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In the words of early 20th-century writer Ramón Gómez de la Serna, José Cabrero y Mons (1871–1954) is the central figure in the Novela del Arte. Cabrero remains the only unidentified artist in José Gutiérrez Solana’s iconic painting La tertulia del café de Pombo, the second most significant work in the Museo Reina Sofía, following Picasso’s Guernica. This monograph delves into Cabrero’s fascinating artistic life, uncovering previously unpublished details, including rare books from his personal library, correspondence with fellow artists, unknown paintings, and his remarkable collection of modern art, featuring works by Puvis de Chavannes, Solana, Rodin, Carrière, and De Groux. En palabras del escritor de principios de siglo Ramón Gómez de la Serna, José Cabrero y Mons (1871-1954) es el personaje principal de la novela del arte. Cabrero es el único artista no identificado en el cuadro La tertulia del café de Pombo de José Gutiérrez Solana, el cuadro más relevante del Museo Reina Sofía, después del Guernica de Picasso. Esta monografía sobre la intrigante vida artística de Cabrero explora las paradojas definitivas del período estético de Fin de Siècle. La monografía revela datos únicos e inéditos de su biblioteca personal, con ediciones y cartas dedicadas y raras, junto con sus pinturas desconocidas y su excepcional colección de arte moderno: Puvis de Chavannes, Solana, Rodin, Carrière, De Groux.
Series:
Foro Hispánico, Volume: 76
In the words of early 20th-century writer Ramón Gómez de la Serna, José Cabrero y Mons (1871–1954) is the central figure in the Novela del Arte. Cabrero remains the only unidentified artist in José Gutiérrez Solana’s iconic painting La tertulia del café de Pombo, the second most significant work in the Museo Reina Sofía, following Picasso’s Guernica. This monograph delves into Cabrero’s fascinating artistic life, uncovering previously unpublished details, including rare books from his personal library, correspondence with fellow artists, unknown paintings, and his remarkable collection of modern art, featuring works by Puvis de Chavannes, Solana, Rodin, Carrière, and De Groux. En palabras del escritor de principios de siglo Ramón Gómez de la Serna, José Cabrero y Mons (1871-1954) es el personaje principal de la novela del arte. Cabrero es el único artista no identificado en el cuadro La tertulia del café de Pombo de José Gutiérrez Solana, el cuadro más relevante del Museo Reina Sofía, después del Guernica de Picasso. Esta monografía sobre la intrigante vida artística de Cabrero explora las paradojas definitivas del período estético de Fin de Siècle. La monografía revela datos únicos e inéditos de su biblioteca personal, con ediciones y cartas dedicadas y raras, junto con sus pinturas desconocidas y su excepcional colección de arte moderno: Puvis de Chavannes, Solana, Rodin, Carrière, De Groux.
Author:
Are there shadows in medieval art? Studies on the role of shadows in art history have either glanced over or ignored the medieval period, yet people of the Middle Ages certainly saw and thought about shadows and recorded their ideas about these phenomena in texts and images.
This book examines references to shadows in science, religion, and folklore of the Middle Ages. Through the lens of fifteenth-century manuscript painting, it investigates visual, metaphorical, and supernatural shadows in art to discover what shadows meant to the medieval viewer.
This book examines references to shadows in science, religion, and folklore of the Middle Ages. Through the lens of fifteenth-century manuscript painting, it investigates visual, metaphorical, and supernatural shadows in art to discover what shadows meant to the medieval viewer.
Author:
Are there shadows in medieval art? Studies on the role of shadows in art history have either glanced over or ignored the medieval period, yet people of the Middle Ages certainly saw and thought about shadows and recorded their ideas about these phenomena in texts and images.
This book examines references to shadows in science, religion, and folklore of the Middle Ages. Through the lens of fifteenth-century manuscript painting, it investigates visual, metaphorical, and supernatural shadows in art to discover what shadows meant to the medieval viewer.
This book examines references to shadows in science, religion, and folklore of the Middle Ages. Through the lens of fifteenth-century manuscript painting, it investigates visual, metaphorical, and supernatural shadows in art to discover what shadows meant to the medieval viewer.
This volume examines the ‘phenomenon’ of translation from Greek into Latin from the eleventh century to the thirteenth. These translated texts prompted Western scholars to rediscover the works of classical Greek and Byzantine authors and reshape the medieval intellectual landscape. Though our agenda focuses on translations of scientific texts, the collection of essays here also offers the reader insights into the broader cultural, social, and political functions and implications of individual translations and translation more broadly as a practice.
Contributors are Dimiter Angelov, Péter Bara, Pieter Beullens, Alessandra Bucossi, Luigi d’Amelia, Paola Degni, Michael Dunne, Elisabeth Fisher, Brad Hostetler, Estelle Ingrand-Varenne, Marc Lauxtermann, Tamás Mészáros, James Morton, Theresa Shawcross, and Anna Maria Urso.
Contributors are Dimiter Angelov, Péter Bara, Pieter Beullens, Alessandra Bucossi, Luigi d’Amelia, Paola Degni, Michael Dunne, Elisabeth Fisher, Brad Hostetler, Estelle Ingrand-Varenne, Marc Lauxtermann, Tamás Mészáros, James Morton, Theresa Shawcross, and Anna Maria Urso.
This volume examines the ‘phenomenon’ of translation from Greek into Latin from the eleventh century to the thirteenth. These translated texts prompted Western scholars to rediscover the works of classical Greek and Byzantine authors and reshape the medieval intellectual landscape. Though our agenda focuses on translations of scientific texts, the collection of essays here also offers the reader insights into the broader cultural, social, and political functions and implications of individual translations and translation more broadly as a practice.
Contributors are Dimiter Angelov, Péter Bara, Pieter Beullens, Alessandra Bucossi, Luigi d’Amelia, Paola Degni, Michael Dunne, Elisabeth Fisher, Brad Hostetler, Estelle Ingrand-Varenne, Marc Lauxtermann, Tamás Mészáros, James Morton, Theresa Shawcross, and Anna Maria Urso.
Contributors are Dimiter Angelov, Péter Bara, Pieter Beullens, Alessandra Bucossi, Luigi d’Amelia, Paola Degni, Michael Dunne, Elisabeth Fisher, Brad Hostetler, Estelle Ingrand-Varenne, Marc Lauxtermann, Tamás Mészáros, James Morton, Theresa Shawcross, and Anna Maria Urso.
Volume Editor:
In order to have a constructive discussion about feelings in the late Middle Ages, it is beneficial to first evaluate how the feelings of individual men and women were defined. As such, the purpose of this book is to explore the words used by late -medieval men and women to refer to their feelings and to examine their meanings. By doing so, it becomes possible to better understand the efforts by late -medieval society to express, use, and transmit certain feelings, especially as they related to manoeuvres of power or the articulation of social values.
Contributors are: Mechthild Albert, Jacqueline Cerquiglioni-Toulet, Frank Collard, Paola Corti Badia, Francesca Español, Isabel Grifoll, Juan Francisco Jiménez Alcázar, José Martínez Gázquez, Alicia Minguélez, Matilde Juan, Liza N. Pina-Rubio, Gerardo Rodríguez, Flocel Sabaté, Benedicte Sère, and Marta Serrano.
Contributors are: Mechthild Albert, Jacqueline Cerquiglioni-Toulet, Frank Collard, Paola Corti Badia, Francesca Español, Isabel Grifoll, Juan Francisco Jiménez Alcázar, José Martínez Gázquez, Alicia Minguélez, Matilde Juan, Liza N. Pina-Rubio, Gerardo Rodríguez, Flocel Sabaté, Benedicte Sère, and Marta Serrano.
Volume Editor:
In order to have a constructive discussion about feelings in the late Middle Ages, it is beneficial to first evaluate how the feelings of individual men and women were defined. As such, the purpose of this book is to explore the words used by late -medieval men and women to refer to their feelings and to examine their meanings. By doing so, it becomes possible to better understand the efforts by late -medieval society to express, use, and transmit certain feelings, especially as they related to manoeuvres of power or the articulation of social values.
Contributors are: Mechthild Albert, Jacqueline Cerquiglioni-Toulet, Frank Collard, Paola Corti Badia, Francesca Español, Isabel Grifoll, Juan Francisco Jiménez Alcázar, José Martínez Gázquez, Alicia Minguélez, Matilde Juan, Liza N. Pina-Rubio, Gerardo Rodríguez, Flocel Sabaté, Benedicte Sère, and Marta Serrano.
Contributors are: Mechthild Albert, Jacqueline Cerquiglioni-Toulet, Frank Collard, Paola Corti Badia, Francesca Español, Isabel Grifoll, Juan Francisco Jiménez Alcázar, José Martínez Gázquez, Alicia Minguélez, Matilde Juan, Liza N. Pina-Rubio, Gerardo Rodríguez, Flocel Sabaté, Benedicte Sère, and Marta Serrano.
Volume Editor:
The relationship between rulers and their subjects is always channelled by emotion. This volume explores the specific tones this relationship took on in the Middle Ages, as well as their accordance with a concept of power based ultimately on agreement, an inclination to visualise emotions, a social pedagogy based on fear, and a religious ideology which placed humanity between divine order and divine wrath. It also examines the emotive models used to rule society and deal with conflicts. Together, the contributions in this book demonstrate how our understanding of late medieval society can be enhanced by recognising the emotional strategies present in the game of power and how they were used to build authority.
Contributors are: Alexandru Stefan Anca, Attila Bárány, Ulrike Becker, Luciano Gallinari, Sari Katajala-Peltomaa, Vinni Lucherini, Esther Martí Sentañés, Francesc Massip, Rob Meens, Tamás Olbei, Bernard Ribémont, Flocel Sabaté, and Hans-Joachim Schmidt.
Contributors are: Alexandru Stefan Anca, Attila Bárány, Ulrike Becker, Luciano Gallinari, Sari Katajala-Peltomaa, Vinni Lucherini, Esther Martí Sentañés, Francesc Massip, Rob Meens, Tamás Olbei, Bernard Ribémont, Flocel Sabaté, and Hans-Joachim Schmidt.