside the enclosure and the use of skills of description to transform the images into sonorous explanations and a service of signoguías, multimedia portable device equipped with a screen that reproduces a video in which the chosen works of the exhibition are explained by means of the signs language and subalumnus.

You photograph: The photos have been provided by the Foundation MAPFRE who has all the rights for its reproduction.

Square Luisjo


Bookmark

Filed file: Exhibitions

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