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»Grungy Version«
Wallpaper 1920x1200 in homage to »El Lissitzky« created with Juan Ignacio Siwaks stunning typeface»Imperio«
Imperio is a font inspired by old posters, especially those related to constructivism and futurism. It reflects both the rationalism of Bauhaus as a propagandist and revolutionary spirit of an era.
This captivating collection of abstract artworks, titled "Jazz Echoes in Vivid Hues," marries the distinct styles of Bauhaus and Russian Constructivism with the rhythmic soul of jazz, particularly inspired by the legendary Miles Davis. Bauhaus, an influential German art school operating from 1919 to 1933, championed a harmony between the function of an object and its design, emphasizing simplicity, geometric shapes, and a unity of art and industrial design. Russian Constructivism, emerging around 1913, was marked by an abstract, minimalistic approach, often using industrial materials, and aimed to reflect modernity and societal change. Both movements sought to redefine the role of art in the rapidly evolving modern world.
In this series, the essence of jazz – its improvisation, fluidity, and depth – is interwoven with these early 20th-century art movements. The use of vibrant colors like yellow, pink, green, and gold adds a contemporary twist, bringing a new dimension to these classic styles. Each piece echoes the improvisational nature of jazz, the structural discipline of Bauhaus, and the abstract expressionism of Russian Constructivism.
Poem:
In hues of jazz, a canvas sings,
With echoes of Miles' trumpet rings.
Bauhaus lines in bold array,
Constructivist shapes in modern play.
Yellow, pink, and shades of green,
In abstract forms, a vivid scene.
Gold touches like a subtle light,
In Davis' tones, both soft and bright.
A fusion where past and present meet,
In every stroke, the old and sweet.
Jazz and art in a dance so fine,
A visual symphony, line by line.
Haiku:
Jazz notes in colors,
Bauhaus and Constructivism,
Echoes in vivid.
FKD 18X24
S&K Componon 240mm
Fuji Sper HRU
f 8 / 15 seconds (Indoor. Around 8:00 pm)
Dev. 1 min. (F1252M 1:1)
stop 30"
Fix 1 min.
One of a series of digital abstractions inspired by the Constructivist movement begun in Russia.
Constructivism was a post-First World War outgrowth of Russian Futurism, and particularly of the 'corner-counter reliefs' of Vladimir Tatlin, which had been exhibited in 1915. The term itself would be coined by the sculptors Antoine Pevsner and Naum Gabo, who developed an industrial, angular approach to their work, while its geometric abstraction owed something to the Suprematism of Kasimir Malevich. ....the theorists Alexei Gan, Boris Arvatov and Osip Brik would arrive at a definition of Constructivism as the combination of faktura: the particular material properties of the object, and tektonika, its spatial presence. Initially the Constructivists worked on three-dimensional constructions as a first step to participation in industry: the OBMOKhU (Society of Young Artists) exhibition showed these three dimensional compositions, by Rodchenko, Stepanova, Karl Ioganson and the Stenberg Brothers. Later the definition would be extended to designs for two-dimensional works such as books or posters, with montage and factography becoming important concepts.
These works are most influenced by Vladimir Tatlin's 'tower'. en.wikipedia.org/wiki/Image:TatlinMonument3int.jpg
"The canonical work of Constructivism was Vladimir Tatlin's proposal for the Monument to the Third International (1919) which combined a machine aesthetic with dynamic components celebrating technology such as searchlights and projection screens. Gabo publicly criticized Tatlin's design saying Either create functional houses and bridges or create pure art, not both. This had already led to a major split in the Moscow group in 1920 when Gabo and Pevsner's Realistic Manifesto asserted a spiritual core for the movement. This was opposed to the utilitarian and adaptable version of Constructivism held by Tatlin and Rodchenko. Tatlin's work was immediately hailed by artists in Germany as a revolution in art: a 1920 photo shows George Grosz and John Heartfield holding a placard saying 'Art is Dead - Long Live Tatlin's Machine Art', while the designs for the tower were published in Bruno Taut's magazine Fruhlicht.
Дом-коммуна на улице Орджоникидзе после капитального ремонта.
Communal House of the Textile Institute is a constructivist architecture landmark located in the Donskoy District of Moscow
Alexey Victorovich Shchusev (1873 – 1949) was a Russian and Soviet architect who was successful during three consecutive epochs of Russian architecture – Art Nouveau (broadly construed), Constructivism, and Stalinist architecture, being one of the few Russian architects to be celebrated under both the Romanovs and the communists, becoming the most decorated architect in terms of Stalin prizes awarded.
In the 1900s, Shchusev established himself as a church architect, and developed his proto-modernist style, which blended Art Nouveau with Russian Revival architecture. Immediately before and during World War I he designed and built railway stations for the von Meck family, notably the Kazansky Rail Terminal in Moscow. After the October Revolution, Shchusev pragmatically supported the Bolsheviks, and was rewarded with the contract for the Lenin Mausoleum. He consecutively designed and built three mausoleums, two temporary and one permanent, and supervised the latter's further expansion in the 1940s. In the 1920s and early 1930s he successfully embraced Constructivist architecture, but quickly reverted to historicism when the government deemed modernism inappropriate for the Communist state. He was one of the members of the art association ‘The Four Arts’, which existed in Moscow and Leningrad in 1924-1931.
His career proceeded smoothly until September 1937, when, after a brief public smear campaign, Shchusev lost all his executive positions and design contracts, and was effectively banished from architectural practice. Modern Russian historians of art agree that the charges of professional dishonesty, plagiarism, and exploitation raised against Shchusev were, for the most part, justified. In the following years he gradually returned to practice, and restored his public image as the patriarch of Stalinist architecture. The causes of his downfall and the forces behind his subsequent recovery remain unknown.
Taken yesterday in the gap between two meetings. Topped off with a few beers at the Bolton Arms with the boys in Old Basing
european institute for progressive cultural policies
Aleksandr Zelenskii, Advertisement for Sappho cigarettes, 1924. From “Into Production!”:
"Into Production!”: The Socialist Objects of Russian Constructivism
Christina Kiaer
"In contrast to the dreamy, art-deco woman in the earlier Red October ad, and in contrast to the swooning “Sappho,” the Red October girl could be described as a “conscious” female subject. Of course this strange, jokey figure of a girl is not meant to actually represent the newly conscious woman emancipated by Bolshevism. But she functions as a sign for the discourse of female consciousness and emancipation, which was bound up within Constructivism with a set of ideas about new, active objects that can transform everyday life. Rodchenko’s wife Stepanova was his frequent model for this conscious Soviet woman, in photographs and photomontages published on book covers and in mass journals, such as his cover design for a book called The New Everyday. Life and Art (Novyi byt i iskusstvo), in which a confident Stepanova in a worker’s headscarf grins out at us much like the Red October girl.[22] Women and the novyi byt were connected, in Rodchenko’s imagination as much as in the Bolshevik discourse of women’s emancipation. But this connection did not lead him, like the Bolsheviks, to denigrate or attempt to eradicate byt."
Friedrich Vordemberge-Gildewar
Title: (Composition) Untitled Composition (1936),
3 color serigraph after a 1936 lithograph.
Signed by the artist's widow and numbered 14/150
Printed by Atelier Arcay, Paris and issued in the portfolio abstraction, création, art non figuratif 1932 - 1936 published by Paul Nemours, Paris, 1973,
Size: Sheet: 84.5 x 66.0 cm - (33¼ x 26 inches)
Condition: Mint
Acquired at auction from Creighton Davis Gallery, San Marcos, California in 2012
Further information: The group Abstraction Création was formed in Paris in 1931; Auguste Herbin was its president and George Vantongerloo vice president. Other members of the board of directors were Jean Arp, Albert Gleizes, Frantisek Kupka and George Valmier. Artists from all over the world were invited to join and send illustrations of their work to be included in the five yearbooks issued between 1932 and 1938 (in black and white). These books are now very rare collectors' items and the 1973 portfolio, in large format and full color shows the wide perspective of abstract art in the 1930s.
The Piet Mondrian I acquired a few years ago is from a similar portfolio.
As always, I am at www.brycehudson.com stop by, say hi ;-) I love to network with and meet other modernists and art/design enthusiasts!
If you really want to know everything about this guy and the portfolio from which it came:
30 Silkscreens and Lithographs by various early 20th century Abstract artists in a Portfolio
Title: Abstraction Creation Art Non Figuratif 1932-1936
Portfolio size: 89.5 x 74 cm / 35.2 x 29.1 in
Additional information: This is a rare and important complete portfolio that was created to celebrate the French art movement: book "Abstraction Creation Art Non Figuratif.
This portfolio includes an introduction by Margit Staber in three languages (French, English and German), a table of content and
30 Silkscreens and Lithographs in colors by various artists (as detailed below). Each one of the prints is printed on a full seperate sheet and is presented in a plastic folio.
The portfolio was printed in 1973 in a limited edition of only 150 copies (there were an additional 50 artists proofs).
The editor was Paule Nemours.
The prints were mostly printed by Atelier Arcay in Paris but some of them were printed by other printers such as Michel Casse, Paris ; Mourlot,Paris ; Hans Baurle, Stuttgart ; Michel Caza, Franconville ; Franco Sciardelli, Milano.
list of artist, titles, technique and signatures:
1. Hans Arp, Composition, Silkscreen, hand signed by Max Bill.
2. Max Bill, Construction en deux parties, Silkscreen, hand signed by Max Bill
3. Alexander Calder, Composition, Lithograph, hand signed by Alexander Calder
4. Sonia Delaunay-Terk, Rythmes-Couleurs n.816, Silkscreen, hand signed by Sonia Delaunay-Terk
5. Cesar Domela, Compostion, Lithograph and Silkscreen, hand signed by Cesar Domela
6. Hans Erni, Spirale, Silkscreen, hand signed by Hans Erni
7. Hans Fischli, Spuren auf weissem grund 3, Lithograph, hand signed by Hans Fischli
8. Frantisek Foltyn, Composition, Silkscreen, hand signed by Frantisek Foltyn
9. Jean Gorin, Composition spatio-temporelle n.36, Silkscreen, hand signed by Jean Gorin
10. Jean Helion, Equilibre, Lithograph, hand signed by Jean Helion
11. Wassily Kandinsky, Composition, Silkscreen, hand signed by Nina Kandinsky
12. Theo Kerg, Graphisme, Silkscreen, hand signed by Theo Kerg
13. Frantisek Kupka, Abstraction, Silkscreen, stamped signed and authorized by A.G. Martinel
14. Fausto Molotti, Les deux spirales, Lithograph, hand signed by Fausto Molotti
15. Laszlo Moholy-Nagy, Construction, Silkscreen, hand signed by Hattula Hug-Moholy-Nagy
16. Piet Mondrian, Composition D, Silkscreen, hand signed by Max Bill.
17. Taro Okamoto, Espace, Lithograoh, hand signed by Taro Okamoto
18. Antoine Pevsner, Naissance de l'univers, Silkscreen, hand signed by Virgiania Pevsner
19. Mauro Reggiani, Ritmo geometric, Silkscreen, hand signed by Mauro Reggiani
20. Hans Schiess, L'appel, Silkscreen, hand signed by Hans Schiess
21. Henryk Stazewski, Obraz abstrakcyjny II, Silkscreen, hand signed by Henryk Stazewski
22. Wladyslaw Strzeminski, composition, Silkscreen, stamped signed by authorized by Muzeum Sztuki
23. Sophie Tauber Arp, Forme Bleue, Silkscreen,hand signed by Max Bill
24. Theo Van Doesburg, Composition, Silkscreen, stamped signed by Nelly Van Doesburg
25. George Vantongerloo, Y=-x2+bx+c rouge vert, Silkscreen, hand signed by Max Bill
26. Luigi Veronesi, Composition, Silkscreen,hand signed by Luigi Veronesi
27. Paule Vezelay, Grey picture, Silkscreen, hand signed by Paule Vezelay
28. Jean Villeri, Composition, Lithograph, hand signed by Jean Villeri
29. Friedrich Vordemberge-Gildewart, Compostion, Silkscreen,stamped signed by Leda Vordemberge
30. Gerard Vulliamy, Composition, Lithograph, hand signed by Gerard Vulliamy
Catedral de Zamora
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Catedral de Zamora
Bien de Interés Cultural
Patrimonio Histórico de España
Catedral de Zamora (fachada principal)2.JPG
Declaración 1889.
Figura de protección Monumento Nacional.
Coordenadas 41°29′57.98″N 5°45′15.36″O / 41.4994389, -5.7542667Coordenadas: 41°29′57.98″N 5°45′15.36″O / 41.4994389, -5.7542667
Ubicación Bandera de Zamora.svg Zamora, Bandera de EspañaEspaña.
Construcción 1140–1174.
Estilos predominantes Románico.
La Catedral de Zamora (Zamora, España), dedicada a El Salvador, se inscribe dentro del denominado Románico del Duero, distinguiéndose por ser la más pequeña y la más antigua de las once de la Comunidad de Castilla y León.[1] Fue declarada Monumento Nacional por Real Orden de 5 de septiembre de 1889. Su planta es de cruz latina con tres naves de cuatro tramos, las laterales con bóveda de arista y la central de crucería simple. Los tres ábsides que tenía en origen fueron sustituidos por una cabecera gótica en el siglo XVI. En el crucero se alza un cimborrio con un tambor de 16 ventanas sobre el que se levanta una cúpula de gallones revestidos con escamas de piedra y soportada con pechinas de clara influencia bizantina. Es el elemento más llamativo, bello y original del templo, y un verdadero símbolo de la ciudad.
Antecedentes históricos
Vista general desde el Castillo.
La ciudad de Zamora, situada sobre una meseta de indiscutible valor estratégico, junto al Duero, habitada al menos desde la etapa final de la Edad del Bronce, sobre la que se asentará el oppidum vacceo de Ocelodurum, por el que discurriría la calzada romana de Mérida a Astorga, que con la turbulenta llegada de los pueblos germanos se convertiría en el enclave suevo de Sinimure y, seguidamente, en el hispanogodo de Simure.
Tras la invasión musulmana, la ciudad de Zamora fue abandonada hasta que en el 893 fue recuperada, reconstruida y repoblada por cristianos vasallos de Alfonso III, venidos estos del norte cristiano y de Al-Ándalus: mozárabes de Toledo, Mérida y Coria. De las construcciones se harían cargo los toledanos, que levantarían defensas militares, iglesias, baños y un palacio regio... que llevaría a que en el 901 se dotara de obispado a esta ciudad, siendo nombrado Atilano su primer pastor.
Poco a poco la frontera será desplazada hacia el sur, hasta incluir las tierras situadas al norte del río Tormes, lo que dio pie a una incipiente situación de progreso de la ciudad de Zamora, solo quebrada por las aceifas de Almanzor (المنصور), que el 986 la conquistó y destruyó.
Durante el reinado de Fernando I (1035-1065) la frontera será definitivamente consolidada, hecho que permitió la renovación de la población zamorana mediante una segunda repoblación y que la misma recibiera un breve fuero, además de ser entregada como señorío a favor de Urraca, la hija del monarca. Durante los reinados de Alfonso VI y Alfonso VII se consolidó la repoblación extramuros, lo que contribuyó definitivamente al progresivo auge de la ciudad de Zamora, hecho que impuso la necesidad de contar con una catedral acorde al rango e importancia que la misma había adquirido, idea que recibiría su impulso definitivo cuando la diócesis de Zamora consiguió definitivamente en 1120 su propia sede, al ser elegido obispo Bernardo de Perigord, monje de Sahagún y chantre de Toledo
En el reinado de Alfonso VII, el edificio que servía de sede, San Salvador, seguramente levantado en el mismo lugar que hoy ocupa la catedral, parece que no reunía las condiciones necesarias, motivando que el rey en 1135 donase la iglesia de Santo Tomás para que provisionalmente hiciese las veces de catedral. Entre 1150 y 1160 se documentan importantes mandas a la seo y nueve años más tarde, en 1169 ya hay documentación que corrobora la existencia de un templo románico.
[editar] Origen y construcción
Vista general del castillo y catedral de Zamora .
La construcción de la catedral se atribuye al obispo Esteban, sucesor de Bernardo, levantada seguramente sobre el local de la anterior, en lo mejor de la ciudad, junto al castillo, y patrocinada por Alfonso VII el Emperador y su hermana, la infanta-reina Sancha Raimúndez. Respecto a las fechas de inicio y final de las obras de la catedral, no hay acuerdo entre los autores, si bien existen una serie de datos que permiten hacer algunas precisiones.
«Esta casa se hizo sobre la salomónica que la precedió. Aquí añadid la fe. Y esta casa sucede a aquella por su magnificencia y coste. Se realizó en veintitrés años desde que se cimentó. Se consagró con la ayuda del Señor el año MCLXXIII, teniéndose a Esteban por su constructor».
Tradicionalmente se ha admitido que la fábrica se alzó de un solo tirón en tan solo 23 años (1151-1174), como parece atestiguar un epígrafe situado en el extremo norte del crucero en el que se copiaron otros más antiguos referentes a la breve historia de la catedral y epitafios de los tres primeros obispos. El que nos interesa dice así:
Recientes y meticulosos análisis de la documentación existente han permitido asegurar que las obras, al menos las de cimentación, estaban ya en marcha en 1139, en tiempos del obispo Bernardo y que, a su muerte, ya estaban edificadas la cabecera, nave meridional y portada de este lado pues fue enterrado en el lado sur, correspondiendo la continuación de la construcción a Esteban que la consagró en 1174, aunque este último detalle no supuso la terminación de las obras, ya que las mismas continuaron durante el obispado de su sucesor, Guillermo (1176-1192), que levantaría el transepto y el cuerpo de la iglesia, en tanto que el claustro y la torre estaban en obras en el primer tercio del s. XIII.
La insólita celeridad de su fábrica se tradujo en una unidad de estilo poco frecuente en aquel siglo y en una extrema austeridad decorativa, más propia de lo cisterciense que de otros templos coetáneos de la península. Aun así, se proyectó según los cánones borgoñones clásicos y, sobre su marcha, se introdujeron sustanciales novedades en la cobertura por influencia cisterciense y oriental. Las bóvedas de ojivas de su nave central son de las más tempranas de España y anuncian ya el gótico.
Un sólo maestro, anónimo como es habitual, la proyectó y dirigió su construcción. Para Gómez-Moreno era foráneo y figura de primer orden, seguramente francés traído por el obispo Bernardo, y hubo de estar en contacto con los maestros al servicio de los normandos en Sicilia, donde los orientalismos estaban al orden del día. Sin embargo, no se le puede identificar con el "Guillermo maçonerius" o el "Munendo pedreyo" que figuran en documentos de la época, ni tampoco con el "magister Oddo" que aparece dirigiendo los trabajos en 1182. Su personalidad habría de imponerse a otras en otras construcciones del valle del Duero, especialmente en Toro, Salamanca, Ciudad Rodrigo y Benavente. En las últimas fases debió intervenir el maestro Fruchel cuya presencia está documentada entre el 1182 y 1204.
[editar] Descripción
Torre del Salvador.
El templo románico, tiene planta de tres naves, en origen tres ábsides, que debían ser parecidos a los de la colegiata de Toro y que se sustituyeron en el siglo XV por los actuales góticos y un crucero poco marcados en planta. Los transeptos se cubren con bóvedas de cañón apuntado, las naves laterales con bóvedas de arista capilazadas, y la nave central con bóveda de crucería tardorrománica o protogótica.
Sobre el crucero, apoyado internamente, se alza el cimborrio, que es un tambor perforado por 16 ventanas sobre el que se elevan las dos cúpulas, una interna semicircular, gallonada, y otra externa ligeramente apuntada. sus formas. Tiene planta de cruz latina, tres naves de cuatro tramos y tres ábsides que fueron sustituidos por una cabecera gótica en el siglo XVI. El exterior se ameniza con cuatro cupulines que sirven para reforzar las esquinas y cuatro frontones hacia los puntos cardinales que apuntalan la bóveda. Es, con su decoración exterior de escamas, el elemento más destacado del templo y un auténtico símbolo de la ciudad. De «obra genial sin paralelo en la arquitectura medieval» la calificó el historiador José Ángel Rivera de las Heras, quien añade que se convirtió en «cabeza de serie de obras semejantes en la Catedral Vieja de Salamanca, la Colegiata de Toro o la sala capitular de la seo de Plasencia»,[2] singular grupo que fue denominado por el historiador Manuel Gómez-Moreno como cimborrios bizantino-leoneses.
Hay que destacar también el coro, que fue construido entre 1512 y 1516 por Juan de Bruselas. La sillería del coro destaca por la abundancia de temas de carácter profano: escenas basadas en fábulas, proverbios, refranes, mitología y también de la vida cotidiana.
La torre del Salvador, de 45 m de altura, se construyó a lo largo del siglo XIII aunque el estilo es románico. En tiempos debió de estar almenada. Sirvió hasta el terremoto de Lisboa como cárcel del Cabildo.
Desde el claustro se accede al Museo Catedralicio, que alberga una importante colección de tapices.
El interior del templo posee numerosos símbolos e inscripciones en sus muros que aún hoy siguen descubriéndose, como la que recientemente se ha recuperado de antiguas y desafortunadas intervenciones que hace mención a posesiones de la iglesia en "Orlelos" y "Carvillino" (actuales Roelos y Carbellino).
[editar] Retablos mayores
Cúpula románica gallonada.
Cuatro han sido los retablos mayores que ha tenido. El original románico fue sustituido por uno de estilo gótico hispano-flamenco, realizado por el pintor Fernando Gallego y su taller entre 1490 y 1494. Éste a su vez fue vendido en 1715 a la parroquia del pueblo de Arcenillas (a 7 kilómetros de la capital), por 3240 reales y algunas cargas de grano. Se desconoce cuántas tablas lo integraban, aunque se sabe que eran al menos 35. Con la desamortización 19 fueron a parar a manos del ejecutor de la misma en la zona, Manuel Ruiz-Zorrilla (dos descendientes suyos donaron en 1925 al Obispado las dos que se exhiben en el Museo Diocesano). En el inventario realizado en 1897 faltaba otra más, que no se había recuperado tras una exposición. El número continuó menguando con el paso del tiempo, pues de estas 15, cuatro fueron robadas el 22 de noviembre de 1993 y hasta la fecha no han sido recuperadas. De las otras 24 tablas sólo se conoce el paradero de tres: 2 se conservan actualmente en el Museo Diocesano: "Pentecostés" y "Noli me tangere", y otra más en el Museo de Bellas Artes de Asturias, "Adoración de los Magos", en el que ingresó en 1994, integrada en el conjunto de obras de la colección Masaveu que dicho museo recibió como dación de pago del impuesto de sucesiones de Pedro Masaveu. Este último cuadro fue identificado como procedente de Arcenillas en 2005 gracias a las investigaciones del zamorano Enrique Rodríguez García.[3] Ya antes de las tablas del altar mayor, la catedral había encargado a Gallego otro retablo para la capilla de San Ildefonso a finales de la década de 1470 (éste conservado in situ) y que está considerado como la obra más temprana de cuantas se conservan del pintor. El sustituto del retablo gótico fue un altar barroco del escultor Joaquín Benito Churriguera, de efímera vida, puesto que sufrió daños por el terremoto que el 1 de noviembre de 1755 arrasó Lisboa (cuyos efectos se sintieron también en otras provincias españolas) y a consecuencia de ello fue desmontado en 1758, siendo malvendido al año siguiente, parece ser que para hacer fuego, desapareciendo con ello la que según los datos que se conocen constituyó la obra cumbre de su autor. Lo sustituyó el actual, de mármoles y bronce dorado, diseñado en estilo neoclásico por Ventura Rodríguez, para el que se inspiró en el que había diseñado Sabatini para la Catedral de Segovia.
[editar] Epitafio de la infanta Sancha Raimúndez
En el muro izquierdo del presbiterio de la Catedral se encuentra colocado un epitafio, compuesto en 1620-1621 por Alonso de Remesal, en el que se consigna que la infanta Sancha Raimúndez, hija de la reina Urraca I de León y hermana de Alfonso VII el Emperador, recibió sepultura allí:
"HIC IACET ILLUSTRIS DOMINA SANCIA INFANTISSA SOROR ADEPHONSI IMPERATORIS" [4]
No obstante, a pesar de dicho epitafio y de los documentos y libros que señalan que la infanta Sancha recibió sepultura en la Catedral de Zamora, caso del historiador Fray Joseph Pérez en su obra "Historia del Real Monasterio de Sahagún",[5] el cadáver de la infanta Sancha recibió sepultura en el Panteón de Reyes de San Isidoro de León, donde en la actualidad se conserva su cadáver incorrupto.[6]
[editar] Puerta del Obispo
Puerta del Obispo.
La Puerta del Obispo es la única que se mantiene completa de las tres originales. Es junto al cimborrio la pieza más valiosa de todo lo románico de la Catedral de Zamora constituyendo un ejemplo de decoración arquitectónica, sin apenas escultura.
Se divide en tres calles que a su vez están divididas en dos pisos, los inferiores contienen sendos arquillos con lo mejor de la escultura románica zamorana, uno, con San Juan y San Pablo y otro con una Virgen Theotokos. En el siguiente piso sólo aparece una arquería ciega.
Rematando todo el conjunto se yerguen sobre los estribos y las dos pilastras acanaladas que recorren la fachada tres arcos ligeramente apuntados que conforman el remate del hastial.
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Catedral de Zamora
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Catedral de Zamora
Cultural Property
Spain's Historical Heritage
Zamora Cathedral (façade) 2.JPG
Declaration 1889.
Figure national monument protection.
Coordinates 41 ° 29'57 .98 "N 5 ° 45'15 .36" W / 41.4994389,-5.7542667Coordenadas: 41 ° 29'57 .98 "N 5 ° 45'15 .36" W / 41.4994389, -5.7542667
Zamora Zamora.svg Location Flag, Flag of EspañaEspaña.
Construction 1140-1174.
Prevailing Romanesque styles.
La Catedral de Zamora (Zamora, Spain), dedicated to El Salvador, is part of the Duero called Romanesque, distinguished for being the smallest and oldest of the eleven of the Community of Castilla y León. [1] was declared National monument by Royal Decree on September 5, 1889. Its plan is a Latin cross with three naves with four sections, the lateral cross-vaulted and ribbed central simple. The three apses that had originally been replaced by a header in the sixteenth century Gothic. In the transept stands a dome with a drum of 16 windows on which stands a dome of gallons of stone covered with scales and supported with clear scallops of Byzantine influence. Is the most striking, beautiful and original temple, and a true symbol of the city.
Historical Background
General view from the Castle.
The city of Zamora, situated on a plateau of undeniable strategic value along the Douro River, inhabited since at least the final stage of the Bronze Age, it will sit on the oppidum of Ocelodurum vacceo on the Roman road would run Merida to Astorga, with the turbulent arrival of the Germanic peoples became the enclave of Sinimure Swabian and then in the hispanogodo of SIMUR.
After the Muslim invasion, the city of Zamora was abandoned until the 893 was recovered, rebuilt and repopulated by Christians vassals of Alfonso III, come these Christian north and Al-Andalus: Mozarabic Toledo, Merida and Coria. Of buildings would be in charge of Toledo, which would raise military defenses, churches, baths and a royal palace ... leading to that at 901 was endowed a bishopric in this city, was appointed its first pastor Atilano.
Gradually, the border will be shifted to the south to include land north of the river Tormes, which led to an incipient state of progress of the city of Zamora, only broken by the aceifas Almanzor (المنصور), which the conquered and destroyed 986.
During the reign of Ferdinand I (1035-1065) the border will be definitely established, which allowed the renewal of the population by a second stocking Zamora and that it received a brief jurisdiction, as well as being given dominion for Urraca the daughter of the monarch. During the reign of Alfonso VI and Alfonso VII was consolidated extramural repopulation, which definitely contributed to the gradual rise of the city of Zamora, a fact which made it necessary to have a cathedral according to the range and importance that it had acquired, idea would receive his final drive when the diocese of Zamora finally got its own seat in 1120, being elected Bishop Bernardo de Perigord, monk and bard of Toledo Sahagún
In the reign of Alfonso VII, the building served as headquarters, San Salvador, probably built in the same place now occupied by the cathedral, it seems that did not meet the necessary conditions, prompting the king in 1135 donate the church of Santo Tomás tentatively it could make the times of a cathedral. Between 1150 and 1160 are documented important to send seo-nine years later, in 1169 and there is documentation that supports the existence of a Roman temple.
[Edit] Origin and Construction
Overview of the castle and cathedral of Zamora.
The construction of the cathedral is attributed to Bishop Stephen, successor Bernardo, built probably on the premises of the above, to the best of the city, next to the castle, and sponsored by Alfonso VII the Emperor and his sister, Princess-Queen Raimundez Sancha. Regarding the start and end dates of the works of the cathedral, there is no agreement among authors, although there are some data that allow for some clarifications.
"This house was made on the Solomonic that preceded it. Here add faith. And this house happens to that by their magnificence and cost. Was performed in twenty-three years since cemented. He devoted himself to the Lord's help MCLXXIII year, taking its constructor Stephen. "
Traditionally, the factory has admitted that rose from a single pull in just 23 years (1151-1174), as seems to witness a section located at the north end of the cruise where the older ones were copied for the brief history of Cathedral and epitaphs of the first three bishops. That concerns us reads as follows:
Recent and thorough analysis of existing documentation have ensured that the work, at least the foundation, were already under way in 1139, at the time of Bishop Bernardo and at his death, were already built the headboard, south aisle and cover because this side was buried on the south side, corresponding to the continuation of construction Stephen consecrated in 1174, although the latter detail is not meant the end of the work, since they continued during the bishopric of his successor, William (1176-1192), which would raise the transept and the body of the church, while the cloister and the tower was under construction in the first third of s. XIII.
The unusual speed of the factory resulted in a rare unity of style that age and in extreme austerity decorative, more typical of the Cistercian that of other contemporary temples of the peninsula. Still, it was projected as the classic Burgundian fees on their march, were introduced substantial innovations in coverage and Eastern Cistercian influence. Warheads vaults of the central nave are of the earliest of Spain and announce and the Gothic.
A single master, anonymous as usual, planned and directed its construction. For Gómez-Moreno was foreign and figure of the first order, the French probably brought by Bishop Bernardo, and had to be in contact with teachers in the service of the Normans in Sicily, where the Oriental was on the agenda. However, you can not identify with the "William maçonerius" or "Munendo pedreyo" in documents of the time, nor with the "magister Oddo" link directing the work in 1182. His personality would be imposed on others in other buildings of the Douro Valley, especially in Toro, Salamanca, Ciudad Rodrigo y Benavente. In the final stages the teacher had to intervene Fruchel whose presence is documented between 1182 and 1204.
[Edit] Description
Torre del Salvador.
The Romanesque church has three naves, three apses at source, which should be similar to the collegiate church of Toro and is replaced in the fifteenth century by the present Gothic and a cruise lightly marked on the ground. The transepts are covered with pointed barrel vaults, the aisles with capilazadas vaults and the central nave vaulting late Romanesque or protogothic.
On the cruise, domestic support, the dome stands, a drum pierced by windows 16 rising on the two domes, a semicircular inner, fluted, slightly pointed and external. its forms. It has a Latin cross plan, three aisles and three apses four sections which were replaced by a header in the sixteenth century Gothic. The exterior is enlivened with four cupolas that serve to reinforce the corners and four gables to the cardinal points that underpin the vault. Is, with its exterior decoration of scales, the most prominent feature of the temple and a true symbol of the city. Of 'work of genius without parallel in medieval architecture, "the historian called José Angel Rivera de las Heras, who adds that he became Head of a series of similar works in the Old Cathedral of Salamanca, Toro or collegiate chapter house of the Cathedral of Piacenza ', [2] singular group that was called by historian Manuel Gómez-Moreno and Byzantine domes and Leon.
We must also mention the choir, which was built between 1512 and 1516 by Juan de Bruxelles. The choir stalls noted for the abundance of profane themes: scenes based on fables, proverbs, mythology and everyday life.
Salvador tower, 45 meters high, was built during the XIII century, though the style is Romanesque. At times he must have been embattled. He served until the Lisbon earthquake as a prison of the Cabildo.
From the cloister you access to the Cathedral Museum, which houses an important collection of tapestries.
Inside the temple has many symbols and inscriptions on the walls that still continue to be discovered, as has recently been recovered from ancient and unfortunate interventions referred to possessions of the church in "Orlelos" and "Carvillino (Roel and current Carbellino).
[Edit] Altarpiece
Roman fluted dome.
There were four major altarpieces he has had. The original Romanesque was replaced by a Hispano-Flemish Gothic style, designed by the painter Fernando Gallego and his workshop between 1490 and 1494. This in turn was sold in 1715 to the parish of Arcenillas town (7 kilometers from the capital), by 3240 real and some loads of grain. It is unknown how many tables this package, although it is known that they were at least 35. With the seizure 19 were placed in the hands of the executor of the same in the area, Manuel Ruiz-Zorrilla (two in 1925 his descendants donated to the Bishop both on display at the Diocesan Museum). In the inventory made in 1897 was missing one more, which had not recovered after exposure. The number continued to wane over time because of the 15, four were stolen on November 22, 1993 and to date have not been recovered. Of the other 24 tables only knows the whereabouts of three: 2 are kept in the Diocesan Museum: "Pentecost" and "Noli me tangere", and another in the Museo de Bellas Artes de Asturias, "Adoration of the Magi" , which joined in 1994, integrated into the whole works in the collection that the museum Masaveu received payment in lieu of inheritance tax Peter Masaveu. The latter scenario was identified as coming from Arcenillas in 2005 thanks to the research of Enrique Zamora Rodríguez García. [3] Even before the boards of the altar, the cathedral was commissioned Gallego another altarpiece for the chapel of San Ildefonso in late the decade of 1470 (the latter conserved in situ) and is considered the earliest work of all those kept by the painter. The replacement was a Gothic altar altar Joaquín Benito Baroque sculptor Churriguera of ephemeral life as it was damaged by the earthquake that the November 1, 1755 devastated Lisbon (whose effects were felt in other Spanish provinces) and as a result was dismantled in 1758, being undersold in the following year, it seems to fire, thereby disappearing according to the data known was the masterpiece of its author. He was replaced by the current, marble and gilded bronze, designed in neoclassical style by Ventura Rodriguez, who was inspired by Sabatini had designed for the Cathedral of Segovia.
[Edit] Epitaph of the Infanta Sancha Raimundez
On the left wall of the chancel of the Cathedral is placed an epitaph, composed by Alonso de Remesal 1620-1621, in which it is stated that the Infanta Sancha Raimundez, daughter of Queen Urraca I of León and the sister of Alfonso VII Emperor, was buried there:
"HIC IACET illustris DOMINA Sanctions INFANTISSA Soror ADEPHONSI Imperatoris [4]
However, despite the epitaph and the documents and books that say that the Infanta Sancha was buried in the Cathedral of Zamora, where the historian Fray Joseph Perez in his book "Historia del Real Monasterio de Sahagún", [5] Infanta Sancha's corpse was buried in the Pantheon of Kings in San Isidoro of León, where he currently retains its corpse. [6]
[Edit] Bishop's Gate
Bishop's Gate.
The Bishop's Gate is the only complete remains of the three originals. It is next to the dome the most valuable piece of everything Romanesque Cathedral of Zamora being an example of architectural decoration, not just sculpture.
It is divided into three blocks which in turn are divided into two floors, each contain lower arches with the best of Romanesque sculpture Zamora, one with San Juan and San Pablo and the other with a Virgin Theotokos. On the next floor just get a blind arches.
Topping the whole stand in the stirrups and two fluted pilasters along the façade three slightly pointed arches that form the top of the gable.
A famous photo by Boris Ignatovich, a constructivist Soviet photographer. A great photo, it was an inspiration for me to try my own hand at a similar composition. Trying to reproduce the old classic photo, you realize how much Ignatovich put into his picture when he shot it in the 1930s. For one, his photo brings out the veins in the foot, giving the Hermitage Atlantes a certain proletarian interpretation. The pic is practically saying: look what hard work it is to be the base of support for all of this fancy superstructure--the imperial state, its arts, its prestige. One can also think about his angle of view as one embodying the base in the Marxist sense of the material base and the view of the old culture as the superstructure as Marx understood it (the mindfuck for the proletariat); Ignatovich revealed to us the proletarian base of the emblem of the cultural superstructure, the Hermitage. In a way, the picture echoes Andrey Platonov: the way his proles tend to see the world: through the physical effort, sweat, and relentless labor.
But from the vantage point of the post-communist age, the foot dominating the agora may be seen as the "iron heel" of the state, the foot of the leviathan oppressing the little human figures and their environment. Bravo, Ignatovich!
One of a series of digital abstractions inspired by the Constructivist movement begun in Russia.
Constructivism was a post-First World War outgrowth of Russian Futurism, and particularly of the 'corner-counter reliefs' of Vladimir Tatlin, which had been exhibited in 1915. The term itself would be coined by the sculptors Antoine Pevsner and Naum Gabo, who developed an industrial, angular approach to their work, while its geometric abstraction owed something to the Suprematism of Kasimir Malevich. ....the theorists Alexei Gan, Boris Arvatov and Osip Brik would arrive at a definition of Constructivism as the combination of faktura: the particular material properties of the object, and tektonika, its spatial presence. Initially the Constructivists worked on three-dimensional constructions as a first step to participation in industry: the OBMOKhU (Society of Young Artists) exhibition showed these three dimensional compositions, by Rodchenko, Stepanova, Karl Ioganson and the Stenberg Brothers. Later the definition would be extended to designs for two-dimensional works such as books or posters, with montage and factography becoming important concepts.
These works are most influenced by Vladimir Tatlin's 'tower'. en.wikipedia.org/wiki/Image:TatlinMonument3int.jpg
"The canonical work of Constructivism was Vladimir Tatlin's proposal for the Monument to the Third International (1919) which combined a machine aesthetic with dynamic components celebrating technology such as searchlights and projection screens. Gabo publicly criticized Tatlin's design saying Either create functional houses and bridges or create pure art, not both. This had already led to a major split in the Moscow group in 1920 when Gabo and Pevsner's Realistic Manifesto asserted a spiritual core for the movement. This was opposed to the utilitarian and adaptable version of Constructivism held by Tatlin and Rodchenko. Tatlin's work was immediately hailed by artists in Germany as a revolution in art: a 1920 photo shows George Grosz and John Heartfield holding a placard saying 'Art is Dead - Long Live Tatlin's Machine Art', while the designs for the tower were published in Bruno Taut's magazine Fruhlicht.
Bryce Hudson
Untitled Composition (#26)
2013
Oil and Acrylic on Arches Watercolor Board with Wood and Mixed Media Adhesive
3 Separate pieces consisting of the following:
Total Size: 12″ x 12″ x .5″ (Framed)
Framed archival – Floating with permanent hinging on white acid-free mat board – Clear Glass
Signed and dated lower right in pencil.
I'm at www.brycehudson.com