| Paper 836-b | Medieval Aragon's Hybrid New Artistic Style in the Making: Depictions of Artists and Artisans on Teruel's Cathedral Ceiling
(Language: English)
Marianne David, Art Students League / Trinity School, New York
Index terms: Art History - Painting, Historiography - Medieval, Language and Literature - Spanish or Portuguese, Women's Studies |
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| Abstract | Paper -a:
Kingsley Porter argued that a few capitals in the cloister at Moissac had characteristics drawn from Santo Domingo de Silos on the scale of ornament. Romanesque sculpted capitals are rather stereotyped, falling into historiated, figural, ornamental, Corinthian capitals in a hierarchical order. The elaborate carving, the sinous outlines and the perfect symmetry of the compostion in ornamentation of Santo Domingo and Moissac prove innovative sculptors along the Pilgrimage Route in late 12th century. Each capital has uniquity in a variety of animals, foliage, and abstract designs. This leads to investigate similarities in motifs through repetition yet modification, including Islamic influence.
Paper -b:
Representing a hybrid artistic production resulting from a confluence of styles: mudéjar, Romanesque, and mozárabe, the colorful and dynamic depictions on Teruel's Cathedral ceiling featuring women artists illustrating themselves in the act of painting; carpenters and masons hammering, sawing, constructing the very armadura de par y nudillo (wooden collar-beam roof) on which they are being featured; and a sculptor carving the wooden figurehead that appears on the adjoining beam, function as a mise-en-abyme. Both teller and tale, protagonist and creator of this vast creation, these self-promoting artists and artisans raise issues that attest to their documentary value as social history.
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