Cities and Sites Photograph Collection, Circa 1850-Circa 1949
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Constructing Contemporary Nationhood in the Museums and Heritage Centres of Catalonia Colin Breen*, Wes Forsythe**, John Raven***
170 Constructing Contemporary Nationhood in the Museums and Heritage Centres of Catalonia Colin Breen*, Wes Forsythe**, John Raven*** Abstract Geographically, Spain consists of a complex mosaic of cultural identities and regional aspirations for varying degrees of autonomy and independence. Following the end of violent conflict in the Basque country, Catalonia has emerged as the most vocal region pursuing independence from the central Spanish state. Within the Catalan separatist movement, cultural heritage sites and objects have been appropriated to play an intrinsic role in supporting political aims, with a variety of cultural institutions and state-sponsored monumentality playing an active part in the formation and dissemination of particular identity-based narratives. These are centred around the themes of a separate and culturally distinct Catalan nation which has been subject to extended periods of oppression by the varying manifestations of the Spanish state. This study addresses the increasing use of museums and heritage institutions to support the concept of a separate and distinctive Catalan nation over the past decade. At various levels, from the subtle to the blatant, heritage institutions are propagating a message of cultural difference and past injustice against the Catalan people, and perform a more consciously active, overt and supportive role in the independence movement. Key words: Catalonia, museums, heritage, identity, nationhood Across contemporary Europe a range of nationalist and separatist movements are again gaining momentum (Borgen 2010). From calls for independence in Scotland and the divisive politics of the Flemish and Walloon communities in Belgium, to the continually complicated political mosaic of the Balkan states, there are now a myriad of movements striving for either greater or full autonomy for their region or peoples. -
Architecture and the Arts in Catalonia During the Renaissance
CATALAN HISTORICAL REVIEW, 9: 45-70 (2016) Institut d’Estudis Catalans, Barcelona DOI: 10.2436/20.1000.01.121 · ISSN: 2013-407X http://revistes.iec.cat/chr/ Architecture and the arts in Catalonia during the Renaissance Joaquim Garriga* Universitat de Girona Received 20 March 2015 · Accepted 10 April 2015 Abstract This is an overview of the process of transformation of the architecture, sculpture and painting of Catalonia during the Renaissance. It attempts to reconstruct the fundamental era of changes when the late Gothic models were replaced by the new Renaissance paradigm gestated in Italy, thus ushering in the modern cycle of arts in the country. Despite the relative dearth of a Catalan historiographic tra- dition that studies and explains the cultural heritage from this period – which was decimated by the massive destruction in the 19th and 20th centuries, which particularly targeted religious works – we begin to trace the major outlines of the process of assimilating the Renaissance which got underway in the 16th century and did not culminate until well into the 17th century. What emerges is the no- table volume of artistic output undertaken, the main agents and factors in the transformation, the slow yet steady pace of the incorpo- ration of changes, the long phase of hybridisation and the uneven acceptance of Renaissance features depending on the different pa- rameters of architecture or figurative arts considered. Keywords: architecture, sculpture, Renaissance, Catalonia The artistic output of the 16th century in Catalonia re- Thus, instead of calling the works made in Catalonia fol- flects processes of structural change which, just like in so lowing the new model the “arts of the Renaissance”, per- many other national territories in Europe, took place and haps we should call them something more neutral and can be explained through the import of models originat- simpler, like “art from the Renaissance period”.1 ing in Italy. -
Catalonia Accessible Tourism Guide
accessible tourism good practice guide, catalonia 19 destinations selected so that everyone can experience them. A great range of accessible leisure, cultural and sports activities. A land that we can all enjoy, Catalonia. © Turisme de Catalunya 2008 © Generalitat de Catalunya 2008 Val d’Aran Andorra Pirineus Costa Brava Girona Lleida Catalunya Central Terres de Lleida Costa de Barcelona Maresme Costa Barcelona del Garraf Tarragona Terres Costa de l’Ebre Daurada Mediterranean sea Catalunya Index. Introduction 4 The best destinations 6 Vall de Boí 8 Val d’Aran 10 Pallars Sobirà 12 La Seu d’Urgell 14 La Molina - La Cerdanya 16 Camprodon – Rural Tourism in the Pyrenees 18 La Garrotxa 20 The Dalí route 22 Costa Brava - Alt Empordà 24 Vic - Osona 26 Costa Brava - Baix Empordà 28 Montserrat 30 Maresme 32 The Cister route 34 Garraf - Sitges 36 Barcelona 38 Costa Daurada 40 Delta de l’Ebre 42 Lleida 44 Accessible transport in Catalonia 46 www.turismeperatothom.com/en/, the accessible web 48 Directory of companies and activities 49 Since the end of the 1990’s, the European Union has promoted a series of initiatives to contribute to the development of accessible tourism. The Catalan tourism sector has boosted the accessibility of its services, making a reality the principle that a respectful and diverse society should recognise the equality of conditions for people with disabilities. This principle is enshrined in the “Barcelona declaration: the city and people with disabilities” that to date has been signed by 400 European cities. There are many Catalan companies and destinations that have adapted their products and services accordingly. -
Download Lecture Handout
Osher Lifelong Learning Institute Carnegie Mellon University The Architecture of Antoni Gaudí Summer Session 2020 (Online Zoom) Matthew Schlueb, Instructor Lecture 3: Natural Form (2020.07.13) leitmotif: Natural Form: True dimensions, more than tectonic or structural, dematerialized, spiritualized, not cold abstractions but living, inimitable, super academic, the Mediterranean and Catalan temperament for straight-forward, strict, hyper-realistic, derived from the observation of nature, a natural grammar, topographical, climatic, a reflection of eternal life. More than beauty of form, but truth of expression, inner truth, reflected in the features of the face, in gestures, the behavior of being as a whole, the soul. “Art is beauty and beauty is the glow of truth without which it would not exist. To possess truth, one must study things in depth. As for beauty, it is life, which is manifest in the human form through movement.” - Gaudi, speaking in agreement with the work of Rodin manifesto: Sagrada Familia Nativity Façade (1892-1910): Art into the service of religion. Gestured form creating activated space, charged emotionally, making a place meaningful. Funded and constructed by the common man, the community, a church of the people. Idealized public building and community partnership, modeled after the socialist craftsman guilds sought in the Poblet monastery, found in the church of Santa Maria del Mar, and realized in the Mataró Workers Cooperative, Colònia Güell, now Sagrada Familia. “…whose portal will be large enough for all humanity to pass through.” “Architecture is the first of the plastic arts, sculpture and painting depend on it. An architect is a man of synthesis who has a vision of plasticity – which is an overall vision – and who places objects in relation to each other in distance, he groups them together rather than dispersing them, he generalizes and sees what exists and what does not exist. -
Structural Assessment of the Roman Wall and Vaults of the Cloister of Tarragona Cathedral
Structural Assessment of the Roman Wall and Vaults of the Cloister of Tarragona Cathedral Abstract The Mediterranean city of Tarragona was a capital city in Roman times. Nowadays, the remains of the ancient constructions coexist with many subsequent buildings. This is the case of the Gothic Cathedral cloister, whose walls partially take advantage of the remains of the temenos’s wall. This paper focuses on the assessment of that unique overlapping of construction phases. The investigation is performed through an unprecedented topographical survey by means of massive data capture techniques. This information is the basis for the mechanical assessment of the equilibrium conditions of the northern corner of the gallery, which is performed on the well-known theoretical framework of limit analysis by means of thrust lines. The study allowed to enhance the understanding about the equilibrium conditions and the deformation processes of the gallery masonry elements, where the mechanical relation between the Roman and Gothic walls is essential. Keywords 3D model, Structural assessment, Graphic documentation techniques Mª Amparo Núñez-Andrés 1), Felipe Buill 2), Agusti Costa 3), Josep Maria Puche 4) 1) Department of Geotechnical Engineering and Geo-Sciences (ETCG). Universitat Politècnica de Catalunya. [email protected] 2) Department of Geotechnical Engineering and Geo-Sciences (ETCG). Universitat Politècnica de [email protected] 3) Universitat Rovira i Virgili. ETSA Reus, Campus Bellissens. [email protected] 4) ICAC, Institut Català d’Arqueologia Clàssica [email protected] 1 Introduction The city of Tarragona is located at the Mediterranean coast of Catalunya (Spain). Known as Tarraco, it was a capital city in Roman times and until eighth century. -
Study Photographs of Ancient Mural Painting
http://oac.cdlib.org/findaid/ark:/13030/c8r212r3 No online items PRELIMINARY INVENTORY OF THE STUDY PHOTOGRAPHS OF ANCIENT MURAL PAINTING Finding aid prepared by Ann Harrison PRELIMINARY INVENTORY OF THE 76.P.16 1 STUDY PHOTOGRAPHS OF ANCIENT MURAL PAINTING ... Descriptive Summary Title: Study photographs of ancient mural painting Date (inclusive): 1900s Number: 76.P.16 Creator/Collector: Getty Research Institute Physical Description: 13.8 linear feet(66 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: A collection of modern photographs of ancient wall paintings, both in situ and detached, assembled by the Getty Research Institute. The collection's concentration is on works of the Greek, Etruscan, and Roman periods, 6th century BC-6th century AD. Language: Collection material is in English Biographical/Historical Note In 1974, the J. Paul Getty Museum began assembling a "photo library" by consolidating the visual resources of each existing curatorial department. By the early 1980s, the Photo Archive was actively acquiring large collections of photographs from commercial and private sources and scholars' archives that contained a photographic component. In 1983, the nearly one million photographs of the Photo Archive were incorporated into the Research Institute's Special Collections. Other Finding Aids The Photo Archive Database includes photograph level access to approximately 46% of the photographs in this collection. Access Open for use by qualified researchers. For further information, consult the Guide to the Photo Archive and Database . Publication Rights Photographs and permission to publish must be obtained from copyright holder(s). -
Tecla, Pablo Y El Frontal Del Altar De La Catedral De Tarragona En El Contexto Creativo Del Tardorrománico Hispano: Propuesta De Datación E Interpretación*
ANUARIO DE ESTUDIOS MEDIEVALES 49/2, julio-diciembre de 2019, pp. 645-682 ISSN 0066-5061 https://doi.org/10.3989/aem.2019.49.2.10 TECLA, PABLO Y EL FRONTAL DEL ALTAR DE LA CATEDRAL DE TARRAGONA EN EL CONTEXTO CREATIVO DEL TARDORROMÁNICO HISPANO: PROPUESTA DE DATACIÓN E INTERPRETACIÓN* THECLA, PAUL AND THE ALTAR FRONTAL OF THE CATHEDRAL OF TARRAGONA IN THE CREATIVE CONTEXT OF LATE SPANISH ROMANESQUE ART: A PROPOSED DATE AND INTERPRETATION ESTHER LOZANO LÓPEZ UNED https//orcid.org/ 0000-0003-0513-4748 CÉSAR GARCÍA DE CASTRO VALDÉS Museo Arqueológico de Asturias https://orcid.org/ 0000-0003-3253-7796 Resumen: El imponente frontal de mármol que ornamenta el altar de la catedral de Tarragona permite ahondar en el dilatado proceso histórico de la restauración de la sede metropolitana. Los confl ictos eclesiásticos generados a partir del proceso de segregación jurisdiccional respecto a la metrópolis de Narbona, la rivalidad con Toledo a propósito de la primacía hispánica y la voluntad de subrayar la fundación apostólica de la sede explican la dedicación a santa Tecla (discípula de Pablo, isoapóstolos y protomártir) y el extraordinario programa iconográfi co que plasma una versión de los Acta Pauli et Teclae. El prestigio de la caput ecclesiarum totius Citerioris Hispaniae (en palabras del arzobispo Oleguer) se refl eja en la creación de una obra de calidad excepcional que se inserta en las innovadoras corrientes escultóricas del tardorrománico hispano. El objetivo principal de este trabajo es ofrecer una datación más temprana y una nueva lectura iconográfi ca para este altar. Palabras clave: frontal de altar; románico; primacía metropolitana; Tecla; exaltación paulina; trans- fi guración; catedral de Tarragona. -
Qt23v1549x.Pdf
eScholarship California Italian Studies Title Of Plaster Casts and Monks: Images of Cultural Heritage in Risorgimento Italy Permalink https://escholarship.org/uc/item/23v1549x Journal California Italian Studies, 6(1) Author Napoli, J. Nicholas Publication Date 2016 DOI 10.5070/C361028600 License https://creativecommons.org/licenses/by-nc/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Of Plaster Casts and Monks: Images of Cultural Heritage in Risorgimento Italy J. Nicholas Napoli The Risorgimento and the Image of Italian Culture Ernst Renan famously articulated the cultural, political, and social ideal of the modern nation state in his 1882 lecture “What is a Nation?/Qu’est-ce qu’une nation?” Speaking in the midst of the territorial disputes over the Franco-German border regions of Alsace and Lorraine, Renan defined a nation not by geography, race, ethnicity, or language, but rather a shared sense of moral conscience that was acutely aware of its own past. He defined this conscience as the common possession of a “rich legacy of memories” and the shared desire to honor and perpetuate its values in the present day.1 He called this “the social capital upon which one bases a national idea.”2 A comparable question of political and cultural identity faced the nascent Kingdom of Italy in the middle of the nineteenth century. With Giuseppe Garibaldi’s conquest of Sicily and occupation of Naples and southern Italy in 1860, the Sardinian/Piedmontese monarch Vittorio Emanuele II could lay claim to the crown of a unified state that comprised most of the peninsula. -
Contemporary and Historical Photographs of Pompeii As Well As
YA L E UNIVERSITY A R T PRESS For Immediate Release GALLERY RELEASE March 2, 2018 POMPEII: PHOTOGRAPHS AND FRAGMENTS Contemporary and historical photographs of Pompeii as well as selected ancient objects offer a fresh perspective on the first-century Roman town March 2–August 19, 2018 March 2, 2018, New Haven, Conn.—The ancient city of Pompeii—both destroyed and preserved by the eruption of Mount Vesuvius in a.d. 79—has captured public imagination since it was first excavated in 1748. Questioning the established per- ception of Pompeii as a city frozen in time, Pompeii: Photographs and Fragments highlights the changing representations of the site since its rediscovery. The exhibition presents contemporary photo- graphs by William Wylie and An-My Lê, m.f.a. 1993, and a selection of 19th-century photographs by Edmund Behles, Robert Rive, and Giorgio Sommer William Wylie, Peristyle, House of the Colored Capitals or House of alongside an 18th-century etching by Francesco Ariadne (VII.4.31), 2015. Pigmented inkjet print. Yale University Art Gallery, Gift of the artist. © William Wylie Piranesi and ancient art from the Gallery’s collec- tion. Through these objects, Pompeii: Photographs and Fragments explores both the ancient history of the Roman town as well as its more recent history as an active excavation site. The exhibition was inspired by two projects that Wylie and Lê undertook during their Gallery- sponsored Happy and Bob Doran Artist Residencies in Praiano, Italy. Wylie’s large-scale photographs of Pompeii, taken between 2013 and 2017 and recently brought together in a book published by the Gallery titled Pompeii Archive, document the passage of time—the ongoing cycles of deterioration and preservation that mark the site as a living landscape. -
The Mining of Herculaneum Splendid Opportunity for the Archeologist a by Professor Alfred Emerson, Art Institute of Chicago
SCIENTIFIC AMERICAN November 420 16, ]912 The Mining of Herculaneum Splendid Opportunity for the Archeologist A By Professor Alfred Emerson, Art Institute of Chicago American explorer of large experience and fine ski has christened the virgin soil of art history-to A long and singular oblivion overtook Herculaneum Nspirit, Dr. Charles Waldstein, has advocated a com Asia Minor. Herculaneum will please stay dead ! and Pompeii after their volcanic burial in the reign of plete,A final disinterment of Herculaneum, the buri�d The mysterious underground city somehow refuses Titus, A.D. 79. The refugees from the nearer suburb Roman city at the foot of Mount Vesuvius, by inter to do this. Its strange rediscovery is too closely inter obtained the freedom of Neapolis. the Grreco-Roman national subscription. The Italian government has lent woven with the rebirth of intelligence, and of modern Naples. Posterity forgot the buried towns, although a favorable ear to part of the Cambridge professor's history itself. Let us see if this is not so. the Greek and Latin writers who relate their history proposal. It has decided to employ capable mining The resurrection of Herculaneum and Pompeii in the were easy of access and both places lay close to a busy engineers on that enterprise, who will conduct it with eighteenth century took the imagination of all Europe highway. One stroke of the pick was enough to be pneumatic rock-cutters by electric light, instead of captive. The dead occupants of the two Vesuvian ports tray the secret of Pompeii's underground survival. Its elbow-grease and torchlight. -
Travel Photography of the Nineteenth Century
The Wandering Lens Travel Photography of the 19ᵗ� Century Algeria, Egypt, France, Guernsey, India, Italy, Japan, Jerusalem, Morocco, Palestine, Scotland, Sri Lanka, Syria, Wales Bernard Quaritch Ltd Bernard Quaritch Ltd 36 B������ R��, L�����, WC1R 4JH Tel.: +44 (0)20 7297 4888 Fax: +44 (0)20 7297 4866 Email: [email protected] / [email protected] Web: www.quaritch.com Some of our recent lists & catalogues Bankers: Barclays Bank PLC, 1 Churchill Place, London E14 5HP Sort code: 20-65-90 Boston Virtual Book Fair 2020 Account number: 10511722 The Library of Sir Geoffrey Bindman Part II Swift code: BUKBGB22 Paris Salon du Livre Rare 2020 Sterling account: IBAN GB71 BUKB 2065 9010 5117 22 Natural History Euro account: IBAN GB03 BUKB 2065 9045 4470 11 Summer Miscellany U.S. Dollar account: IBAN GB19 BUKB 2065 9063 9924 44 The Library of Brian Aldiss VAT number: GB 322 4543 31 Firsts 2020 Art & Design © Bernard Quaritch Ltd 2021 Banking, Business & Finance The English & Anglo-French novel 1740-1840 List 2021/1 NB all items are subject to VAT in the UK except those marked with an asterisk *. Index of photographers ALINARI 34 KELHAM, Augustus 52 ALTOBELLI, Gioacchino 29 LOMBARDI, Paolo 34 ANDERSON, Domenico 35 LYON, Edmund David 22, 23 ANDERSON, James 30, 31, 32 MOLINS, Pompeo 29 BEATO, Antonio 2 RIVE, Roberto 35 BEATO, Felice 36, 40, 41, 42 ROBERTSON, James 40, 41, 42 BÉCHARD, Émile 3, 4, 5, 6, 7 SACHÉ, John Edward 24 BEDFORD, Francis 37 SEBAH, Pascal 10 BISSON FRÈRES 14, 15 SCOWEN, Charles 47 BONFILS 38, 39, 40, 44, 49, 50, 51 SKEEN & CO. -
Photographie
MERCREDI 14 JUIN 2017 PARIS - RICHELIEU DROUOT 9, rue Drouot 75009 Paris Salle 7 PHOTOGRAPHIE EXPLORATIONS PHOTOGRAPHIQUES ART ET INDUSTRIE Commissaire-Priseur Yann Le Mouël SAS Société de Ventes Volontaires - Paris - Drouot 7, rue de Provence 75009 Paris Tél : 33 (0) 1 47 70 86 36 [email protected] Agrément n°2002-265 du 20/06/02 Expert Viviane Esders SAS Expert agréé par le Conseil des Ventes Volontaires n°2002-272 40, rue Pascal 75013 Paris Tél : 33 (0) 1 43 31 10 10 / Fax : 33 (0) 1 47 07 66 13 [email protected] Assistée d’Anatole Desachy pour les Livres de Photographie Expositions publiques Mardi 13 Juin de 11h à 18h et Mercredi 14 Juin de 11h à 12h Téléphone pendant l'exposition 33 (0) 1 48 00 20 07 Catalogue visible sur internet www.yannlemouel.com www.viviane-esders.com Enchérissez sur www.drouotlive.com 10 POMPEI - MAURI EXPLORATIONS PHOTOGRAPHIQUES Album “Souvenir de Pompéi”, ca. 1880 : Panorama, Forum civil et le Vésuve, Basilique, rue dell’Abbondanza, 1 ITALIE – CARLO NAYA 1816-1882 Maison d’Olconio, Maison Cornelio Rufo, Théâtre, Venise, effet de nuit, ca. 1870. Temple d’Iside, Thermes, Fontaine, Maison du Faune, 2 tirages albuminés rehaussés à la couleur, montés sur Amphithéâtre, Arc de Caligula, Musée, Empreinte carton. Images : 25,5 x 34 cm environ ; montages : 26 x humaine, Empreinte de chien. 34,7 cm environ Album comprenant 24 tirages albuminés légendés dans le 300-400 € négatif, dont 1 avec mention “Edizione Mauri – Napoli”. Page de titre et couverture rouge avec titre en lettres 2 ITALIE – CARLO NAYA 1816-1882 dorées.