Rennaisance art

Resumen: El presente artículo pretende realizar un somero análisis al corpus de dibujos sobre papel atribuido a Joan de Joanes y a sus más directos seguidores, desde una óptica metaformal, adentrándose en la génesis misma de tales diseños, desde su concepción hasta sus funciones. Han sido muy eventuales las apreciaciones sobre los procedimientos gráficos usados por el pintor y, en general, la cuestión de sus dibujos se ha abordado siempre desde la tradicional perspectiva de confrontación iconográfica y formal. No se ha ahondado en cues-tiones que, a nuestro parecer, resultan claves para entender una figura tan poliédrica y compleja como la del artista valentino: como cuánto débito existe entre el ductus gráfico de Joanes y el de su padre, y qué relación guarda con la tradición hispana; o hasta qué punto puede ser la visualización de modelos y estampas italianas la responsable de su marcado italianismo. Se propone una revisión que incide en la técnica y en la elección procedimental como una vía de ida y vuelta para explicar los vínculos entre su dibujo y su metodología pictó-rica (más allá de la superficial apariencia). Se trata de aspectos que, en última instancia, hunden sus raíces en la praxis pictórica y en los rudimentos del oficio; en los mecanismos de trabajo del obrador y su funciona-miento; aspectos como la fijación de modelos o el uso de procedimientos mecánicos de seriación. Palabras clave: dibujos / Joan de Joanes / procedimientos gráficos / papel / Renacimiento. Abstract: The present paper intends to make a brief analysis of the corpus of drawings on paper attributed to Joan de Joanes and his most direct followers, from a metaformal approach, going into the very genesis of such designs, from their conception to their functions. There are very few references about the graphic procedures used by the painter and, in general, the question of his drawings has always been approached from the traditional perspective of iconographic and formal confrontation. There is an evident lack of deepening in questions that, in our opinion , are key to understanding a such complex figure. How much debit is there between the graphic ductus of Joanes and that of his father? And what relationship does it have with the Hispanic tradition? To what extent can it be the display of Italian models and prints responsible for its marked Italianism? A revision devoted to technique and the procedures is done to explain the links between his drawing and his pictorial methodology (be-yond the superficial appearance). These are aspects that, ultimately, have their roots in the pictorial praxis and in the rudiments of the job. They constitute the working mechanisms of the workshop. The article finally intends to deal with aspects such as the fixation of models or the use of mechanical procedures of transferring.

This online doctoral seminar focuses on the complex relations between texts and images as tools of analysis and reflection on different topics and objects of study (political, social, cultural, artistic, historiographic, and ideological), taking as chronological and spatial framework Europe from the Eleventh to the Sixteenth Centuries. This task involves the engagement of the researcher with a particular position, frequently influenced by his/her field of study and speciality. However, in the daily work with sources, a question still remains: how is possible to think the dialogue between images and texts? Beginning by one of these terms could inevitably lead to different ways of analysis and conclusions. Texts and images entail complex constellations of languages and effects of meaning that although in some cases may coincide or reinforce each other; in others tensions and contradictions may take place. An interdisciplinary approach based on Cultural History and Art History will allow to explore different theoretical and methodological frameworks.
Online Registration and Programme:
http://posgrado.filo.uba.ar/SemDoc2022-Consiglieri-Vidal

O artigo tem por objeto a tradução e comentário de três capítulos do tratado italiano de autor desconhecido "Il Corago" (c. 1630). O texto trata da arte da representação cênica e, especificamente nestes capítulos, da cenografia. Ele se revela um testemunho do processo de mudança de percepção e recepção do sistema representativo perspectivo entre
os séculos XVI e XVII, em que deficiências da ilusão perspectiva são apontadas e sublimadas em novas orientações estéticas e representativas.
Palavras-chave: natureza; artifício; perspectiva; cenografia, ópera, século XVII; teatro.

The article focuses on the translation and commentary of three chapters of the unknown author Italian treatise "Il Corago" (c. 1630). The text deals with the art of stage performance and specifically in these chapters, the scenography. It reveals itself as testimony of the change of perception and the reception of the perspectival representative
system between the sixteenth and seventeenth centuries, where weaknesses of perspective illusion are pointed and sublimated into new guidelines and representative aesthetic.
Keywords: nature; artifice; perspective; scenography, opera, seventeenth century; theater.