DOCSLIB.ORG

Huellas De Italia En El Real Monasterio De El Escorial Traces of Italy in the Royal Monastery of El Escorial Presenza D'italia Nel Monastero Di El Escorial

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Huellas De Italia En El Real Monasterio De El Escorial Traces of Italy in the Royal Monastery of El Escorial Presenza D'italia Nel Monastero Di El Escorial HUELLAS DE ITALIA EN EL REAL MONASTERIO DE EL ESCORIAL TRACES OF ITALY IN THE ROYAL MONASTERY OF EL ESCORIAL PRESENZA D'ITALIA NEL MONASTERO DI EL ESCORIAL El 10 de agosto de 1557 las tropas españolas de Felipe II están frente a los franceses en la llamada batalla de San Quintín. Ese día es la festividad de San Lorenzo, y el rey hace la promesa de levantar una iglesia en honor del santo si le procura el triunfo. La victoria española fue completa y Felipe II cumplió su promesa, además de cumplir la voluntad de su padre de ser enterrado en un lugar especial. El Real Monasterio de San Lorenzo de El Escorial es un complejo que incluye un palacio real, una basílica, un panteón, una biblioteca, un colegio y un monasterio. Fue construido entre 1563 y 1584. El palacio fue residencia de la Familia Real Española, la basílica es lugar de sepultura de los reyes de España y el monasterio –fundado por monjes de la Orden de San Jerónimo– está ocupado actualmente por frailes de la Orden de San Agustín. ITALIA EN EL ORIGEN En 1556, el papa Pablo IV había permitido la entrada de los ejércitos franceses para apoderarse de las posesiones españolas en Italia: el Milanesado y el Reino de Nápoles. El III duque de Alba, que estaba al mando de los españoles, rechazó a los invasores y aisló al Papa. Felipe II, indignado por la actitud francesa, ordena a las tropas que estaban en las posesiones españolas de Flandes y Países Bajos invadir Francia. Al mando de este contingente estaba Manuel Filiberto, duque de Saboya, aliado de España desde que el rey de Francia había despojado a su familia del ducado saboyano. El rey Felipe II encarga la obra a su arquitecto Juan Bautista de Toledo, aunque posteriormente intervinieron Juan de Herrera, Juan de Minjares, Giovanni Battista Castello ”El Bergamasco” y Francisco de Mora. El rey concibió un gran complejo multifuncional, monacal y palaciego que, plasmado por Juan Bautista de Toledo según el paradigma de la Traza Universal, dio origen al estilo herreriano. On August 10, 1557 the Spanish troops of Felipe II are in front of the French army in the so-called battle of San Quentin. That day was the festivity of San Lorenzo, and the king makes the promise to build a church in honor of the saint it the French troops were defeated. The Spanish victory was complete and Felipe II fulfilled his promis. The Royal Monastery is a complex that includes a royal palace, a basilica, a pantheon, a library, a school and a monastery. It was built between 1563 and 1584. The palace was the residence of the Spanish Royal Family, the basilica is the burial place of the kings of Spain and the monastery - founded by monks of the Order of San Jerónimo - is currently occupied by friars of the Order of San Agustín. ITALY IN THE ORIGIN In 1556, Pope Paul IV had allowed the entry of the French armies to seize the Spanish possessions in Italy: the Ducated of Milan and the Kingdom of Naples. The III Duke of Alba rejected the French invaders and isolated the Pope. Philip II, outraged by the French attitude, ordered the troops that were in the Spanish possessions of Flanders and the Netherlands to invade France. The commander of this contingent was Manuel Filiberto, Duke of Savoy, an ally of Spain since the king of France had stripped his family of the Savoyard dukedom. King Felipe II commissioned the work from his architect Juan Bautista de Toledo, although later Juan de Herrera, Juan de Minjares, Giovanni Battista Castello "El Bergamasco" and Francisco de Mora intervened. The king conceived a great multifunctional, monastic and palatial complex that, shaped by Juan Bautista de Toledo according to the paradigm of the Universal Trace, gave rise to the Herrerian style. ACTIVIDAD 1. COMPARA LA FACHADA DEL MONASTERIO CON LAS QUE APARECEN A CONTINUACIÓN, E INDICA QUÉ ARQUITECTOS LAS DISEÑARON. COMPARE THE FACADE OF THE MONASTERY WITH THOSE THAT APPEAR BELOW, AND INDICATE WHO THE AUTHORS WERE Fachada principal. Juan de Herrera. ACTIVIDAD 2. INDICA EL NOMBRE DE CADA UNO DE LOS ELEMENTOS DE LA ARQUITECTURA CLÁSICA SEGÚN EL ESQUEMA QUE APARECE ABAJO. WRITE THE NAME OF EACH OF THE ELEMENTS OF CLASSICAL ARCHITECTURE ACCORDING TO THE SCHEME APPEARING BELOW. 1. 2. 3. 4. 5. 6. 7. 8. ACTIVIDAD 3. INVESTIGA QUÉ SIGNIFICA CADA ELEMENTO QUE COMPONE EL ESCUDO DE FELIPE II Y SI HAY ALGÚN ELEMENTO RELACIONADO CON ITALIA. INVESTIGATE THE MEANING OF EACH ELEMENT THAT COMPOSES THE SHIELD OF FELIPE II AND IF THERE IS ANY ELEMENT RELATED TO ITALY. 1. 2. 3. 4. 5. 6. 7. 8. 9. Escudo de Felipe II. Fachada del Monasterio de El Escorial ARTISTAS ITALIANOS EN EL ESCORIAL BIBLIOTECA Cubierta por una bóveda de cañón dividida en siete tramos con pinturas al fresco dedicadas a las siete ARTES LIBERALES: Gramática, Retórica y Dialéctica -el Trivium- y Aritmética, Música, Geometría y Astrología -el Quatrivium-. Las escenas secundarias representan personajes insignes e historias relacionadas con cada una de las ciencias. Los temas de los frescos fueron ideados seguramente por Juan de Herrera y Fray José de Sigüenza y realizados por Pellegrino Tibaldi y sus colaboradores, entre los que se encontraba Bartolomé Carducho. No hay duda de la enorme influencia de la capilla Sixtina de Miguel Ángel. The vault is painted with the seven liberal Arts: Grammar, Rhetoric and Dialectic - the Trivium - and Arithmetic, Music, Geometry and Astrology - the Quatrivium. The subjects of the frescoes were probably designed by Juan de Herrera and Fray José de Sigüenza and made by Pellegrino Tibaldi and his collaborators, among whom was Bartolomé Carducho. There is no doubt about the enormous influence of Michelangelo's Sistine Chapel. Miguel Ángel. Capilla Sixtina. Biblioteca de San Lorenzo de El Escorial. Detalles de la Capilla Sixtina TIZIANO. EL MARTIRIO DE SAN LORENZO Tiziano había pintado un lienzo al óleo titulado El martirio de San Lorenzo que se conserva actualmente en la Iglesia de los Jesuitas de Venecia. Muestra al santo siendo quemado en la parrilla, en una escena dramática. El éxito de esta obra llevó a Felipe II de España a encargar al artista una segunda versión para el altar mayor de la basílica de El Escorial. Dicha obra, con algunas variantes, la pintó Tiziano unos diez años después y la envió al monasterio en 1567. Tiziano had painted an oil canvas entitled El Martirio de San Lorenzo that is currently preserved in the Jesuitic Church of Venice. It shows the saint being burned on the grill, in a dramatic scene. The success of this work led Philip II of Spain to commission the artist a second version for the main altar of the basilica of El Escorial. This work, with some variations, was painted by Titian some ten years later and sent to the monastery in 1567. ACTIVIDAD 4. COMPARA Y SEÑALA LAS DIFERENCIAS COMPARE AND POINT OUT THE DIFFERENCES Tiziano. Martirio de San Lorenzo. Venecia Tiziano. Martirio de San Lorenzo. El Escorial LA ESCALERA DEL CLAUSTRO. Está decorada con frescos de Pellegrino Tibaldi, Luca Giordano y Luca Cambiaso, destacando La batalla de San Quintín y la Fundación de El Escorial, en la que aparece Felipe II discutiendo las trazas del Monasterio con Juan Bautista de Toledo y Juan de Herrera. The staircase of the cloister is decorated with frescoes by Pellegrino Tibaldi, Luca Giordano and Luca Cambiaso. The battle of San Quintín and the Foundation of El Escorial stand out, in which Felipe II appears discussing the traces of the Monastery with Juan Bautista de Toledo and Juan de Herrera. La mayor parte de los frescos de la Basílica son obra de Luca Giordano, aunque debe destacarse el gran mural dedicado a La Gloria de Luca Cambiaso. Luca Giordano. El Juicio Final. Capilla Mayor. Detalle de La Gloria de Luca Cambiaso. La Capilla de los Doctores de El Escorial, alberga esta impresionante obra de Benvenuto Cellini, Cristo Crucificado, realizada en mármol blanco de Carrara entre 1559 y 1562. .
Load more

Recommended publications
  • El Proyecto Perdido De La Basílica Del Escorial De Juan Bautista De Toledo
    El proyecto perdido de la basílica del Escorial de Juan Bautista de Toledo Juan Rafael DE LA CUADRA BLANCO Sabemos que la traza actual de la basílica no es la que proyectó Juan Bautista; probablemente ni siquiera guarde apenas ningún pare- cido con la original. La actual parece que fue diseñada finalmente, en mayor o menor medida, por Juan de Herrera basándose en la pro- puesta de Francesco Paccioto ' . No se conserva la traza que hizo éste último, pero sí una carta en italiano dirigida al rey que, por lo intere- sante de sus apreciaciones, transcribimos íntegramente a continua- ción. Apoyándonos en la interpretación de ésta y otras fuentes de la época haremos finalmente un ejercicio teórico de reconstrucción de esta carta, semejante al que Rafael hizo con las cartas que describían la Villa de Plinio'. Veremos cómo el texto deja muchos aspectos de- masiado abiertos, obligándonos a una interpretación más libre de lo que nos gustaría, pero presenta interesantes sugerencias a la investi- gación escurialense. El texto de Paccioto 3 empieza con una crítica feroz a la «mal compuesta, sin medida, deforme y fea» planta de Juan Bautista, con- cluyendo que era mejor hacerla cuadrada. De este último apunte pue- de deducirse además que la de Juan Bautista no era cuadrada, tal vez 1. Para seguir la historia de la polémica entre Juan Bautista y Paccioto, consul- tar RIVERA BLANCO, J., Juan Bautista de Toledo, Valladolid 1984, y Agustín BUSTA- MANTE, La Octava Maravilla del mundo, estudio histórico sobre El Escorial de Fe- lipe II, pp. 636-647, Madrid, Alpuerto 1994.
    [Show full text]
  • The Royal Monastery of San Lorenzo De El Escorial
    The Royal Monastery of San Lorenzo de El Escorial The Royal Monastery of San Lorenzo de El Escorial was built by Philip II in the 16th century and served as a royal palace, monastery and necropolis for numerous Spanish kings. The “El Escorial” is one of the most important visitor sites in Spain. Philip II wished to commemorate the Spanish victory in the battle of St. Quentin, fought on August 10th 1557 on St. Lawrence’s day. As Philip II was devoted to this Saint he decided to build the monastery as a royal pantheon. The king decided to found a religious institution to house the pantheon of his entire dynasty, together with a place of worship, a royal palace, a community of Hieronymite monks, a seminary and a library. The Monastery took twenty-one years to be built (from 1563 to 1584). In the beginning the work was directed by Juan Bautista de Toledo, but following Toledo’s premature death in 1567, his pupil Juan de Herrera began to excel as supervisor of the works. Herrera took over the direction and changed it somewhat into his own personal style. THE ROYAL MAUSOLEUM Philip II wanted to build a crypt below the High Altar, destined for a Royal Pantheon. But he died before his wish was accomplished, and it was his son, Philip III, who fulfilled his father’s desire. Works started in 1617 under the direction of the architect Juan Gómez de Mora. On his death, the work was already well advanced but the project remained unfinished for twenty-two years.
    [Show full text]
  • Lntroduction
    lNTRODUCTION he very name of Aran.juez is evocative; in much quarters here, on the site of the present-day palace, us­ the same way as a reference to Chartres con­ ing the location for recreational purposes. Similarly, the ___T jures up the image of its imposing cathedral in first engineering works were carried out on the Tagus at our mind's eye, the name of Aranjuez rouses historical, this time, to ensure water was available to irrigate the artistic and natural images, although it is difficult to be crops, and there is even the possibility that a garden sure which comes first. Of course, Aranjuez was origi­ may have existed in the vicinity of the mansion, which nally a gift of the Tagus and the Jarama rivers, which, like would be the basis for the future Royal Residence of the Nile in Egypt, make the lands they water fertile. It is Aranjuez. The fact is that the Order's headquarters con­ equally certain, however, that on grafting Art onto Na­ tinued to exist, adjoining the part of the palace erected ture here, History sowed bountiful seed here. In this by Philip II, until the seventeenth century, when it was way, a balance was struck in the encounter, which has al­ demolished as a result ofPhilip V's decision to finish the ways been rather romantic in nature, between man and palace. th~ local environment atAranjuez that has produced a In broad lines, the next episode involves their heavenly result owing to the munificence of its situation. Catholic Monarchs, whose policy of bringing the military The fact is that Aran juez is first and foremost, a gen­ orders under controlled to Ferdinand the Catholic be­ tle breeze that tempers the rigours of the seasons; of coming the lifelong administrator of the orders, includ­ course, it is a pleasant landscape whose vistas are lit up ing the Order of Santiago, with the result that he carne or put out as though by a brush stroke; yes, it is a fertile into possession ofAran juez.
    [Show full text]
  • Planar Vaults in the Monastery of El Escorial
    Proceedings of the First International Congress on Construction History, Madrid, 20th-24th January 2003, ed. S. Huerta, Madrid: I. Juan de Herrera, SEdHC, ETSAM, A. E. Benvenuto, COAM, F. Dragados, 2003. Planar vaults in the Monastery of El Escorial Ana López Mozo Those involved in the construction of the monastery made at the monastery: four main basket arches of San Lorenzo in El Escorial faced the chaJlenge of support a vault which shape has a lot to do with the building Renaissance shaped ashlars vaults. In former mentioned one, with pendentives between the accordance with this intention they abandoned the rib arches and the central planar area. and panel Gothic vaulting, making in any case non- The aim of this paper is the study of the two structural ribs as in the church dome and intrados of mentioned planar vaults, in order to find out the towers. They got to build in the Prince's Pantheon something more about how they were built and why some vaults with an external Gothic appearance, certain decisions were made. This work consists of which does not actually consist of a self-resistant analysing geometry and quartering to pose framework of ribs supporting light panels. hypotheses on its constructive configuration and The study of the monastery basement is especially initial tracings. Concerning Juan Bautista de Toledo's interesting: there are splendid and strong vaults that planar vault, this work tries to fjnd out something el se solve the covering of these rooms with a considerable about the central column and whether it was made span and low height structure.
    [Show full text]
  • Making-Architecture.Pdf
    ARCHITECTURE IN THE MAKING AN ANALYSIS OF THE EMERGENCE OF REPRESENTATIONAL CONVENTIONS IN ARCHITECTURAL DESIGN DURING THE 15TH and 16TH CENTURY IN ROME IN THE CONTEXT OF THE CONSTRUCTION OF THE NEW ST. PETER’S BASILICA A Thesis Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Master of Arts by Moreno A. Piccolotto January 2002 © 2002 Moreno A. Piccolotto ALL RIGHTS RESERVED ABSTRACT The design and construction of buildings, the ‘making of architecture’, relies on the architects’ ability to graphically visualize their ideas using a variety of different media. Architects invent and refine artistic, spatial, and functional concepts through sketches, drawings, and models, hereby relying on personal artistic skills and preferences. In order to communicate their design intent, however, architects have to adhere to standards that define a graphical language that is shared and understood by others. In this essay, I discuss the possible origins and motivations leading to the emergence of orthogonal plan, elevation, section, and perspective illustration as standardized representational conventions that facilitate the communication of architectural design intent. Architects used orthogonal drawings long before the sixteenth century, and perspective sketches and drawings were also part of the their traditional representational repertoire. In this essay I suggest that it was the necessity to survey and catalog ancient monuments in and around Rome in the late fifteenth century, and the need to manage St. Peter’s design and construction process in the sixteenth century that led to the refinement and acceptance of graphic conventions as representational standards for the building trades in Rome.
    [Show full text]
  • JUAN BAUTISTA DE TOLEDO, JERONIMO GILI Y JUAN DE HERRERA: AUTORES DE LA "MAR DE ONTIGOLA" Por
    JUAN BAUTISTA DE TOLEDO, JERONIMO GILI Y JUAN DE HERRERA: AUTORES DE LA "MAR DE ONTIGOLA" por JAVIER RIVERA BLANCO y NICOLÁS GARCiA TAPIA Hasta fecha bien-reciente las actividades relacionadas con la técnica y la ingeniería llevadas a cabo en España durante el siglo xvi han tenido esca- so eco entre los investigadores e historiadores del arte y de la arquitectural. Esta ausencia de interés por parte de nuestros estudiosos es más relevante aún por cuanto las realizaciones debidas a los españoles o patrocinadas por los mismos, tanto en nuestro territorio peninsular como en otros propios de las islas o de ultramar, revistieron cierta importancia alcanzando gran cali- dad, parangonable en muchos casos a las mejores obras coetáneas que se rea- lizaron. en Europa. Ardesarrollar el presente trabajo pretendemos, sencillamente, llamar la La bibliografía sobre la ingeniería española del siglo xvi se encuentra muy dispersa. Además de las escasas revistas parcialmente especializadas sobre el tema —como Revista de Obras Públicas—, remiti- mos para una-elaboración sumaria de un corpus sobre la misma a los siguientes repertorios: LÓPEZ PIÑERO, J. M. y otros, "Selección bibliográfica de estudios sobre la ciencia en la España de los siglos xvi y xvir", p. 28 y ss., en Anthropos. Boletín de informacióny documentación, n.° 20,1982, todo el número dedicado al te- ma, y BoNET CORREA, A. y otros, Bibliografía de arquitectura, ingenieríay urbanismo en España (1498-1880). Madrid, 1980. Innumerables artículos han aparecido repartidos por diversas revistas dedicadas a estu- dios de administración local, arquitectura, historia del arte, etc., entre ellas este mismo Boletín del Semi- nario de Estudios de Arte yArqueología, de la Universidad de Valladolid (como ejemplo y en los números más recientes: MARTÍN GoNzALEz, Juan José, "Las arcas reales de Valladolid", t.
    [Show full text]
  • Republica E S Pai't4ol A
    REPUBLICA E S PAI'T4OL A 1 I I I|II}ilII|I!IIIIJHU_ A view of the Monastery Phottÿ. Wu nderllch r was due to a caprice of Philip II that there arose near a little village of the Sierra the Monastery of San Lorenzo del Escorial, one of the most artistically striking and historically suggestive places in Spain. Philip II wished to build a house of prayer and retreat which would serve at the same time as a sepulchre for himself and his parents, and the reason of its dedication to San Lorenzo was, that it was on this saint's feast day that the Spanish troops won the victory of St. Quentin, in 1557. The house was put into the hands of the Order of St. Jerome, chosen by the king as being a Spanish order and as being that chosen by his father, the Emperor Charles V, to accompany him at Yuste. Philip summoned the most de los Reyes (Court of the skilful workmen for the Kings), where we find the carring out of his cherished facade of the church with scheme. From Naples came its two twin towers, and the Juan Bautista de Toledo, the colossal statues of the kings first director of the work. It of Judah which give the patio was Juan de Herrera, however its name. Behind rises the who was to complete the classic curve of the dome, Monastery, which bears the which dominates the whole unmistakable stamp oÿ the building. The interior of the great artist: a return to the church, enormous in its se- purity of classical forms vere grandeur, is designed which the Italian Renaissance with such a scene of propor.
    [Show full text]
  • Juan Bautista De Toledo, Architect and Master Builder at the Monastery of Escorial (1563-1567)
    Juan Bautista de Toledo, Architect and Master Builder at the Monastery of Escorial (1563-1567) José Luis Cano de Gardoqui García Regardless of the scale of the buildings, XVI and XVII century Spanish architecture shows a clearly traditional approach to the rules and regulations governing work as well as the functions and tasks assigned to the workforce. As if it were some kind of unbreakable law, the organisation of building work undertaken at a site adhered to a strict hierarchical structure comprising a master builder, aparejador (architect), master masons, masons, carpenters, together with workers skilled in various trades and general labourers. This general trend also seemed to apply to the Royal Works commissioned by the Royal Court authorities of the period. Although in the Court we may perceive certain innovative aspects in the modern architectural sense, such a paradigmatic example as the case of the Monastery of El Escorial (1562-1586), characterised by a fresh approach compared to contemporary building work (Cano de Gardoqui 2004, pp. 935-937) – regular transport of materials and supply of food for the workforce, tax benefits, legal protection, medical care for the building workers, regular payment of salaries and daily wages, which were higher than those paid elsewhere, etc. – inevitably leads us back to the traditional schematic arrangement in Spanish building of the time. This was dominated by a rigid organisational structure in which masters, officials and labourers performed purely routine functions, in accordance with the strict guidelines laid down by the Master Builder, Prior and Congregation, aparejadores and site managers, ensuring a fixed work schedule was adhered to and guaranteeing that deadlines were met, and that dismissals and wage penalties and so on were applied.
    [Show full text]
  • El Valle De Los Caídos: Spain's Inability to Digest Its Historical Memory
    Bard College Bard Digital Commons Senior Projects Spring 2016 Bard Undergraduate Senior Projects Spring 2016 El Valle de los Caídos: Spain’s inability to digest its historical memory Michael Heard Johnson Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2016 Part of the Architectural History and Criticism Commons, European History Commons, Historic Preservation and Conservation Commons, and the Other History of Art, Architecture, and Archaeology Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Johnson, Michael Heard, "El Valle de los Caídos: Spain’s inability to digest its historical memory" (2016). Senior Projects Spring 2016. 275. https://digitalcommons.bard.edu/senproj_s2016/275 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. 1 El Valle de los Caídos: Spain’s inability to digest its historical memory Senior Project Submitted to The Division of Historical Studies of Bard College by Michael Johnson Annandale-on-Hudson, New York May 2016 2 Thank You I would like to thank my advisor, Cecile Kuznitz, for all the help over the past two semesters.
    [Show full text]
  • El Palacio Real De Aranjuez El Palacio Real De Aranjuez El Palacio Real De Aranjuez
    EL PALACIO REAL DE ARANJUEZ EL PALACIO REAL DE ARANJUEZ EL PALACIO EL PALACIO REAL DE ARANJUEZ CUADERNOS DE RESTAURACIÓN DE IBERDROLA VII De los grandes descubrimientos del siglo XIX probablemente el de la energía eléctrica sea el más importan- te, al transformar en términos de bienestar la vida de todos sin excepción, aunque en sus inicios tuvo algo de espectáculo. Descartados por su carácter experimental dos ensayos, a base de pilas, en la Plaza de la Armería en 1852, la mise en scene del invento en Madrid, ya en plena Restauración, se enfocó más a sorprender a nues- tros antepasados con iluminaciones festeras o de algún monumento representativo, que a alumbrar el viario urbano. Pese a lo rudimentario, quedaron cautivados por estas presentaciones. Por más acostumbrados que estemos en estos días a la electricidad, la iluminación monumental sigue cau- sando sensación. Razón de ello puede ser que la noche —sobre todo en latitudes meridionales— amplía los momentos para el ocio y la relación social; la perfección alcanzada por los iluminadores; o las prestaciones de las lámparas hoy disponibles que ponen los costes por consumo en niveles bien alejados de la idea del despilfarro. Sin embargo no son las únicas ni, a mi juicio, las razones más importantes para su éxito. Lo que realmen- te aporta una iluminación bien hecha son perspectivas de contemplación diferente de los monumentos, que sobre el opaco nocturno recortan su volumen. El fondo negro hace que la luz proyectada sobre ellos los aísle en el espacio, silueteándolos como de ninguna otra forma es posible. De nuevo Patrimonio Nacional ha contado en un proyecto de iluminación con el patrocinio generoso de la FUNDACIÓN IBERDROLA —donde la sensibilidad cultural de su presidente, don Íñigo Oriol, ha vuelto a estar presente— y la colaboración técnica de IBERINCO.
    [Show full text]
  • Arte En España
    Spain Spain Madrid Madrid MINISTERIO DE INDUSTRIA, TURISMO TURESPAÑA Y COMERCIO I TABLE OF CONTENTS Introduction traveller down to the beaches of the Mediterranean. Introduction 1 THE TERRITORY Madrid stands on the Castilian high plateau or tableland City tours 8 Majestic and stylishly dignified, (meseta) at a height of 646 the archway known as the Puerta metres (2,119 ft.) above sea level, Art and culture 34 de Alcalá (puerta; gate), where Barajas Airport is one of designed by the architect Side-trips through the region 38 the most popular focal points for Ireland Sabatini in Spain’s Age of the forty-nine million tourists United Enlightenment, is at once a Leisure and entertainment 46 Dublin who flock to Spain every year. Kingdom symbol of a city eager to Radiating out from the city’s welcome the world, and a Three World Heritage Cities inner hub is a complex rail and London veritable gateway to Spain for an hour from Madrid 52 road network that speeds millions of visitors from all travellers to any corner of Spain, Useful information 56 around the globe. to neighbouring France and Portugal, or to the sea frontier Paris Five and half million people live with North Africa. Surrounded by in the Madrid Region mountains and impressive (Comunidad de Madrid), with France scenery, the Madrid Region approximately three million Bay of Biscay enjoys a temperate continental concentrated in the metropolitan climate, with spectacular springs, area. This region is situated at hot summers, long, mild, brilliant the geographical centre of autumns, and winters that, while mainland Spain, and is bordered not overly cold, bring snow to Portugal Madrid by Castile & León, whose the nearby summits, thereby domains extend northwards as providing additional leisure far as the Cantabrian Range and Lisbon and fun.
    [Show full text]
  • Book It Now! SCALE Le Capitaine, 1805 1:18 EUROPE
    v EUROPE THE ULTIMATE WORKSHOP TO LEARN HOW TO PAINT HQ. FIGURES FIGURE INCLUDED Organized by November 18th, 19th and 20th 2016 Around 24 hours Only 10 spots available! Languages: Place: “The Lancers” Hotel (El Escorial) Do not miss it! Book it now! SCALE Le Capitaine, 1805 1:18 EUROPE CHARACTERISTICS • Estimated lenght: 24 hours. • Workshop imparted by CARLOS ROYO. • How to paint highlights, shadows, contrasts, etc... • How to paint leather, metal, skin, eyes, cloth, etc... • Painting techniques such as gradient, illumination, tones, etc... • Assembled and primed figure (ready to be painted). AND MUCH MORE... EUROPE MATERIALS INCLUDED Figure S8-F35 Tools* Airbrush* Paintbrushes Compressor* Acrylic Colors* Accesories* *Material borrow PRIMED FIGURE At the end you can choose one of our 5 DVDs for FREE (90 minutes) EUROPE AGENDA THURSDAY FRIDAY SATURDAY SUNDAY MONDAY BREAKFAST (included) CLASSROOM** CLASSROOM** CLASSROOM** Painting of diferents elements Painting diferents metals (1º part): Painting Colback Pick up from the hotel to from the face: -Gold, Scarlet pelisse: Madrid airport T.2*** 9:00 - 13:00* -Silver, -Brown, -Eyes, eyebrow, (by private minibus) -Hair, -Bronze, etc.. -Black, -Skin, etc.. -White. LUNCH (included) Pick up from the airport T.2*** CLASSROOM** CLASSROOM** CLASSROOM** (by private minibus) Study of the Napoleonic colors Painting diferents metals (2º part) Painting ground: Visit Andrea´ showroom Painting clothes: Painting diferent types of leather: -Grass, -Trouser, -Black, -Rock, Arrival to the hotel -Dolman, -White, -Soil. -Pelisse. -Red, Questions and doubts 14:00 - 22:00* -Green. Prize draw, Contest and diploma City tour, Monastery (included) DINNER (included) *Aproximate timing, it may change. **In the classroom we will provid you with coffee, tea, soft drink, water, postry, etc..
    [Show full text]