Art Histroy

Az évforduló kapcsán korabeli naplórészletek idézésével kíséri végig a cikk a pengő hiperinflációját, a párhuzamosan forgalomban lévő többféle papírpénz hátterét. Bemutatja a megfeszített pénzkibocsátás és az új valuta előkészítésének körülményeit, kitér a nagy érdeklődéssel várt valuta bevezetésére többek között a Lúdas Matyi szatirikus lap írásai, karikatúrái segítségével. Képet ad az első forint és fillér fém- és papírpénzekről, valamint arról, hogyan fogadták kezdetben az új valutát.

RESUMEN El artículo analiza los aportes que realizó la artista costarricense Eulalia Bernard-Little a la práctica de la performance latinoamericana, a partir de la década de los años setentas, hasta entrado el siglo XXI. Se parte de una exploración de los elementos técnicos, estéticos y conceptuales presentes en su performance con base en las características de la performance afroamericana y la historia de esta práctica desde el lente de la teoría e historia del arte, abordando además algunos aspectos de la influencia de la música afrodiaspórica en el trabajo de la artista. Adicionalmente, mediante fuentes orales, se busca comprender la contribución única de Bernard-Little al campo de la performance y su posición dentro del contexto artístico contemporáneo centroamericano, para posicionarla como precursora de la escena de la performance en la región y situarla en la historia de esta práctica, realizada especialmente por diversas mujeres artistas afrocentroamericanas. Palabras clave: performance centroamericano; arte afro-costarricense; arte centroamericano; arte contemporáneo latinoamericano.

This article focuses on two experimental films from the 1960s: Yvonne Rainer’s Hand Movie (1966) and Richard Serra’s Hand Catching Lead (1968). It scrutinizes the way both works exhibit a hybridized and indeterminate approach to artistic media. It offers an empirical reading of the films’ movement and contextualizes them historically to move on to a theory of medium informed by Deleuze, Levinson, and Rajewsky. How does Rainer’s move from the time-based media of dance and choreography, and Serra’s move from the object arts of painting and sculpture, into the medium of film, advance our understanding of what is at stake aesthetically when boundaries of media are dissolved, transited, or displaced? Dance aesthetics requires that we show how movement gets translated into medium. I propose that the movement of media creates a displacement that is parallel to the displacement from the empirical to the theoretical in this article, where displacement becomes a form of reflection and critique.

Framed by theories of the uttered voice, this chapter uses sound theory and theories of the archive to unpack the use of voice in feminist film. Through discussion of the Feminist Improvising Group and analyses of how their music is used in Laura Mulvey and Peter Wollen's AMY! (1980), it observes how, even though a voice is disconnected from self, it has the power to forge new connections.

THEMATICS (Theoretical Microscopic Titration Curves) is a simple, reliable computational predictor of the active sites of enzymes from structure. Our method, based on well-established Finite Difference Poisson–Boltzmann techniques, identifies the ionisable residues with anomalous predicted titration behavior. A cluster of two or more such perturbed residues is a very reliable predictor of the active site. The protein does not have to bear any resemblance in sequence or structure to any previously characterized protein, but the method does require the three-dimensional structure. We now present evidence that THEMATICS can also locate the active site in structures built by comparative modeling from similar structures. Results are given for a total of 21 sets of proteins, including 21 templates and 83 comparative model structures. Detailed results are presented for three sets of orthologous proteins (Triosephosphate isomerase, 6-Hydroxymethyl-7,8-dihydropterin pyrophosphokinase, and As...

Temples were sacred structures that were indispensable in the Ancient Greek world and were committed to gods and goddesses.The goal of this research is to show how the architectural characteristics of Ancient Greek temples reflect their place in society and how they were used. The issues are categorised and separated into sub-sections in this study, starting with the construction of Classical Greek temples, placement, and accessibility of temples. Following that, the sections on Greek orders and structures discuss architectural aspects. Furthermore, the influence of science on temples and temple duties are addressed in several parts. Finally, two of the most spectacular Classical Greek temples, the Parthenon in Athens and the Zeus temple in Olympia, are carefully explored.

L'interdit biographique des artistes de la « mauvaise génération »-Le cas de die Scholle d'après les dictionnaires encyclopédiques allemands Laurence DANGUY Collaboratrice scientifique à l'Université de Lausanne L'année 1907 est une date majeure pour la connaissance de la vie et de l'oeuvre des artistes du monde entier. Elle voit, en effet, la parution du premier volume du très célèbre dictionnaire encyclopédique d'artistes allemand, le Thieme und Becker. Durant 40 ans vont être systématiquement publiées les notices biobibliographiques de milliers d'artistes accédant ainsi à une immortalité de papier. L'entreprise est à peine achevée qu'elle laisse place aux révisions et aux ajustements du Vollmer, puis à la réactualisation complète, à ce jour 1 non encore achevée, du Saur Allgemeines Künstlerlexikon. Le tout constitue désormais une somme tenant lieu de Bible aux historiens de l'art. Pour qui s'intéresse aux artistes germaniques, l'outil permet en particulier de reconstituer le parcours historiographique des artistes de la « mauvaise génération », ceux dont la mémoire est hypothéquée par le III e Reich. Au vu des références bibliographiques et muséographiques consignées, de la longueur et de la teneur d'une notice, ces ouvrages permettent de connaître à un moment donné la fortune critique de ces artistes. Leur suivi révèle des ajustements et des revers de fortune parfois considérables, de toute évidence à relier à la période nazie. L'étude des aléas mémoriels des 12 artistes du groupe die Scholle-en français La glèbe-permet de mettre en lumière un glissement substantiel de cet « interdit biographique » au cours de la seconde moitié du XX e siècle et du début du XXI e siècle.

THEMATICS (Theoretical Microscopic Titration Curves) is a simple, reliable computational predictor of the active sites of enzymes from structure. Our method, based on well-established Finite Difference Poisson–Boltzmann techniques, identifies the ionisable residues with anomalous predicted titration behavior. A cluster of two or more such perturbed residues is a very reliable predictor of the active site. The protein does not have to bear any resemblance in sequence or structure to any previously characterized protein, but the method does require the three-dimensional structure. We now present evidence that THEMATICS can also locate the active site in structures built by comparative modeling from similar structures. Results are given for a total of 21 sets of proteins, including 21 templates and 83 comparative model structures. Detailed results are presented for three sets of orthologous proteins (Triosephosphate isomerase, 6-Hydroxymethyl-7,8-dihydropterin pyrophosphokinase, and As...

https://iaacc.es/publicaciones-propias/

ALAGÓN LASTE, José María, "La aportación del Instituto Nacional de Colonización a las artes plásticas en Aragón en la posguerra", en VV. AA., Aragón y las artes. 1939-1957, Zaragoza, Gobierno de Aragón, 2022, pp. 56-69. ISBN: 978-84-8380-456-8

Viviamo ormai nel Mediacene, un’era geologica caratterizzata dall’impatto cruciale delle tecnologie di percezione, informazione e trasporto sul contesto storico e ambientale in cui viviamo. Divenuti veri e propri ambienti vitali, i media contemporanei sono regolatori di una sensibilità multimodale da cui dipende la nostra consapevolezza delle sfide e delle insidie della crisi ecologica ormai conclamata.  Questo numero offre alcuni spunti di riflessione sullo stato attuale del discorso sull’ecologia mediale, alla ricerca di un nuovo paradigma ecosistemico di descrizione del rapporto tra gli esseri viventi e il pianeta.

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We now live in the Mediacene, a geological era characterized by the crucial impact of technologies of  perception, information and transport on the historical and environmental context in which we live. Having become real living environments, the contemporary media are regulators of a multimodal sensitivity on which our awareness of the challenges and pitfalls of the now full-blown ecological crisis depends. This issue offers some food for thought on the current state of the discourse on media ecology, in search of a new ecosystemic paradigm for describing the relationship between living beings and the planet.

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Nous vivons actuellement dans le Médiacène, une ère géologique caractérisée par l’impact crucial des  technologies de la perception, de l’information et des transports sur le contexte historique et environnemental dans lequel nous vivons. Devenus de véritables milieux de vie, les médias  contemporains sont les modulateurs d’une sensibilité multimodale dont dépend notre prise de conscience des enjeux et des pièges de la crise écologique désormais manifeste. Ce dossier offre un aperçu de l’état actuel du discours sur l’écologie des médias, à la recherche d’un nouveau paradigme écosystémique pour décrire la relation entre les êtres vivants et la planète.

Pismo v verzih, ki ga piše Paris Heleni, spada v drugo skupino Ovidijevih Pisem junakinj in je verjetno nastalo med letoma 4 in 8: medtem ko je za prvo serijo pisem značilno, da gre za enostranska pisma razočaranih in večinoma zapuščenih ženskih likov iz mitologije, slednjo sestavljajo pisma treh zaljubljencev, ki izpovedujejo svojo ljubezen, sledijo pa odgovori izbrank.

This article focuses on two experimental films from the 1960s: Yvonne Rainer’s Hand Movie (1966) and Richard Serra’s Hand Catching Lead (1968). It scrutinizes the way both works exhibit a hybridized and indeterminate approach to artistic media. It offers an empirical reading of the films’ movement and contextualizes them historically to move on to a theory of medium informed by Deleuze, Levinson, and Rajewsky. How does Rainer’s move from the time-based media of dance and choreography, and Serra’s move from the object arts of painting and sculpture, into the medium of film, advance our understanding of what is at stake aesthetically when boundaries of media are dissolved, transited, or displaced? Dance aesthetics requires that we show how movement gets translated into medium. I propose that the movement of media creates a displacement that is parallel to the displacement from the empirical to the theoretical in this article, where displacement becomes a form of reflection and critique.

The Sheldon Memorial Art Gallery and Sculpture Garden is pleased to present Sheldon Solo: Carol Haerer, The White Paintings, an exhibition featuring Carol Haerer's white paintings of the mid to late 1960s. This exhibition is the most recent installment of the "Sheldon Solo" exhibition series, a series established in 1988 to feature the work of important American artists within the context of the Sheldon Gallery's nationally recognized collection of 20th-century American Art. A midwestern native who attended Doane College and the University of Nebraska-Lincoln, Carol Haerer studied in Paris on a Fulbright Fellowship in 1955, and after receiving an M.F.A. from the University of California-Berkeley, she moved to New York. It was in New York where she began to paint intensely subtle white paintings which received considerable critical attention in the late sixties, in part because they seemed to offer a way out of what was perceived by many in the artworld to be the straightjacket of Minimalism. But the critical attention they received in the sixties has rarely been noted by art historians, who have tended to evaluate painting or sculpture from this period by the theoretical standards of Minimalism. But as "minimal" as Haerer's paintings appear at first blush, they are images, even atmospheres, but not "objects." This exhibition offers an opportunity for our audience actually "to experience" these paintings as they were intended to be viewed, as an aesthetic environment.

This monograph provides the first substantial analysis of the visual arts commissioned by Scots in France prior to Mary Queen of Scots. It examines how Scottish identity was represented and promoted through patronage of the visual arts. Tying together previously unpublished archival documents with under-researched visual and material culture, this monograph examines how Scots used patronage to establish their place in French society thus furthering the reputation of the royal house of Scotland, and progressing their own social, political, and diplomatic aims. Incorporating analysis of grand architectural projects, such as the foundation of the Sainte-Chapelle at Vic-le-Comte, and studies of extraordinary manuscripts such as the Monypenny Breviary and the military manuals of Bérault Stuart, this work highlights recurring themes within architectural history, art history, and material culture studies. By addressing broader questions of Scotland's historic relations with Europe, it makes a necessary contribution to modern day concerns.

Explores the links between patronage, identity and Franco-Scottish relations in the late medieval and early modern periods

    * This monograph is the first book-length study of Franco-Scottish relations and the visual arts in the late-medieval and early modern periods
    * Offers new interdisciplinary approaches to Franco-Scottish history, that challenge traditional accounts where there has been a failure to investigate visual material
    * Based on extensive archival research and making use of unknown and little-known visual and archival evidence, this work examines material from collections held in Scotland, France, the Netherlands, and Italy
    * Applies innovative interdisciplinary approaches, combining patronage studies and a consideration of artistic agency. It develops new methodologies combining art historical methods with insights drawn from political, military, and architectural histories and manuscript studies
    * Forms a significant contribution to our understanding of the history of Scotland’s place in Europe and the significance of its historic ties to France in particular

De zeventiende eeuw in de Nederlanden is een Fundgrube van liefde voor de oudheid. De welopgeleide klasse, die in de steden van Holland, Zeeland en de provinciën aanzienlijk was, deed zich volop tegoed aan klassieke kunst en literatuur. De beeldende kunsten door deze te verzamelen, de literatuur door te lezen en in bibliotheken te vereeuwigen en beide door veelvuldig te imiteren. In de architectuur werden uit de oudheid gedestilleerde voorschriften nagevolgd in nieuwe bouwkunst. Deze beweging kan als het classicisme worden aangeduid, in navolging van de hoge status die de klassieke kunst in de Italiaanse renaissance genoot. In deze bijdrage ga ik in op een zeventiende-eeuwse Amsterdammer die exemplarisch was voor deze verzamel- en imitatiedrift: Jan Six (1617-1700). Behalve door zijn vooraanstaande positie als koopman, bestuurder en burgermeester van Amsterdam in 1691, werd hij ook beroemd door het patronaat van een door anderen in zijn tijd vaak miskende kunstenaar: Rembrandt van Rijn (1606-1669).

La mémoire de l’occupation italienne en Afrique est aujourd’hui au cœur de nombreuses créations dans les domaines artistiques et littéraires. L’observation des œuvres de Rossella Biscotti et du duo Invernomuto, caractéristiques de cette attention, nous montrera que les arts plastiques réfléchissent activement à une déconstruction du discours colonial et à de nouvelles modalités de présentation du récit mémoriel.

The Roman tomb at Milas of the 2nd century BCE, built after the style of the Mausoleum of Mausolus, one of the seven wonders of the Ancient World, is found with a ceiling decor that resembles the Hoysala style of India. This article analyses the similarities and comes to the conclusion that the Stupa culture of Buddhism of the 3rd century and before, enclosing the relics of venerated people, had inspired the concept and ceiling dome of the Mausoleum which housed the urn pots of the ashes of the Mausolus couple.

Özet:
Sümerlerin bilgelik - su tanrısı Enki ve yardımcıları olan Yedi Bilgelerin gerçekleştirdiği inisiyasyon törenleri Mezopotamya sanatına özellikle Yeni Assur ve Yeni Babil Dönemlerinde damgasını vurmuştur. Enki Kültü, devletin en üst kademesinin temsil edildiği saraylarda ziyaretçileri ve elçileri kapıda bekleyen doğaüstü varlıkların koruyucu heykelleriyle karşılayıp, taht odasına gidene dek, iki taraflı koridorlarda tüm görkemini gözler önüne sermiş ve en güzel örneklerini kralın arkasında bulunan duvarlardaki kabartmalarda göstermiştir. Kraliyet ailesinin kişisel eşyaları ve yaşam alanlarını süsleyen motifler, bilgelerin hayat ağacı etrafında gerçekleştirdikleri - zaman zaman kralların da katıldığı - ritüellerin anlatıldığı sahnelerden oluşur. Bakraç ve çam kozalağı ile serpe işlemi yapan bilgelere stilize hayat ağacı motifi yanında lotus çiçeği, keçi (Enki’nin kendisini temsil eder), aslan ve kuş başlı insan gövdeli kanatlı varlıklar yada aslan ve boğa vücutlu insan başlı kanatlı varlıklardan oluşan figürler eşlik eder. Bu kültün halk inançlarında da önemli bir yer tuttuğu gözlenmiştir. Kapı altlarına gömülen heykelcikler ve silindir mühürlerde bu izler kendini hemen belli eder.
Mezopotamya’da geniş bir etki alanına sahip Enki Kültü; Hitit, Urartu ve Phryg sanatını etkisi altına almış; kabartmalarda, kralların kişisel eşyalarında, süsleme sanatı ve edebiyatta yer edinmiştir. Hitit ve Phryglere ait yerleşim alanlarından Alacahöyük, Arslantaş, Aslantepe, Kargamış, Kalaba Köyü, İlhamlı Köyü, Etimesgut ve Ahi Yakup’taki kabartmalar incelendiğinde inisiyasyon töreni yapan bilgeler, demonik varlıkların gerçekleştirdiği ritüel sahneleri Mezopotamya’daki örneklerinin birer kopyası mahiyetindedir. Urartular için de durum pek farklı sayılmaz. Sanatsal form Mezopotamya’daki aslına uygun şekilde devam ettirilmiştir.

Abstract:
The initiation ceremonies performed by Enki the Sumerian god of wisdom and water and his servants Seven Sages left their marks on Mesopotamian art especially the Neo-Assyrian and Neo-Babylonian periods. The Enki Cult, welcomed the visitors and envoys by protective statues of supernatural beings waiting at the gates of the palaces in which the senior government officials are represented, presented all its glory in two sided hallways up to the throne room, and showed its masterpieces on the reliefs on the walls behind the king. The ornaments decorating the personal belongings and spaces of royal family were composed of scenes of rituals – attended by the kings at intervals- performed by the sages around the tree of life. The sages shaking pine cone with bucket was accompanied by the stylised tree of life, lotus flower, goat (represents Enki), and winged creatures with lion and bird headed human body or winged creatures with human headed lion and bull body figures. This cult had also an important place among the popular beliefs. Statuettes buried under the doors and cylinder seals carry these beliefs.

The Enki Cult which had a broad sphere of influence in Mesopotamia affected the Hittite, Urartian and Phrygian art as well; found a place on reliefs, personal belongings of the kings, decorations, and literature. When the reliefs of Alacahöyük, Arslantaş, Aslantepe, Kargamış, Kalaba Village, İlhamlı Village, Etimesgut, and Ahi Yakup from the Hittite and Phrygian Periods examined, the sages performing initiation ceremony, and the ritual scenes of the demonic creatures are the counterparts of the Mesopotamian samples. The situation was the same for the Urartian as well. The artistic form was followed by the Anatolians as it was in Mesopotamia.

My undergraduate thesis tries to answer the questions which are linked to a specific work of
art, namely Leda and the Swan, painted between 1936 and 1938 in Zagreb by a Croatian
Secessionist painter Robert Auer. Taking a closer look at the social, artistic and stylistic
circumstances at the time, which affected the artist’s path, I also devoted myself to the broader
context of Auer's life and his education, provided by famous professors at the prominent
painting institutions in Zagreb, Vienna and Munich. Inside this framework, I tried to show the
impacts and role-models that are essential for artist's eclectic style. Furthermore, I took a closer
look at the story of Leda and the Swan and its origin in mythology, and tried to find and explain
the various versions from different writers. Therefore, I gave an overview and an iconographic
analysis of the motif in Central European Art – from preantics to the first half of the 20th
century. In the end, supporting my research with iconographic and stylistic analyses, I tried to
place the artwork inside the wide Bavarian – Viennese – Zagrebian »triangle«, and search for
similar artwork among his colleagues and inside his own work.

Terminology in the scope of painting materials has changed continuously over the course of centuries. Many of the ancient technical terms have vanished or have suffered a semantic change. This often complicates the interpretation of historical
terms. Polvos azules is one of them. The term was initially found in South American documents of the 17th century and was interpreted as azurite (Cu3(CO3)2(OH)2). But the enormous quantities of polvos azules and the relative cheap price found in archival documents of the 17th and 18th century, cast doubt on indicating azurite. Based on these documents this paper focuses on specific European technical and economic literature, comparing the described characteristics and applications.
The study leads to the conclusion that polvos azules refers to smalt, the well known blue pigment, because the pulverized blue cobalt glass (K, Co(Al), SiO2) had far more uses very common in 17th a an 18th centuries, but which have nowadays fallen into oblivion.

La terminología técnica en el ámbito del material artístico ha cambiado
durante los siglos. Muchos de los antiguos vocablos cayeron en desuso o
han variado de significado, complicando así la interpretación de los términos
históricos. Polvos azules es uno de ellos. Se encontró primeramente en
documentos de los virreinatos españoles a partir del siglo XVII y se solía
relacionar con el pigmento azul de azurita (Cu3(CO3)2(OH)2). Pero las
enormes cantidades encontradas y el precio relativamente bajo pusieron en
duda esta interpretacion. Sobre la base de estos documentos, este artículo
se centra en la literatura tecnológica y económica específica de Europa,
comparando las características y aplicaciones descritas. El estudio llevó a la
conclusión que el término polvos azules se refiere al pigmento de esmalte,
porque el vidrio azul de cobalto pulverizado (K, Co(Al), SiO2) tuvo muchos
más usos en los siglos XVII y XVIII, los que hoy día han caído en el olvido.

Coming to prominence on the cover of the landmark 2014 book, "100 Painters of Tomorrow", New-Zealander André Hemer’s pigment-loaded canvases are instantly recognisable. In this interview for Artist Profile, Hemer speaks about maintaining a studio practice, the death of Instagram, and his experience as an antipodean artist living mostly in Europe.

Adaptation is the means in which information is transferred, with varying degrees of loyalty to the source material. Adaptation is a form of repetition, but not necessarily replication (Hutcheon and O'Flynn, 2012: 7). These writings will first explore several accounts of adaptation within various fields, then shift to the ways in which Jo Spence, an English artist, utilized forms of adaptation within her photographic process, as a means of subversion and analysis. I will primarily focus of the work of Jo Spence's use of phototherapy in relation to the theme of adaptation.

A papírpénzek művészek, szakemberek kezei nyomán jöhetnek létre, ennélfogva elvárásként jelentkezik az esztétikum lehető legteljesebb megvalósulása az elkészült címletek kialakításában. E nagyfokú szépségre való törekvés eszköze lehet a művész precíz munkavégzése, érdekeltsége igényes produktum létrehozásában. Másfelől a bankjegyek színvonalának emelését szolgálhatja az alkotó a művészettörténet tárgykörében való tájékozottsága, amely elvezeti a művészt az igényeknek megfelelő források megtalálásához. Mindezen szempontok együttállása biztosítja, hogy az alkotó színvonalas bankjegyek előállítására vállalkozzék. E jellemzők mentén azokat a papírpénzeket, amelyekben az esztétikumra való törekvés tükröződik, és rendelkeznek adekvát művészettörténeti előképpel, joggal nevezhetjük műalkotásoknak.

"L’emprise des constructions de représentations et leurs discours hégémoniques en Occident ont poussé nombre de théoriciens, intellectuels, artistes et professionnels de l’art, depuis plusieurs décennies et sur différents continents, à entreprendre une déconstruction des discours, des objets et des images en prenant part aux débats, à la réflexion critique et aux engagements de leur temps.  À quels outils peut-on aujourd’hui faire appel, et pour soutenir quelles positions épistémologiques, historiographiques et artistiques ? Comment opèrent les études culturelles, subalternes et postcoloniales ? Quels sont les concepts émergents permettant de penser le présent ? D’envisager l’avenir ? Et avec quels outils ? Et pour quels partages des savoirs ? Des chercheurs, issus de divers champs disciplinaires (histoire de l’art, philosophie, psychanalyse), ont accepté de participer à cet exercice de déconstruction, sous un angle historiographique mais aussi dans son actualité et ses perspectives.

Conçue autour de la donation Daniel Cordier, en dépôt aux Abattoirs à Toulouse, réunissant collections « ethnographique » et œuvres d’art moderne et contemporain, ces rencontres constituent le deuxième volet d’un cycle de recherches  conduit par le département Histoire de l’art et archéologie de l’Université Toulouse Jean Jaurès, initié par la journée d’étude « Art & condition postcoloniale. Sortir du malentendu » qui s’est tenue le 25 avril 2016 à Toulouse". 

Responsables scientifiques Evelyne Toussaint et Jean Nayrolles - Professeurs d’histoire de l’art contemporain, Université Toulouse Jean Jaurès (UT2J) ; Annabelle Ténèze - Directrice des Abattoirs, musée d’art moderne et contemporain de la ville de Toulouse et FRAC Midi-Pyrénées ; Zahia Rahmani - Responsable du domaine de recherche « Art et mondialisation » à l’Institut national d’histoire de l’art.

Les études postcoloniales latino-américaines participent au renouvellement des discours sur l'histoire du monde, sous l'angle d'une déconstruction qui met au jour les idéologies ayant orienté l'écriture de l'histoire et la fabrication de concepts. Mais quelles sont, aujourd'hui, les modalités des « Interférences de l'Amérique 'latine' dans le postcolonial » ? Quels en sont les fondements, les outils, les spécificités ? Quels sont les points-communs et les points de rupture avec les études postcoloniales nord-américaines, africaines ou asiatiques ? Cette journée d'étude met en oeuvre le troisième volet d'un cycle de recherche associant l'Université Toulouse Jean Jaurès (Master Recherche "Histoire de l'art et Patrimoine, Moderne et Contemporain", département Histoire de l'art et archéologie), l'unité de recherche Framespa, UMR 5136 (Thématique 3), les Abattoirs, Musée-FRAC Occitanie Toulouse, avec l'appui de Zahia Rahmani, responsable du domaine "Art et mondialisation" à l'INHA (Institut national d'histoire de l'art). Ces rencontres constituent également le volet scientifique d'une grande exposition, « Medellín, une histoire colombienne des années 1950 à aujourd'hui », présentée par les Abattoirs à Toulouse du 29 septembre 2017 au 21 janvier 2018.

El Calvario que el escultor de Calatayud (Zaragoza) Pedro Martínez el Viejo (doc. 1579-1609) hizo en 1605 para el altar del racionero Domingo Moros en la colegiata de los Sagrados Corporales de Daroca (Zaragoza) es coetáneo de su intervención en la capilla Terrer de Valenzuela del mismo templo, una de las empresas artísticas más relevantes del momento en Aragón, cuya portada había contratado en 1603 junto a los canteros Hernando Larroza y Domingo Pontones. Fundado en los modelos que Juan de Anchieta y sus discípulos habían dejado años atrás en la capital aragonesa, constituye una bella creación en la que el artista aragonés ofrece su interpretación de un tema básico en la imaginería de la Contrarreforma que dispone, además, de un paralelo cercano en el Calvario que él mismo esculpió para el retablo mayor (hacia 1605-1610) de la catedral de Santa María de la Huerta de Tarazona (Zaragoza).
The Calvary that the sculptor from Calatayud (Zaragoza) Pedro Martinez the old (documented 1579-1609) made in 1605 for the altarpiece of Domingo Moros in the Colegiata of the sacred bodies of Daroca (Zaragoza) is contemporary to his intervention in the Terrer de Valenzuela’s chapel of the same temple, one of his most outstanding works of the time in Aragon, which façade had contracted in 1603 with the stonemasons Hernando Larroza and Domingo Pontones. It is based in the models Juan de Anchieta and his disciples had left some years earlier in the capital city of Aragon. It is a beautiful creation in which the artist offers his interpretation of a basic topic in the Counter-reform’s sculpture that it is also similar to the calvary he himself sculpted for the major altarpiece (1605-1610) of the cathedal of Santa María de la Huerta of Tarazona (Zaragoza).

Spätestens seit 1992, dem Jahr, in dem Art Spiegelman mit dem Pulitzer-Preis ausgezeichnet wurde, gilt Maus als Meilenstein der Holocaust-Literatur und als Wegbereiter für die Anerkennung der Comics als ernstzunehmende Kunstform. Man bezeichnet sie seitdem gerne als Graphic Novels. Wer heute auf den Umschlag der englischen Penguin-Ausgabe von Maus schaut, liest daher viel Lob für das Buch als Vertreter des Genres. Die Washington Post wird etwa mit dem Satz zitiert: »A quite triumph, moving and simple – impossible to describe accurately, and impossible to achieve in any medium but comics«.