Publication: Aproximación a los sistemas constructivos de los principales escultores que trabajaron en la ciudad de Murcia en el siglo XVIII : Nicolás de Bussy, Nicolás Salzillo, Antonio Dupar, Francisco Salzillo y Roque López. Una nueva vía de investigación de la escultura en madera policromada murciana
Authors
Fernández Labaña, Juan Antonio
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Escuela Internacional de Doctorado
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Caballero Cano, Francisco ; Cruz Sánchez, Pedro Alberto ; Cañestro Donoso, Alejandro
Publisher
Universidad de Murcia
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DOI
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info:eu-repo/semantics/doctoralThesis
Description
Abstract
Hasta la fecha, la escultura en madera policromada murciana había sido estudiada desde el punto de vista documental y estilístico. Sin embargo, cuando la tradicional vía documental se agota, bien por falta de investigaciones, bien por la ausencia de los documentos referenciales al encargo de la imagen, no queda otro camino que buscar nuevas vías de investigación si es que queremos continuar avanzando en el conocimiento y no quedarnos estancados. Es aquí donde el estudio de la obra de arte se torna como una fuente de conocimiento repleta de datos en torno a la propia obra y a su creador. Una vía que no es nueva y que ya viene siendo aplicada tanto a nivel nacional como internacional, pero que sin embargo apenas se había empleado en Murcia, y más concretamente en el estudio de la escultura barroca aquí realizada a lo largo del siglo XVIII, con figuras tan relevantes como Nicolás de Bussy, Nicolás Salzillo, Antonio Dupar, Francisco Salzillo y Roque López.
Esta Tesis doctoral profundiza en el sistema constructivo, tanto interno como externo, de las obras más significativas de los autores antes citados, a través de tres líneas de investigación independientes pero complementarias entre sí: en primer lugar, un estudio del sistema constructivo interno, realizado en base al estudio de los análisis químicos y estratigráficos, estudios radiográficos, estudios endoscópicos y microfotografías realizados a todas las esculturas que, hasta la fecha de finalización de esta investigación, han sido intervenidas y analizadas en el Centro de Restauración de la Comunidad Autónoma de la Región de Murcia; en segundo lugar, un pormenorizado estudio del exterior de estas y otras obras, en el que se han analizado con detalle las formas, acabados y grafías que cada autor dejaba sobre la superficie de sus creaciones; y en tercer, una investigación puramente documental que ha servido para situar cada una de las obras tratadas un espacio y tiempo concreto. Todo ello ha permitido realizar una aproximación a los distintos modos de trabajo empleados por cada uno de escultores tratados, pudiendo concluir que el estudio de los materiales empleados en la realización de una obra, la forma en la que esta fue construida, sus acabados, y hasta el revestimiento polícromo que recibió, poseen un enorme valor; pero no solo de cara al mayor conocimiento de la obra en sí, sino también, y en paralelo, al de su autor y temporalidad.
Una vía de investigación que se inscribe dentro del giro material al que hemos recurrido como referente para este trabajo, y claramente complementa los estudios documentales y estilísticos ya clásicos. Con ello obtenemos una visión mucho más poliédrica de esa dualidad tan interesante como son obra y artífice. Un punto de vista diferente que puede aportar mucho al enfrentarnos a imágenes conocidas, pero también a las que se encuentran ausentes de documentación o atribuidas de forma dubitativa.
La restauración y los estudios científicos que lleva aparejados son parte fundamental de esta propuesta metodológica, gracias a la cual podemos conocer mucho mejor, y de un modo más detallado, cada una de las obras que se han utilizado como ejemplos. Ello ha servido para crear patrones asociados al trabajo de cada uno de los artífices tratados, hallando nexos de unión, pero también diferencias; un aspecto crucial para los casos de aquellas piezas de las que no se cuenta con referencias de fuentes primarias.
Up to this point, Murcian polychrome wooden sculpture has been studied from the documentary and stylistic view. However, when the traditional way to document is exhausted, maybe for the lack of investigators or the lack of referential documents related to the commission of the piece, the only way out is to find new methods of investigation, if we even want to continue gaining knowledge and avoid getting stuck. It is here where the study of the art pieces becomes a source of knowledge full of information as for the creator of the piece, A way that is far from new, and has been applied nationally and internationally, but it somehow had barely ever been implemented in Murcia, and more specifically in the study of baroque sculpture realized throughout the 18th century, with figures as prominent as Nicolás de Bussy, Nicolás Salzillo, Antonio Dupar, Francisco Salzillo, or Roque López. This doctoral thesis deepens the constructive system, internal or external, of the figures more significant to the quoted authors, through three lines of investigation independent but complementary to each other: firstly, the study of the internal constructive system, realized with the study of the chemical and strati-graphic analysis in mind, the endoscopic studies, and the microphotographies taken to all the sculptures which, up to this point in the investigation, have all been realized and analized by the CRRM (Centro de Restauración de la Comunidad Autónoma de la Región de Murcia.); secondly, a detailed study of the exterior of these and other works, in which the shapes, finishes and graphics that each artist left were analyzed in detail. And third, purely documentary research has served to situate each of the works discussed in a specific time and space, all of this allowing us to gain insight into all the different working methods employed by each of the sculptors quoted, giving us the idea that the study of these materials, the way it was constructed, and even the coating it may have received, are of incredible value to this research; not only in terms of a greater understanding for the work but also in the understanding of the artist and time period itself. A line of research that falls within the materialist approach we have taken as reference for this work and clearly complements the previous studies. It provides us with a much more multifaceted view of the interesting duality between work and artist, and a different perspective could contribute greatly when confronting familiar images, but also those lacking documentation or filled with questions. Restoration and the accompanying of scientific studies are a fundamental part of this proposal, thanks to which we can gain a much better understanding of the art pieces that have been mentioned. This has served to create patterns associated with the work of each artist, finding common links between them, but also differences and contrasts; a crucial aspect for pieces for which there are no primary source of reference.
Up to this point, Murcian polychrome wooden sculpture has been studied from the documentary and stylistic view. However, when the traditional way to document is exhausted, maybe for the lack of investigators or the lack of referential documents related to the commission of the piece, the only way out is to find new methods of investigation, if we even want to continue gaining knowledge and avoid getting stuck. It is here where the study of the art pieces becomes a source of knowledge full of information as for the creator of the piece, A way that is far from new, and has been applied nationally and internationally, but it somehow had barely ever been implemented in Murcia, and more specifically in the study of baroque sculpture realized throughout the 18th century, with figures as prominent as Nicolás de Bussy, Nicolás Salzillo, Antonio Dupar, Francisco Salzillo, or Roque López. This doctoral thesis deepens the constructive system, internal or external, of the figures more significant to the quoted authors, through three lines of investigation independent but complementary to each other: firstly, the study of the internal constructive system, realized with the study of the chemical and strati-graphic analysis in mind, the endoscopic studies, and the microphotographies taken to all the sculptures which, up to this point in the investigation, have all been realized and analized by the CRRM (Centro de Restauración de la Comunidad Autónoma de la Región de Murcia.); secondly, a detailed study of the exterior of these and other works, in which the shapes, finishes and graphics that each artist left were analyzed in detail. And third, purely documentary research has served to situate each of the works discussed in a specific time and space, all of this allowing us to gain insight into all the different working methods employed by each of the sculptors quoted, giving us the idea that the study of these materials, the way it was constructed, and even the coating it may have received, are of incredible value to this research; not only in terms of a greater understanding for the work but also in the understanding of the artist and time period itself. A line of research that falls within the materialist approach we have taken as reference for this work and clearly complements the previous studies. It provides us with a much more multifaceted view of the interesting duality between work and artist, and a different perspective could contribute greatly when confronting familiar images, but also those lacking documentation or filled with questions. Restoration and the accompanying of scientific studies are a fundamental part of this proposal, thanks to which we can gain a much better understanding of the art pieces that have been mentioned. This has served to create patterns associated with the work of each artist, finding common links between them, but also differences and contrasts; a crucial aspect for pieces for which there are no primary source of reference.
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