This article proposes an analysis of the material legacy of the Basque collective Selecci & oacute;n de Euskadi de Arte de Concepto (SEAC), which is stored in the Artium museum (Vitoria), but has hardly been studied or exhibited. In addition to the relevance of the collective's production and trajectory, the importance of the vestige will also be analyzed in order to investigate these works of an ephemeral nature that are included in what is called participatory art.
There are various ways to study historical and artistic heritage and urban planning, one of them being aerial photography. In this case, we do so using the collection held at the National Archives of Catalonia, which has organized into several collections the images captured by TAF Helic & oacute;pteros S. A. in the 1950s, flying over the city of C & aacute;ceres and its surroundings, as well as many other places in Spain. In this way, we will gain insight into how the expansion of neighborhoods and other areas in the urban landscape of C & aacute;ceres prospered, as well as the country houses and castles located in pastures to the south of the city. We will explore the information provided by these visual documents to understand the degree of conservation of these buildings and the shape the city has taken following urban expansion since the late 19th century.
The purpose of this paper is to establish a connection between various anonymous Castilian painters, grouped under the figures of the Master of Llanes, the Master of Olivares and the Master of Roa, a production that has so far been approached in a fragmentary manner but which forms a unitary whole. Emphasis will also be placed on the vicissitudes suffered from the 20th century to the present day by the panels of one of the altarpieces grouped together here, and then attention will be paid to the routes followed by the artists to develop their work in such a vast territory.
The present article reveals an element, unfortunately disappeared, that had transcendence in the urbanism and the architecture sevillana, to constitute as a heritage of the architecture hispano-muslim. The passage or transit that connected the palace of the Adelantados of Andalusia with the parish of San Esteban, in addition to its corresponding tribune inside this, did not until now have a specific dating. It will be seen how Maria Enriquez, Marquise of Villanueva del Fresno, orders to build these elements currently disappeared, in the year 1565, at which time I Duke of Alcal & aacute; occupies his position of Viceroy of Naples.
The Madrid History Museum, about to celebrate its centenary, faces the future with a new museographic image. In this article we try to analyze the architectural interventions carried out in the building of the old Real Hospicio during its almost one hundred years of existence, first as a Municipal Museum and then as a Museum of History of Madrid, focusing on the works of Juan Pablo Rodriguez Frade who has tried to offer an innovative aesthetic.
