The Lawcourt in the Alcázar of Seville. An area of Islamic protocol and
its transformation under Christian domain

IGNACIO GONZÁLEZ CAVERO

In this article we raise the existence and continuity in the Islamic Alcázar of Seville of an official area reserved to the figure of the sovereign to receive audience, the throne room. At the same time, and on the basis of the studies on the named Lawcourt, we believe that its location was in the same place where the latter stood in the 14th century, whose transformation currently evidences the importance that reached this space even in the Christian era.

Saint Francisco de Borja: The formation of his plastic image

ALFONSO RODRÍGUEZ G. DE CEBALLOS

On the occasion of the canonization of Saint Francisco de Borja engraved prints were not published of his life and miraculous deeds, so that artists could not come to this source of inspiration for paint and sculptures, but were complied with the biographies of Borja written by P. de Ribadeneira, J. E. Nieremberg and A. Cienfuegos. In these was highlighted the so-called “conversion” of Borja during the funeral of the Empress Elisabeth in Granada, which in turn caught the attention of artists because of its dramatic character, who represented this scene many times and took the main iconographic attributes to compose the image of the new saint. This paper will revisit the paints and sculptures related to the “conversión”, but also other episodes and miraculous events of the life and after the Borja’s death that were painted or sculpted from the seventeenth century until today.

An heresiarca at the Academy: Diego de Villanueva’s training as a
sculptor and altarpiece architect in the environment of Churriguerism

BÁRBARA GARCÍA MENÉNDEZ

Up to now, the biographical references about Diego de Villanueva published by other researchers have been focused, mainly, on the architectural activities that he developed since 1745 at San Fernando Academy. To enrich the artist’s profile this article analyses how Diego was trained before that date as an altarpiece architect and sculptor by his father, Juan de Villanueva y Barbales, and how they worked together for several years in the same extremely decorative baroque style that Diego would strongly condemn in the 1760’s, after his “conversion” to the academic creed.

Carlos Sáenz de Tejada as a set designer

IDOIA MURGA CASTRO

This article analyses the scene works by the draftsman and painter Carlos Sáenz de Tejada (1897-1958). His production can be structured in three stages: the first one takes place in the Madrid avant-garde context between the end of the 1910s and 1926; the second one involves his stay in Paris between 1926 and 1933, when he collaborated with Antonia Mercé La Argentina’s Ballets Espagnols; the third one is developed between 1944 and 1957, after his return to the stage during the Spanish post-war period.

The short, but intense, activity of Estampa Popular Galega

NOEMI DE HARO GARCÍA

Estampa Popular Galega was the last to appear in the map of Estampa Popular’s net. It was also the group that had a shorter life. This could be the reason why its activities are usually forgotten in the studies dealing with Estampa Popular. These were the first groups of artists that criticised francoism in an explicit way inside the country. The coherence and engagement of Estampa Popular Galega are an example of an effective approach to the people through art. It is probably the most effective one in the whole experience of Estampa Popular. In this paper are analysed the history, the members and the work of this group of artists in Galicia.

· BIBLIOTECA·

ÁNGELA FRANCO MATA — Arte leonés fuera de León (siglos IV-XVI) (Mª del Carmen Lacarra Ducay)

WILDENSTEIN INSTITUTE Y ODILE DELENDA— Francisco de Zurbarán. Los conjuntos. El obrador (Juan José Junquera)

NIGEL GLENDINNING Y HILARY MACARTNEY — Spanish Art in Britain and Ireland, 1750-1920. Studies in Reception (Jesusa Vega)

JEAN-LOUIS GUEREÑA — Un infierno español. Un ensayo de bibliografía de publicaciones eróticas españolas clandestinas (1812-1939) (Carlos Reyero)