Páginas: 180
Año: 2022
ISBN: 978–84-19525–07‑9

Politics, Art and Persuasion in 15th Century Castile

Biblioteca de acceso abierto.
Para poder visualizar el contenido necesita estar registrado en la web.

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.