Páginas: 180
Año: 2022
ISBN: 978–84-19525–07‑9
Politics, Art and Persuasion in 15th Century Castile
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With the special collaboration of the Instituto del Patrimonio Cultural de España and the S.I. Catedral Primada de Toledo.
Sight, hearing, touch, word and emotion as threads of a visual anatomy of the late Hispanic Gothic style.
This publishing project arose with the initial motivation of transferring the research carried out in the chapel of Álvaro de Luna (Retórica artística en el tardogótico castellano: la capilla de Álvaro de Luna en contexto, Madrid, 2018) to an area of high dissemination and transfer to society.
To this end, under the same umbrella of academic rigour and scientific quality, we proposed a work in a dual format —online and in print— and in a dual language —Spanish and English— that would clearly enhance its perceptive and multisensory nature.
The collaboration with the graphic designer Cristina Carrascal, who has delicately and expertly formatted our initial project, and with TREA for the editorial support and backing for this initiative, has been decisive.
The visual approach determines that the anatomy of the study – the table of contents – is structured in colours that mark the nodal axes of the work and, at the same time, reflect a symbolic reality: the blue, red and green mottos of the Mendoza and Luna lineages, the commissioners of the commission.
We were interested in the story but also in looking for interactive and multimedia forms that would generate different links with the reader. Voice and sound flow through the links with the musicalised couplets and dances dedicated to our protagonist, contributing to the climax of the events narrated (pp. 42 and 81). Voice and movement reappear in the video made during the intervention campaign on the altarpiece (pp. 170 and 140). In a few brief minutes, the assembly of the technical team of the Spanish Cultural Heritage Institute (a workshop on wheels), the execution of the work in situ and the subsequent laboratory and library process are evoked. Time, dedication and qualification first developed in Toledo Cathedral and then in IPCE laboratories.
A laborious and necessary process that allowed us to approach the work from the visible and its hidden reality, which we have distilled into different schemes of our own elaboration for the scales and measurements of the altarpiece and sepulchre, the creative process of the polyptych with the use and codification of models, the comparisons and links between foreign and Hispanic authors, the crypto-portraits, and the confrontation and interrelationship between the different image techniques of the works.
To this end, under the same umbrella of academic rigour and scientific quality, we proposed a work in a dual format —online and in print— and in a dual language —Spanish and English— that would clearly enhance its perceptive and multisensory nature.
The collaboration with the graphic designer Cristina Carrascal, who has delicately and expertly formatted our initial project, and with TREA for the editorial support and backing for this initiative, has been decisive.
The visual approach determines that the anatomy of the study – the table of contents – is structured in colours that mark the nodal axes of the work and, at the same time, reflect a symbolic reality: the blue, red and green mottos of the Mendoza and Luna lineages, the commissioners of the commission.
We were interested in the story but also in looking for interactive and multimedia forms that would generate different links with the reader. Voice and sound flow through the links with the musicalised couplets and dances dedicated to our protagonist, contributing to the climax of the events narrated (pp. 42 and 81). Voice and movement reappear in the video made during the intervention campaign on the altarpiece (pp. 170 and 140). In a few brief minutes, the assembly of the technical team of the Spanish Cultural Heritage Institute (a workshop on wheels), the execution of the work in situ and the subsequent laboratory and library process are evoked. Time, dedication and qualification first developed in Toledo Cathedral and then in IPCE laboratories.
A laborious and necessary process that allowed us to approach the work from the visible and its hidden reality, which we have distilled into different schemes of our own elaboration for the scales and measurements of the altarpiece and sepulchre, the creative process of the polyptych with the use and codification of models, the comparisons and links between foreign and Hispanic authors, the crypto-portraits, and the confrontation and interrelationship between the different image techniques of the works.