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Previously, she had joined the Spanish National Research Council (CSIC, CCHS – IH, Madrid) (2021-2023) as Juan de la Cierva-Formación Postdoctoral Researcher. Since January 2019, she was also part of the Department of Art and Musicology of the UAB as History of Art lecturer, after having taught there before as part-time lecturer of Hispanic Romanesque Art, Byzantine Art, and Art of Non-European Cultures since 2014 (2013/14, 2014/15-2015/16). Her degrees are from UAB [BA, History of Art; MA, Analysis and Management of Artistic Heritage (A-grade 10/10); PhD, History of Art (Cum Laude-International Mention, Extraordinary Doctoral Award, PhD Dissertation: EGO REGINA: Female Artistic Patronage in Aragon, Navarre, and Catalonia (1000-1200))].<br /><br />In 2013 she was awarded a 4-year Research Fellowship (FPI) in support of her PhD thesis. She has also been awarded several grants for national and international research stays: Research Fellow at Museu Episcopal de Vic (2012-13, 10 months), The Metropolitan Museum of Art, Department of Medieval Art and The Cloisters, New York, USA (2015, 4 months), and Fondazione di Studi di Storia dell'Arte Roberto Longhi, Florence, Italy (2017, 9 months). In 2012, she was hired as heritage technician to participate in the Research Project of The Romanesque Encyclopaedia of Huesca (Aragon, Spain), sponsored by Fundación Santa María la Real del Patrimonio Histórico. She has been recently invited as Visiting Professor at the Università degli Studi di Catania to carry on research and teaching on Storia dell’Arte Bizantina (December 2023). She is also expanding her teaching experience due to her participation and involvement in postgraduate courses at CSIC and UIMP, giving seminars, invited talks, and lectures in postgraduate and master programmes from UAB and UCM, and within the Programme of Expertise in Byzantine Studies of UAH.<br /><br />She has collaborated actively in several highly competitive Research Projects (HAR, PDI, RTI, and ERC). She is currently collaborating in two I+D+I Projects (vide CV). Her research, which is characterized by a strong international focus, has been devoted to the study of Romanesque and Byzantine art and architecture while focusing on female artistic patronage together with artistic exchange in the medieval Mediterranean. Her current scientific interests include intersections of gender and transculturalism in the creation, mobility, and reception of objects, textiles, and manuscripts in al-Ándalus, Byzantium, and the Christian kingdoms and counties of medieval Iberia. She has discussed the results of her research at multiple international forums (vide CV).<br /><br />She is currently researcher of the UCM Research Group ARQIMED (Arquitectura e integración de las artes en la Edad Media). She has an excellent record of international publications both in leading Art History journals and refereed collective volumes (vide infra). She is the co-coordinator of Pintar fa mil anys (Publicacions de la UAB, 2014), and Entre la letra y el pincel (Círculo Rojo, 2017). She has been recently appointed as Guess Editor of Arts, Special Issue: Byzantium and the Mediterranean (11th-13th c.): Multiculturalism, Gender, and Profane Topics in Illuminated Manuscripts. She is currently editing with Therese martin the book Medieval Treasures of Toledo Cathedral: Artworks, Relics, Texts, and Textiles (Brill, 2024). She is part of the Editorial Board of the scientific journal Medievalia (UAB).<br /><span class="u-fw700">Supervisors: </span>Therese Martin and Manuel Castiñeiras<br /><span class="u-fw700">Phone: </span>(+34) 916022715<br /><b>Address: </b>UNIVERSIDAD COMPLUTENSE DE MADRID<br />Facultad de Geografía e Historia<br />Departamento de Historia del Arte<br />Office: 8 floor, n. 12<br />C/ Profesor Aranguren, s/n<br />28040, Madrid, Spain<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="suggested-academics-container"><div class="suggested-academics--header"><p class="ds2-5-body-md-bold">Related Authors</p></div><ul class="suggested-user-card-list"><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://ceu.academia.edu/ChristopherMielke"><img class="profile-avatar u-positionAbsolute" alt="Christopher Mielke" border="0" onerror="if 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ds-divider-16" style="margin: 0px;"></div><div class="documents-container backbone-social-profile-documents" style="width: 100%;"><div class="u-taCenter"></div><div class="profile--tab_content_container js-tab-pane tab-pane active" id="all"><div class="profile--tab_heading_container js-section-heading" data-section="Journals: Special Issues (Edited)" id="Journals: Special Issues (Edited)"><h3 class="profile--tab_heading_container">Journals: Special Issues (Edited) by Verónica Abenza</h3></div><div class="js-work-strip profile--work_container" data-work-id="108762526"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/108762526/Byzantium_and_the_Mediterranean_11th_13th_C_Multiculturalism_Gender_and_Profane_Topics_in_Illuminated_Manuscripts"><img alt="Research paper thumbnail of Byzantium and the Mediterranean (11th–13th C.): Multiculturalism, Gender and Profane Topics in Illuminated Manuscripts" class="work-thumbnail" src="https://attachments.academia-assets.com/107064680/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/108762526/Byzantium_and_the_Mediterranean_11th_13th_C_Multiculturalism_Gender_and_Profane_Topics_in_Illuminated_Manuscripts">Byzantium and the Mediterranean (11th–13th C.): Multiculturalism, Gender and Profane Topics in Illuminated Manuscripts</a></div><div class="wp-workCard_item"><span>Arts Special Issue</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Byzantine illuminated manuscripts constitute a fascinating field of study to be explored in terms...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Byzantine illuminated manuscripts constitute a fascinating field of study to be explored in terms of cross-cultural exchanges, gender issues and the spreading of profane topics. This phenomenon was especially rich in the turmoil of 12th and 13th century art in the Mediterranean as a privileged space for interchanging between Latins, Greeks and Muslims. Some of the Byzantine codices from this period— chronicles, manuals of poliorcetics, cynegetic treatise or even biblical and ecclesiastical manuscripts—provide us precious information related to customs, ceremonies, warfare techniques, buildings, clothing, social strata and ethnic and cultural diversity.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="974774446159e77f91e222a0a6d49f66" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107064680,"asset_id":108762526,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107064680/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="108762526"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="108762526"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 108762526; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=108762526]").text(description); $(".js-view-count[data-work-id=108762526]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 108762526; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='108762526']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "974774446159e77f91e222a0a6d49f66" } } $('.js-work-strip[data-work-id=108762526]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":108762526,"title":"Byzantium and the Mediterranean (11th–13th C.): Multiculturalism, Gender and Profane Topics in Illuminated Manuscripts","internal_url":"https://www.academia.edu/108762526/Byzantium_and_the_Mediterranean_11th_13th_C_Multiculturalism_Gender_and_Profane_Topics_in_Illuminated_Manuscripts","owner_id":27140032,"coauthors_can_edit":true,"owner":{"id":27140032,"first_name":"Verónica","middle_initials":null,"last_name":"Abenza","page_name":"VerónicaAbenza","domain_name":"ucm","created_at":"2015-03-03T07:47:39.324-08:00","display_name":"Verónica Abenza","url":"https://ucm.academia.edu/Ver%C3%B3nicaAbenza"},"attachments":[{"id":107064680,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/107064680/thumbnails/1.jpg","file_name":"Arts_Special_Issue_Byzantine_Illuminated_Manuscripts.pdf","download_url":"https://www.academia.edu/attachments/107064680/download_file","bulk_download_file_name":"Byzantium_and_the_Mediterranean_11th_13t.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/107064680/Arts_Special_Issue_Byzantine_Illuminated_Manuscripts-libre.pdf?1698762683=\u0026response-content-disposition=attachment%3B+filename%3DByzantium_and_the_Mediterranean_11th_13t.pdf\u0026Expires=1740048719\u0026Signature=Owkfk9j02M9MBxgLIZK-HgkddUAzN0coTqmJI1OaP-qT3ozV6BKMCFUDvXr3syh6EwAoCYRpnYvN0Tt9M9amlmL07mqPaNPDqKVfGOB0o4vV53MHM6WVQHlcj~fnYIwZIv2wsnRW9KtD6ZeZJkYe6GYRCC~HdEcqDWNr3iIwcI4ryUWP~wh443f1x1lid2-9UCWMPVDFAQedHS3Gd3WZdD53OFYGfg3BfIBZl5PVbtQfv9kMR-3B32N8P-mREIXgIa8StP9vjRcQEWD4HI17ksjZe-rLv8huvfR1ahouyi9IeYbxF0FHf5uK0RDkxD5wRLhInZb9aYJIsXPHbzsfAg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Volumes (Edition and Tech. Coord.)" id="Volumes (Edition and Tech. Coord.)"><h3 class="profile--tab_heading_container">Volumes (Edition and Tech. Coord.) by Verónica Abenza</h3></div><div class="js-work-strip profile--work_container" data-work-id="36598462"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/36598462/Entre_la_letra_y_el_pincel_El_artista_medieval_Leyenda_identidad_y_estatus_El_Ejido_C%C3%ADrculo_Rojo_2017_ISBN_978_84_9160_336_8_CASTI%C3%91EIRAS_M_ed_"><img alt="Research paper thumbnail of Entre la letra y el pincel. El artista medieval. Leyenda, identidad y estatus (El Ejido: Círculo Rojo, 2017. ISBN. 978-84-9160-336-8) [CASTIÑEIRAS, M. (ed.)]" class="work-thumbnail" src="https://attachments.academia-assets.com/56526334/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/36598462/Entre_la_letra_y_el_pincel_El_artista_medieval_Leyenda_identidad_y_estatus_El_Ejido_C%C3%ADrculo_Rojo_2017_ISBN_978_84_9160_336_8_CASTI%C3%91EIRAS_M_ed_">Entre la letra y el pincel. El artista medieval. Leyenda, identidad y estatus (El Ejido: Círculo Rojo, 2017. ISBN. 978-84-9160-336-8) [CASTIÑEIRAS, M. (ed.)]</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">el artista medieval. Leyenda, identidad y estatus Se trata de una novedosa aproximación al mundo ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">el artista medieval. Leyenda, identidad y estatus Se trata de una novedosa aproximación al mundo del artista medieval, cuya obra se debatía entre la autoría divina y la firma individual. Temas como la formación del artista, su estatus laico o eclesiástico, el recurso a los modelos o la importancia de la itinerancia en su aprendizaje son abordados con rigor en esta publicación. Asimismo, los distintos roles profesionales desempeñados en los talleres medievales nos permiten conocer mejor cómo se construía y decoraba una catedral en la Edad Media. En esta visión sociológica de la obra de arte no puede faltar el papel omnipotente de los patronos medievales, personajes normalmente relacionados con la realeza y el estamento eclesiástico, que en muchos casos son los verdaderos "autores" de estas empresas, en la que las mujeres tuvieron también un destacable protagonismo. En el libro participan 20 autores procedentes de diversas universidades e instituciones museísticas de toda Europa. La publicación es el resultado de los Proyectos de Investigación: Artistas, Patronos y Público. Cataluña y el Mediterráneo (siglos XI-XV)-MAGISTRI CATALONIAE (MICINN-HA R2 0 1 1 -2 3 0 1 5); y Movilidad y transferencia artística en el Mediterráneo Medieval (1187Medieval ( -1388. Artistas, objetos y modelos-MAGISTRI MEDITERRANEI. (MICINN-HAR2015-63883-P).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="fec17d34d991f53fbeb6f9cf05c97c16" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56526334,"asset_id":36598462,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56526334/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36598462"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36598462"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36598462; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36598462]").text(description); $(".js-view-count[data-work-id=36598462]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36598462; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36598462']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "fec17d34d991f53fbeb6f9cf05c97c16" } } $('.js-work-strip[data-work-id=36598462]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":36598462,"title":"Entre la letra y el pincel. El artista medieval. Leyenda, identidad y estatus (El Ejido: Círculo Rojo, 2017. ISBN. 978-84-9160-336-8) [CASTIÑEIRAS, M. 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Els colors i l'ofici del pintor romànic (Bellaterra: Servei de Publicacions de la Universitat Autònoma de Barcelona/MAGISTRI CATALONIAE, 2014. ISBN: 978-84-490-4848-7) [CASTIÑEIRAS, M.; VERDAGUER, J. (ed.)]." class="work-thumbnail" src="https://attachments.academia-assets.com/37770078/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/12666184/Pintar_fa_mil_anys_Els_colors_i_lofici_del_pintor_rom%C3%A0nic_Bellaterra_Servei_de_Publicacions_de_la_Universitat_Aut%C3%B2noma_de_Barcelona_MAGISTRI_CATALONIAE_2014_ISBN_978_84_490_4848_7_CASTI%C3%91EIRAS_M_VERDAGUER_J_ed_">Pintar fa mil anys. Els colors i l'ofici del pintor romànic (Bellaterra: Servei de Publicacions de la Universitat Autònoma de Barcelona/MAGISTRI CATALONIAE, 2014. ISBN: 978-84-490-4848-7) [CASTIÑEIRAS, M.; VERDAGUER, J. 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Nevertheless, Sicily in the late Norman and early Swabian periods was particularly rich in visual sources that allow us to investigate the ideological constructions of queenship and the roles established according to gender differences. Two of these sources, the Skylitzes Matritensis and the Liber ad honorem Augusti show a male perspective. On the other hand, certain artefacts of material culture linked to Queens Constance of Hauteville and Constance of Aragon reveal the public image that they themselves wished to project. Since the first comprehensive studies on the concept of medieval queenship were developed in the mid-1990s, the ontological avenues of feminist research have expanded the theoretical model by<br />refining the idea of female empowerment. Among all the elements that articulate the paradigm of queenship, this article focuses on the definition of the ideal model of queen according to the artistic and cultural imaginary of the time.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="97999dd258d01c049c3d5b1a3d58b539" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":113507304,"asset_id":117721974,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/113507304/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="117721974"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="117721974"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 117721974; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=117721974]").text(description); $(".js-view-count[data-work-id=117721974]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 117721974; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='117721974']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "97999dd258d01c049c3d5b1a3d58b539" } } $('.js-work-strip[data-work-id=117721974]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":117721974,"title":"Cultural Constructs of the Female Royal and Imperial Ideal in the Kingdom of Sicily","internal_url":"https://www.academia.edu/117721974/Cultural_Constructs_of_the_Female_Royal_and_Imperial_Ideal_in_the_Kingdom_of_Sicily","owner_id":27140032,"coauthors_can_edit":true,"owner":{"id":27140032,"first_name":"Verónica","middle_initials":null,"last_name":"Abenza","page_name":"VerónicaAbenza","domain_name":"ucm","created_at":"2015-03-03T07:47:39.324-08:00","display_name":"Verónica Abenza","url":"https://ucm.academia.edu/Ver%C3%B3nicaAbenza"},"attachments":[{"id":113507304,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/113507304/thumbnails/1.jpg","file_name":"ARTE_MEDIEVALE_2023_abenza.pdf","download_url":"https://www.academia.edu/attachments/113507304/download_file","bulk_download_file_name":"Cultural_Constructs_of_the_Female_Royal.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/113507304/ARTE_MEDIEVALE_2023_abenza-libre.pdf?1713524194=\u0026response-content-disposition=attachment%3B+filename%3DCultural_Constructs_of_the_Female_Royal.pdf\u0026Expires=1740048719\u0026Signature=eHqbSFslD3MtY5JeA8u5stL-OURe5-04K~fgH8S8fk4RVTwFkFaO-kBe8QeeSDMP969EwiM6vEkSo6yWcZRz-V-fn9jSKndoIK04NWYv7pMAM9AUAiyVWgyWgZy9wiJKNHuYOfAGXFvxkJqArEQ~FbVwICj3HhSefO-GuH5wp6m2JDMfomN85ACh7kyhgfzRbheInidABuB3iRTzZaC1jcgo4g36X~RAT7scx1FfLkBDU5bq6mka6T06MLimMmgHwf-nIQ3k5jwtgnBTICdeJvQIBztRHFjuHFC~Bjr0xncEl97PJoBTBRfwZefjZbnoXsfqnTk-4KJLhmirAobyfA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="108763061"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/108763061/Ad_hedificandum_ibi_domum_Santa_Mar%C3%ADa_de_Vallbona_su_fundaci%C3%B3n_y_primeras_etapas_constructivas"><img alt="Research paper thumbnail of Ad hedificandum ibi domum: Santa María de Vallbona, su fundación y primeras etapas constructivas" class="work-thumbnail" src="https://attachments.academia-assets.com/107065160/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/108763061/Ad_hedificandum_ibi_domum_Santa_Mar%C3%ADa_de_Vallbona_su_fundaci%C3%B3n_y_primeras_etapas_constructivas">Ad hedificandum ibi domum: Santa María de Vallbona, su fundación y primeras etapas constructivas</a></div><div class="wp-workCard_item"><span>Revista de Historia Jerónimo Zurita</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Los documentos relativos al monasterio femenino cisterciense de Santa María de Vallbona (Vallbona...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Los documentos relativos al monasterio femenino cisterciense de Santa María de Vallbona (Vallbona de les Monges, Urgell, Lleida), publicados y sobradamente conocidos, todavía no han sido interpretados a la luz de diversas cuestiones no resueltas en torno a su fundación y primer proceso constructivo y decorativo. Por ello, esta contribución quiere subrayar, en primer lugar, la importancia de la controversia historiográfica sobre las cistercienses de iure/sine iure en relación al debate sobre la génesis eremítica o regia del cenobio y su sometimiento a la observancia bernarda. Y, en segundo lugar, se pretende una lectura de los pormenores del conjunto arquitectónico y escultórico atendiendo a cuestiones como la identidad femenina de su comunidad y de sus principales promotoras artísticas y benefactoras, así como el uso cultual de sus distintos espacios.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="bbf9fe5a2ea13635ff739abf8dac0777" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107065160,"asset_id":108763061,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107065160/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="108763061"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="108763061"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 108763061; 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A propósito de una nueva Koímesis creto-veneciana de inicios del siglo XVI" class="work-thumbnail" src="https://attachments.academia-assets.com/107065100/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/108762999/Iconos_devocionales_y_donantes_A_prop%C3%B3sito_de_una_nueva_Ko%C3%ADmesis_creto_veneciana_de_inicios_del_siglo_XVI">Iconos devocionales y donantes. A propósito de una nueva Koímesis creto-veneciana de inicios del siglo XVI</a></div><div class="wp-workCard_item"><span>Estudios Bizantinos. Revista de la Sociedad Española de Bizantinística</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">El presente artículo trata de un desconocido icono de la Koímesis de inicios del siglo XVI, atrib...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">El presente artículo trata de un desconocido icono de la Koímesis de inicios del siglo XVI, atribuible al taller de los Ritzos, que nos permite valorar los gustos artísticos, estéticos y devocionales que caracterizaron a la sociedad creto-veneciana de Candia durante ese período. Sus dimensiones y formato horizontal indican un uso privado y devocional. Sus destinatarios fueron probablemente una pareja de patricios o plutócratas locales griegos que no dudaron en hacerse retratar alla veneziana como parte del planto de los funerales de la Virgen.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ce0bd425120471105f90a599ef9468e3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107065100,"asset_id":108762999,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107065100/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="108762999"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="108762999"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 108762999; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=108762999]").text(description); $(".js-view-count[data-work-id=108762999]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 108762999; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='108762999']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "ce0bd425120471105f90a599ef9468e3" } } $('.js-work-strip[data-work-id=108762999]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":108762999,"title":"Iconos devocionales y donantes. 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Cicli dell’Antico Testamento nella pittura murale medievale</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The wall paintings from the chapterhouse of Santa María de Sigena (Huesca, Aragon, Spain), today ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The wall paintings from the chapterhouse of Santa María de Sigena (Huesca, Aragon, Spain), today kept in the Museu Nacional d’Art de Catalunya (MNAC 068703-CJT), epitomize some complex patterns of artistic creation and transmission, whose disambiguation would enable us to better understand how cultural and artistic exchange at around 1200 contributed to reconfiguration of visual culture in the realm of Aragon. The murals, which were painted for a convent of Hospitaller nuns founded by Queen Sancha of Castile (Queen consort of Aragon, r. 1174-1208), consisted of an Old Testament cycle, a New Testament cycle and a series of portraits of the ancestors of Christ running from the walls to the vault spandrels and underside of the arches in the Chapterhouse. The murals convey a gendered message. It is in confronting a female portrait of sin and redemption, and the deliberate choice of images depicting Good and Evil, damnation and salvation, with the genealogical symbolism derived from the cycle of Christ ancestors and the topographic references to the Holy Land and the Holy Sites in the Chapterhouse walls, when it becomes apparent how this allegorical repertoire could be part of the message that the patron of the paintings wanted to be spread according to her own political and religious concerns.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="0ac29a1ce48ac514db98a09c99b5228e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107064929,"asset_id":108762801,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107064929/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="108762801"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="108762801"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 108762801; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="108762734"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/108762734/Ut_commutando_donemus_An_Approach_to_Female_Artistic_Patronage_in_Northeast_Iberia_1000_1100_"><img alt="Research paper thumbnail of Ut commutando donemus: An Approach to Female Artistic Patronage in Northeast Iberia (1000-1100)" class="work-thumbnail" src="https://attachments.academia-assets.com/107064867/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/108762734/Ut_commutando_donemus_An_Approach_to_Female_Artistic_Patronage_in_Northeast_Iberia_1000_1100_">Ut commutando donemus: An Approach to Female Artistic Patronage in Northeast Iberia (1000-1100)</a></div><div class="wp-workCard_item"><span>Bulletin du centre d'études médiévales d'Auxerre | BUCEMA</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Centring on the specific context of northeastern Iberia in the eleventh century, this article off...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Centring on the specific context of northeastern Iberia in the eleventh century, this article offers a concept of patronage as it was understood by the women who performed it. While medievalists are accustomed to reconstructing the circumstances in which an artwork was born, when studying artistic patronage there is still a general tendency to avoid consideration of the social, economic, and legal differences between men and women in the Middle Ages. By focusing on a representative set of women from the period, one of the main goals of this article is to show that, beyond devotional reasons, artistic patronage helped medieval women overcame some of these social constraints and allowed them to exercise different degrees of power and authority.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a24b9655735f2028effbba62579dface" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107064867,"asset_id":108762734,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107064867/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="108762734"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="108762734"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 108762734; 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Open Access: https://doi.org/10.3989/aearte.2021.18" class="work-thumbnail" src="https://attachments.academia-assets.com/87568417/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/81569635/En_Torno_a_Donantes_y_Me_Fecit_en_los_Bordados_Medievales_La_Estola_de_San_Narciso_y_el_Estandarte_de_San_Ot_Open_Access_https_doi_org_10_3989_aearte_2021_18">En Torno a Donantes y Me Fecit en los Bordados Medievales: La Estola de San Narciso y el Estandarte de San Ot. Open Access: https://doi.org/10.3989/aearte.2021.18</a></div><div class="wp-workCard_item"><span>Archivo Español de Arte, 94, 376, pp. 315-334, ISSN: 0004-0428. </span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Este es un artículo de acceso abierto distribuido bajo los términos de una licencia de uso y dist...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Este es un artículo de acceso abierto distribuido bajo los términos de una licencia de uso y distribución Creative Commons Reconocimiento 4.0 Internacional (CC BY 4.0)</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="63b56b5a95d0966cb8df96969bd615b2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":87568417,"asset_id":81569635,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/87568417/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="81569635"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="81569635"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 81569635; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=81569635]").text(description); $(".js-view-count[data-work-id=81569635]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 81569635; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='81569635']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "63b56b5a95d0966cb8df96969bd615b2" } } $('.js-work-strip[data-work-id=81569635]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":81569635,"title":"En Torno a Donantes y Me Fecit en los Bordados Medievales: La Estola de San Narciso y el Estandarte de San Ot. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="81716747"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/81716747/_Patronazgo_en_cuesti%C3%B3n_o_cuesti%C3%B3n_de_patronazgo_Ermessenda_de_Carcassone_y_el_desaparecido_frontal_de_altar_de_la_catedral_de_Girona_el_enigma_de_su_piedra_sigilar"><img alt="Research paper thumbnail of ¿Patronazgo en cuestión o cuestión de patronazgo? Ermessenda de Carcassone y el desaparecido frontal de altar de la catedral de Girona: el enigma de su piedra sigilar" class="work-thumbnail" src="https://attachments.academia-assets.com/88241003/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/81716747/_Patronazgo_en_cuesti%C3%B3n_o_cuesti%C3%B3n_de_patronazgo_Ermessenda_de_Carcassone_y_el_desaparecido_frontal_de_altar_de_la_catedral_de_Girona_el_enigma_de_su_piedra_sigilar">¿Patronazgo en cuestión o cuestión de patronazgo? Ermessenda de Carcassone y el desaparecido frontal de altar de la catedral de Girona: el enigma de su piedra sigilar</a></div><div class="wp-workCard_item"><span>Locus Amoenus, 18, pp. 5-26, ISSN: 1135-9722</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La condesa Ermessenda de Carcassone es célebre por su constante impulso al patronazgo de obras de...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La condesa Ermessenda de Carcassone es célebre por su constante impulso al patronazgo de obras de arte y de arquitectura en los diversos condados sobre los que, en dos ocasiones, ejerció su autoridad. El desaparecido frontal de altar románico de la catedral de Santa María de Girona es, sin embargo, la obra que mejor representa su rol como promotora artística. El presente artículo, a través de una revisión exhaustiva de las fuentes conocidas, pretende puntualizar algunos aspectos sobre su encargo, su manufactura y su apariencia, incidiendo particularmente en la importancia de la piedra sigilar que la condesa donó para adornar la pieza y rubricar su iniciativa. El énfasis, además, se pondrá en solventar las dudas sobre el uso de dicha calcedonia como parte de la decoración del frontal, así como su significación para el fenómeno de la promoción artística femenina en la Plena Edad Media.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c27dff6dc03a371d0eace132c80c09f9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":88241003,"asset_id":81716747,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/88241003/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="81716747"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="81716747"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 81716747; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=81716747]").text(description); $(".js-view-count[data-work-id=81716747]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 81716747; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='81716747']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c27dff6dc03a371d0eace132c80c09f9" } } $('.js-work-strip[data-work-id=81716747]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":81716747,"title":"¿Patronazgo en cuestión o cuestión de patronazgo? Ermessenda de Carcassone y el desaparecido frontal de altar de la catedral de Girona: el enigma de su piedra sigilar","internal_url":"https://www.academia.edu/81716747/_Patronazgo_en_cuesti%C3%B3n_o_cuesti%C3%B3n_de_patronazgo_Ermessenda_de_Carcassone_y_el_desaparecido_frontal_de_altar_de_la_catedral_de_Girona_el_enigma_de_su_piedra_sigilar","owner_id":27140032,"coauthors_can_edit":true,"owner":{"id":27140032,"first_name":"Verónica","middle_initials":null,"last_name":"Abenza","page_name":"VerónicaAbenza","domain_name":"ucm","created_at":"2015-03-03T07:47:39.324-08:00","display_name":"Verónica Abenza","url":"https://ucm.academia.edu/Ver%C3%B3nicaAbenza"},"attachments":[{"id":88241003,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/88241003/thumbnails/1.jpg","file_name":"07_VCAS_LA.pdf","download_url":"https://www.academia.edu/attachments/88241003/download_file","bulk_download_file_name":"Patronazgo_en_cuestion_o_cuestion_de_pa.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/88241003/07_VCAS_LA-libre.pdf?1656962065=\u0026response-content-disposition=attachment%3B+filename%3DPatronazgo_en_cuestion_o_cuestion_de_pa.pdf\u0026Expires=1739913355\u0026Signature=aSdUDeC32ePpJH33s8qanoTffbJt8mlwW3DUvrBsjFGGFxhe4proDC6qEN2WRuOMx7qgaKUUWNI4XuspxdfIZd5~fWT5RF6LEfGC6-uXckMRLidnRUa9SYu8BZDgQ0HZGmfr2JuxXkP24t3-TgaPWSQkOcTU5pJ1USa3jmGfEd0evhqcojl42hlmifOPBTWMDeMXYjehxzbkWG95PSH9XYbjsA5Ux8-zMZrqC3PBbtMAo2UifTA3o7djqS1vaIR48e28Xe8lp22bjAHsOu4iE-EDOfq-k-82a3HcjPIKBI10Cna2K-r3ASGvK88VsKXQ7pLYU7yzKKJ2D3NsxPwVmQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"},{"id":87664796,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/87664796/thumbnails/1.jpg","file_name":"Portada.pdf","download_url":"https://www.academia.edu/attachments/87664796/download_file","bulk_download_file_name":"Patronazgo_en_cuestion_o_cuestion_de_pa.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/87664796/Portada-libre.pdf?1655495238=\u0026response-content-disposition=attachment%3B+filename%3DPatronazgo_en_cuestion_o_cuestion_de_pa.pdf\u0026Expires=1739913355\u0026Signature=VjHpFZqJS7dtJge1JSMMCb03~g7Dv~Fdx1N~rPzuQUtRJhpruebZ9z9wsXKRMLQ29ibuYgPQGr7jlMUSrMBYabZKVqGmHhZsfX4DloaCK0XIo3AlzY88y6s9AOQ5msxIfkpzN642NwnMTiqAyuvTv0YfMa85wIpASILdk5E~QaONZ58OLNcVPriMR6YtzCjhqk6wXgPJwR7xyHziKMFr7jK48g5FtkGpe~6DX0J0v8rvdfwT5vOEu8eJcHnhZKiXzq1nk~HTttf9a2t6yFct6~rkXY49Ofs9uT7-ejgETrAYPSOEsJ0rkvbk9Ynf5Z~Hs2VCrYbnLDtNubvPs0hlOw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); 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(ed.)., Entre la letra y el pincel. El artista medieval. Leyenda, identidad y estatus, El Ejido: Círculo Rojo, 2017, p. 279-297 [ISBN: 978-84-9160-336-8]" class="work-thumbnail" src="https://attachments.academia-assets.com/56546832/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/12665734/_Mujeres_y_artistas_Un_g%C3%A9nero_subestimado_CASTI%C3%91EIRAS_M_ed_Entre_la_letra_y_el_pincel_El_artista_medieval_Leyenda_identidad_y_estatus_El_Ejido_C%C3%ADrculo_Rojo_2017_p_279_297_ISBN_978_84_9160_336_8_">"Mujeres y artistas: ¿Un género subestimado?", CASTIÑEIRAS, M. (ed.)., Entre la letra y el pincel. El artista medieval. Leyenda, identidad y estatus, El Ejido: Círculo Rojo, 2017, p. 279-297 [ISBN: 978-84-9160-336-8]</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">el artista medieval.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f109d56496b6f79e1f6416eaa064a972" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56546832,"asset_id":12665734,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56546832/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="12665734"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="12665734"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 12665734; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=12665734]").text(description); $(".js-view-count[data-work-id=12665734]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 12665734; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='12665734']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f109d56496b6f79e1f6416eaa064a972" } } $('.js-work-strip[data-work-id=12665734]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":12665734,"title":"\"Mujeres y artistas: ¿Un género subestimado?\", CASTIÑEIRAS, M. 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Manuel Castiñeiras, Judit Verdaguer, Universitat Autònoma de Barcelona, Bellaterra, 2014, 71-86." class="work-thumbnail" src="https://attachments.academia-assets.com/38274120/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/14338187/_Sant_Mart%C3%AD_de_Puigb%C3%B2_una_iconografia_per_a_Ramon_Berenguer_III_Pintar_fa_mil_anys_in_El_colors_i_l_ofici_del_pintor_rom%C3%A0nic_ed_Manuel_Casti%C3%B1eiras_Judit_Verdaguer_Universitat_Aut%C3%B2noma_de_Barcelona_Bellaterra_2014_71_86">“ Sant Martí de Puigbò: una iconografia per a Ramon Berenguer III?”, Pintar fa mil anys. in El colors i l’ofici del pintor romànic, ed. Manuel Castiñeiras, Judit Verdaguer, Universitat Autònoma de Barcelona, Bellaterra, 2014, 71-86.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ucm.academia.edu/Ver%C3%B3nicaAbenza">Verónica Abenza</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uab.academia.edu/ManuelCasti%C3%B1eiras">Manuel Castiñeiras</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">SANT MARTÍ DE PUIGBÒ: AN ICONOGRAPHY FOR RAMON BERENGUER III? Since the 19th century Catalan sc...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">SANT MARTÍ DE PUIGBÒ: AN ICONOGRAPHY FOR RAMON BERENGUER III?<br /> <br />Since the 19th century Catalan scholars have considered the altar frontal from the Romanesque church of Sant Martí de Puigbò (Gombrèn, El Ripollès) to be the oldest surviving example of panel painting in Catalonia. Nevertheless, this alleged ‘antiquity’ should be discussed in the light of a new possible framework. First, its close technical, stylistic and iconographical relationship with other panel paintings from the so-called Ripoll workshop - such as the altar Canopy of Ribes or the frontal from Esquius - would suggest their artists served a common apprenticeship within the abbey of Ripoll.  However, the artist responsible for the altar frontal of Puigbò seems to be less skilled, and to have been more limited in his choice of pigments. Notwithstanding this, the panel shows an awareness of other works and media in the abbey, especially the reliefs of the tomb of Ramon Berenguer III (+ 1131), with which he exchanged iconographical formulae. <br /><br />In this context, the altar frontal was probably given to the humble parish of Puigbò to ensure a proper decor for worship. Its hagiographical programme highlights the importance of the cult of Saint Martin as protector of Christian warriors in Catalonia and connects the work with the viscounts of Berga, who were the owners of the Castle of Puigbò at that time.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="76988cf3133e59b07c1fd6d121809d5e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":38274120,"asset_id":14338187,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/38274120/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="14338187"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="14338187"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 14338187; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=14338187]").text(description); $(".js-view-count[data-work-id=14338187]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 14338187; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='14338187']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "76988cf3133e59b07c1fd6d121809d5e" } } $('.js-work-strip[data-work-id=14338187]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":14338187,"title":"“ Sant Martí de Puigbò: una iconografia per a Ramon Berenguer III?”, Pintar fa mil anys. in El colors i l’ofici del pintor romànic, ed. Manuel Castiñeiras, Judit Verdaguer, Universitat Autònoma de Barcelona, Bellaterra, 2014, 71-86.","internal_url":"https://www.academia.edu/14338187/_Sant_Mart%C3%AD_de_Puigb%C3%B2_una_iconografia_per_a_Ramon_Berenguer_III_Pintar_fa_mil_anys_in_El_colors_i_l_ofici_del_pintor_rom%C3%A0nic_ed_Manuel_Casti%C3%B1eiras_Judit_Verdaguer_Universitat_Aut%C3%B2noma_de_Barcelona_Bellaterra_2014_71_86","owner_id":3436079,"coauthors_can_edit":true,"owner":{"id":3436079,"first_name":"Manuel","middle_initials":null,"last_name":"Castiñeiras","page_name":"ManuelCastiñeiras","domain_name":"uab","created_at":"2013-03-07T05:39:05.944-08:00","display_name":"Manuel Castiñeiras","url":"https://uab.academia.edu/ManuelCasti%C3%B1eiras"},"attachments":[{"id":38274120,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/38274120/thumbnails/1.jpg","file_name":"03_MCastineiras-VAbenza.pdf","download_url":"https://www.academia.edu/attachments/38274120/download_file","bulk_download_file_name":"Sant_Marti_de_Puigbo_una_iconografia_pe.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/38274120/03_MCastineiras-VAbenza-libre.pdf?1437680537=\u0026response-content-disposition=attachment%3B+filename%3DSant_Marti_de_Puigbo_una_iconografia_pe.pdf\u0026Expires=1739913356\u0026Signature=f5X83w5QpBqvPl~W1kJTIgeBcd-C-NdjuKv57B~anBhlRRSOlJXz57yvSkvST37ptVCAJx1XeNH-7CTEu51pYswJCbSVcfGbyCgFB3pskO4iDZdCYK100n8CkgQ9QTcyiVvX5trRwhAa51DVCUBW3f8lVXErGvkBbZQslzQKOcvQ1BcXTjA6VHn28qtlrUy~aOdxHPjxQhg1coDjSa17xJs2YIZs9quGmmicSEN9s2fEcdPDtp1ac18Tv5ltk8ckYyaCTDNapkmcM4l1jvCPPDsE6XvAcP4FBBP~Gej6Nlx2kwjki1UvGd70Us~ipzpt3duMHtNmuykCdsnjjotfug__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="12664747"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/12664747/_Sant_Mart%C3%AD_de_Puigb%C3%B2_una_iconografia_per_a_Ramon_Berenguer_III_Pintar_fa_mil_anys_Els_colors_i_lofici_del_pintor_rom%C3%A0nic_CASTI%C3%91EIRAS_M_VERDAGUER_J_ed_Bellaterra_UAB_Magistri_Cataloniae_2014_p_71_86"><img alt="Research paper thumbnail of "Sant Martí de Puigbò: una iconografia per a Ramon Berenguer III?", Pintar fa mil anys. Els colors i l'ofici del pintor romànic, CASTIÑEIRAS, M.; VERDAGUER, J. (ed.), Bellaterra: UAB/ Magistri Cataloniae, 2014, p. 71-86." class="work-thumbnail" src="https://attachments.academia-assets.com/107064625/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/12664747/_Sant_Mart%C3%AD_de_Puigb%C3%B2_una_iconografia_per_a_Ramon_Berenguer_III_Pintar_fa_mil_anys_Els_colors_i_lofici_del_pintor_rom%C3%A0nic_CASTI%C3%91EIRAS_M_VERDAGUER_J_ed_Bellaterra_UAB_Magistri_Cataloniae_2014_p_71_86">"Sant Martí de Puigbò: una iconografia per a Ramon Berenguer III?", Pintar fa mil anys. Els colors i l'ofici del pintor romànic, CASTIÑEIRAS, M.; VERDAGUER, J. (ed.), Bellaterra: UAB/ Magistri Cataloniae, 2014, p. 71-86.</a></div><div class="wp-workCard_item"><span>Pintar fa mil anys. Els colors i l'ofici del pintor romànic</span><span>, 2014</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The main goal of this book is the transmission of the results of the research developed within th...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The main goal of this book is the transmission of the results of the research developed within the Research Project “Artists, patrons and audiences. Catalonia and the Mediterranean (11th-15th centuries)-MAGISTRI CATALONIAE (HAR2011-23015), led by the Universitat Autònoma de Barcelona. It is published on the occasion of the exhibition entitled, Pintar fa mil anys. Els colors del romànic (Vic, May 31st-December 14th, 2014), being the result of a collaboration between the UAB and the Museu Episcopal de Vic (MEV).  The book mainly aims to look more deeply into issues related to the training and identity of the anonymous Romanesque painters. This task has been made possible thanks to the analysis of some outstanding pieces from the MEV collection -such as the Canopy of Ribes, the frontals of Santa Maria de Puigbò and Espinevles and the Altar of Lluçà- as well as some mural paintings such as those of Saint Thomas Becket in Santa Maria de Terrassa and Sant Martí in Puig-reig. All of them  have been analysed using an approach that combined art-historical methodologies along with scientific analysis. It means the reconstruction of the various agencies which are involved in the production of an artwork, and how each of these agencies have an effect on its genesis and reception. This is combined with  the application of sophisticated laboratory-based analytical techniques such as Optical Microscopy, SEM-EDX, XR Diffraction, FTIR, Chromatographic Techniques and MALDI-TOF. The result is a fascinating study in which is reported for the first time an ecclesiastical context for the starting of the Catalan panel painting. Furthermore, it discusses  in new ways the relation among the illumination, panel an mural painting techniques.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c233b14ed7d257aad8fb78ae69a19e86" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107064625,"asset_id":12664747,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107064625/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="12664747"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="12664747"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 12664747; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=12664747]").text(description); $(".js-view-count[data-work-id=12664747]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 12664747; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='12664747']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c233b14ed7d257aad8fb78ae69a19e86" } } $('.js-work-strip[data-work-id=12664747]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":12664747,"title":"\"Sant Martí de Puigbò: una iconografia per a Ramon Berenguer III?\", Pintar fa mil anys. 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Zwischen Präsenz und UnSichtbarkeit, KEIL, W.; KIYANRAD, S.; THEIS, C.; WILLER, L. (ed.), Berlin, De Gruyter</span><span>, 2018</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="893ffa5317064c48e7fcb19e273012c2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58694606,"asset_id":12665692,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58694606/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="12665692"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="12665692"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 12665692; 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(ed.)., Romanesque Art. Patrons and processes, London-New York: Routledge, Taylor and Francis, 2018, p. 183-193 [ISBN: 978-1-138-47704-9]." class="work-thumbnail" src="https://attachments.academia-assets.com/56547015/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/12665554/_The_Jaca_ivories_towards_a_re_evaluation_of_11th_Century_Female_patronage_in_the_Kingdom_of_Aragon_McNEILL_J_PLANT_R_CASTI%C3%91EIRAS_M_CAMPS_J_ed_Romanesque_Art_Patrons_and_processes_London_New_York_Routledge_Taylor_and_Francis_2018_p_183_193_ISBN_978_1_138_47704_9_">"The Jaca ivories: towards a re-evaluation of 11th Century Female patronage in the Kingdom of Aragon", McNEILL, J.; PLANT, R.; CASTIÑEIRAS, M.; CAMPS, J. (ed.)., Romanesque Art. Patrons and processes, London-New York: Routledge, Taylor and Francis, 2018, p. 183-193 [ISBN: 978-1-138-47704-9].</a></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e852a1543bcfac73d6d4cd3563231749" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56547015,"asset_id":12665554,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56547015/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="12665554"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="12665554"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 12665554; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=12665554]").text(description); $(".js-view-count[data-work-id=12665554]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 12665554; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='12665554']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e852a1543bcfac73d6d4cd3563231749" } } $('.js-work-strip[data-work-id=12665554]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":12665554,"title":"\"The Jaca ivories: towards a re-evaluation of 11th Century Female patronage in the Kingdom of Aragon\", McNEILL, J.; PLANT, R.; CASTIÑEIRAS, M.; CAMPS, J. 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Revista de Arte de Amigos del Románico (AdR), 30, pp. 40-48, ISSN: 1885- 8651." class="work-thumbnail" src="https://attachments.academia-assets.com/88246237/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/82592327/_Patronazgo_art%C3%ADstico_femenino_en_la_Edad_Media_Catalu%C3%B1a_Navarra_y_Arag%C3%B3n_Rom%C3%A1nico_Revista_de_Arte_de_Amigos_del_Rom%C3%A1nico_AdR_30_pp_40_48_ISSN_1885_8651">“Patronazgo artístico femenino en la Edad Media: Cataluña, Navarra y Aragón”, Románico. Revista de Arte de Amigos del Románico (AdR), 30, pp. 40-48, ISSN: 1885- 8651.</a></div><div class="wp-workCard_item"><span>Románico. Revista de Arte de Amigos del Románico (AdR)</span><span>, 2020</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c178fdfce36554404a4433140d3632d1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":88246237,"asset_id":82592327,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/88246237/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="82592327"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="82592327"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 82592327; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=82592327]").text(description); $(".js-view-count[data-work-id=82592327]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 82592327; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='82592327']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c178fdfce36554404a4433140d3632d1" } } $('.js-work-strip[data-work-id=82592327]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":82592327,"title":"“Patronazgo artístico femenino en la Edad Media: Cataluña, Navarra y Aragón”, Románico. 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Arte e iconografía en los primeros siglos del románico”, Desperta Ferro: Arqueologia. El románico en el Pirineo, 26, pp. 26-31, ISSN: 2387-1237." class="work-thumbnail" src="https://attachments.academia-assets.com/88245168/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/82590310/_Ad_promissa_perueniant_celestia_Arte_e_iconograf%C3%ADa_en_los_primeros_siglos_del_rom%C3%A1nico_Desperta_Ferro_Arqueologia_El_rom%C3%A1nico_en_el_Pirineo_26_pp_26_31_ISSN_2387_1237">“Ad promissa perueniant celestia. Arte e iconografía en los primeros siglos del románico”, Desperta Ferro: Arqueologia. El románico en el Pirineo, 26, pp. 26-31, ISSN: 2387-1237.</a></div><div class="wp-workCard_item"><span>Desperta Ferro: Arqueologia. El románico en el Pirineo</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">realización de su antipendio (Girona, ACG, Perg. Ss. IX-XII. Carp. 2, N.45). Hacia mediados del s...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">realización de su antipendio (Girona, ACG, Perg. Ss. IX-XII. Carp. 2, N.45). Hacia mediados del siglo XI las catedrales de Vic, Elna, la</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f95f2d1a71d60acc943d55d21c125be5" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":88245168,"asset_id":82590310,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/88245168/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="82590310"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="82590310"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 82590310; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=82590310]").text(description); $(".js-view-count[data-work-id=82590310]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 82590310; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='82590310']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f95f2d1a71d60acc943d55d21c125be5" } } $('.js-work-strip[data-work-id=82590310]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":82590310,"title":"“Ad promissa perueniant celestia. 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This phenomenon was especially rich in the turmoil of 12th and 13th century art in the Mediterranean as a privileged space for interchanging between Latins, Greeks and Muslims. Some of the Byzantine codices from this period— chronicles, manuals of poliorcetics, cynegetic treatise or even biblical and ecclesiastical manuscripts—provide us precious information related to customs, ceremonies, warfare techniques, buildings, clothing, social strata and ethnic and cultural diversity.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="974774446159e77f91e222a0a6d49f66" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107064680,"asset_id":108762526,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107064680/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="108762526"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="108762526"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 108762526; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=108762526]").text(description); $(".js-view-count[data-work-id=108762526]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 108762526; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='108762526']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="2986610" id="volumeseditionandtechcoord"><div class="js-work-strip profile--work_container" data-work-id="36598462"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/36598462/Entre_la_letra_y_el_pincel_El_artista_medieval_Leyenda_identidad_y_estatus_El_Ejido_C%C3%ADrculo_Rojo_2017_ISBN_978_84_9160_336_8_CASTI%C3%91EIRAS_M_ed_"><img alt="Research paper thumbnail of Entre la letra y el pincel. El artista medieval. Leyenda, identidad y estatus (El Ejido: Círculo Rojo, 2017. ISBN. 978-84-9160-336-8) [CASTIÑEIRAS, M. (ed.)]" class="work-thumbnail" src="https://attachments.academia-assets.com/56526334/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/36598462/Entre_la_letra_y_el_pincel_El_artista_medieval_Leyenda_identidad_y_estatus_El_Ejido_C%C3%ADrculo_Rojo_2017_ISBN_978_84_9160_336_8_CASTI%C3%91EIRAS_M_ed_">Entre la letra y el pincel. El artista medieval. Leyenda, identidad y estatus (El Ejido: Círculo Rojo, 2017. ISBN. 978-84-9160-336-8) [CASTIÑEIRAS, M. (ed.)]</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">el artista medieval. Leyenda, identidad y estatus Se trata de una novedosa aproximación al mundo ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">el artista medieval. Leyenda, identidad y estatus Se trata de una novedosa aproximación al mundo del artista medieval, cuya obra se debatía entre la autoría divina y la firma individual. Temas como la formación del artista, su estatus laico o eclesiástico, el recurso a los modelos o la importancia de la itinerancia en su aprendizaje son abordados con rigor en esta publicación. Asimismo, los distintos roles profesionales desempeñados en los talleres medievales nos permiten conocer mejor cómo se construía y decoraba una catedral en la Edad Media. En esta visión sociológica de la obra de arte no puede faltar el papel omnipotente de los patronos medievales, personajes normalmente relacionados con la realeza y el estamento eclesiástico, que en muchos casos son los verdaderos "autores" de estas empresas, en la que las mujeres tuvieron también un destacable protagonismo. En el libro participan 20 autores procedentes de diversas universidades e instituciones museísticas de toda Europa. La publicación es el resultado de los Proyectos de Investigación: Artistas, Patronos y Público. Cataluña y el Mediterráneo (siglos XI-XV)-MAGISTRI CATALONIAE (MICINN-HA R2 0 1 1 -2 3 0 1 5); y Movilidad y transferencia artística en el Mediterráneo Medieval (1187Medieval ( -1388. Artistas, objetos y modelos-MAGISTRI MEDITERRANEI. (MICINN-HAR2015-63883-P).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="fec17d34d991f53fbeb6f9cf05c97c16" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56526334,"asset_id":36598462,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56526334/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36598462"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36598462"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36598462; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36598462]").text(description); $(".js-view-count[data-work-id=36598462]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36598462; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36598462']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "fec17d34d991f53fbeb6f9cf05c97c16" } } $('.js-work-strip[data-work-id=36598462]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":36598462,"title":"Entre la letra y el pincel. El artista medieval. Leyenda, identidad y estatus (El Ejido: Círculo Rojo, 2017. ISBN. 978-84-9160-336-8) [CASTIÑEIRAS, M. 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Els colors i l'ofici del pintor romànic (Bellaterra: Servei de Publicacions de la Universitat Autònoma de Barcelona/MAGISTRI CATALONIAE, 2014. ISBN: 978-84-490-4848-7) [CASTIÑEIRAS, M.; VERDAGUER, J. (ed.)]." class="work-thumbnail" src="https://attachments.academia-assets.com/37770078/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/12666184/Pintar_fa_mil_anys_Els_colors_i_lofici_del_pintor_rom%C3%A0nic_Bellaterra_Servei_de_Publicacions_de_la_Universitat_Aut%C3%B2noma_de_Barcelona_MAGISTRI_CATALONIAE_2014_ISBN_978_84_490_4848_7_CASTI%C3%91EIRAS_M_VERDAGUER_J_ed_">Pintar fa mil anys. Els colors i l'ofici del pintor romànic (Bellaterra: Servei de Publicacions de la Universitat Autònoma de Barcelona/MAGISTRI CATALONIAE, 2014. ISBN: 978-84-490-4848-7) [CASTIÑEIRAS, M.; VERDAGUER, J. (ed.)].</a></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8a4dd8ed5cf90b7f6dea8d72f8bc3dfc" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37770078,"asset_id":12666184,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37770078/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="12666184"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="12666184"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 12666184; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=12666184]").text(description); $(".js-view-count[data-work-id=12666184]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 12666184; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='12666184']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8a4dd8ed5cf90b7f6dea8d72f8bc3dfc" } } $('.js-work-strip[data-work-id=12666184]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":12666184,"title":"Pintar fa mil anys. 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(ed.)].","internal_url":"https://www.academia.edu/12666184/Pintar_fa_mil_anys_Els_colors_i_lofici_del_pintor_rom%C3%A0nic_Bellaterra_Servei_de_Publicacions_de_la_Universitat_Aut%C3%B2noma_de_Barcelona_MAGISTRI_CATALONIAE_2014_ISBN_978_84_490_4848_7_CASTI%C3%91EIRAS_M_VERDAGUER_J_ed_","owner_id":27140032,"coauthors_can_edit":true,"owner":{"id":27140032,"first_name":"Verónica","middle_initials":null,"last_name":"Abenza","page_name":"VerónicaAbenza","domain_name":"ucm","created_at":"2015-03-03T07:47:39.324-08:00","display_name":"Verónica Abenza","url":"https://ucm.academia.edu/Ver%C3%B3nicaAbenza"},"attachments":[{"id":37770078,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/37770078/thumbnails/1.jpg","file_name":"DIV0060_ficha_comercial_ENG.pdf","download_url":"https://www.academia.edu/attachments/37770078/download_file","bulk_download_file_name":"Pintar_fa_mil_anys_Els_colors_i_lofici_d.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/37770078/DIV0060_ficha_comercial_ENG-libre.pdf?1432900061=\u0026response-content-disposition=attachment%3B+filename%3DPintar_fa_mil_anys_Els_colors_i_lofici_d.pdf\u0026Expires=1740048719\u0026Signature=H2oWQN1WHyvMH0ot8aJQysiP0JrR2l2OkMZ3Erhvw3BlmfCH5J4sUIu5qhUpVVusmvlLZl8My-x5nUJhproQf3YVVvJBRP9MpDiu0Gz9NBCkM85xTImoD6a1QCjgjjmn~TG0kmHFuJNdvDq~emdfCWN09~mam~~k1B6-tsW5xZcZZxgo2Pn7fGzOF5kwf-lZoBxuhtVNd2Icf~Syf2yQufFHohfXOC4RnuJbE8x0PFGADbwtFVUk5kieIfWMU1OHU5jADFvLr10TdajIxzC6DmTuwSgPKBxM-iL3VHwmZDo28-EEd~ubSJrauboSHMVhBBPTqjET4CXaW7E1EVqegQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="2986434" id="articleschapterswithpeerreview"><div class="js-work-strip profile--work_container" data-work-id="117721974"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/117721974/Cultural_Constructs_of_the_Female_Royal_and_Imperial_Ideal_in_the_Kingdom_of_Sicily"><img alt="Research paper thumbnail of Cultural Constructs of the Female Royal and Imperial Ideal in the Kingdom of Sicily" class="work-thumbnail" src="https://attachments.academia-assets.com/113507304/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/117721974/Cultural_Constructs_of_the_Female_Royal_and_Imperial_Ideal_in_the_Kingdom_of_Sicily">Cultural Constructs of the Female Royal and Imperial Ideal in the Kingdom of Sicily</a></div><div class="wp-workCard_item"><span>Arte Medievale, IV Serie-Anno XIII</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The royal office of the kingdom of the Hautevilles-Hohenstaufens was considered to be heldessenti...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The royal office of the kingdom of the Hautevilles-Hohenstaufens was considered to be heldessentially by men. Nevertheless, Sicily in the late Norman and early Swabian periods was particularly rich in visual sources that allow us to investigate the ideological constructions of queenship and the roles established according to gender differences. Two of these sources, the Skylitzes Matritensis and the Liber ad honorem Augusti show a male perspective. On the other hand, certain artefacts of material culture linked to Queens Constance of Hauteville and Constance of Aragon reveal the public image that they themselves wished to project. Since the first comprehensive studies on the concept of medieval queenship were developed in the mid-1990s, the ontological avenues of feminist research have expanded the theoretical model by<br />refining the idea of female empowerment. Among all the elements that articulate the paradigm of queenship, this article focuses on the definition of the ideal model of queen according to the artistic and cultural imaginary of the time.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="97999dd258d01c049c3d5b1a3d58b539" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":113507304,"asset_id":117721974,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/113507304/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="117721974"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="117721974"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 117721974; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=117721974]").text(description); $(".js-view-count[data-work-id=117721974]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 117721974; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='117721974']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "97999dd258d01c049c3d5b1a3d58b539" } } $('.js-work-strip[data-work-id=117721974]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":117721974,"title":"Cultural Constructs of the Female Royal and Imperial Ideal in the Kingdom of Sicily","internal_url":"https://www.academia.edu/117721974/Cultural_Constructs_of_the_Female_Royal_and_Imperial_Ideal_in_the_Kingdom_of_Sicily","owner_id":27140032,"coauthors_can_edit":true,"owner":{"id":27140032,"first_name":"Verónica","middle_initials":null,"last_name":"Abenza","page_name":"VerónicaAbenza","domain_name":"ucm","created_at":"2015-03-03T07:47:39.324-08:00","display_name":"Verónica Abenza","url":"https://ucm.academia.edu/Ver%C3%B3nicaAbenza"},"attachments":[{"id":113507304,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/113507304/thumbnails/1.jpg","file_name":"ARTE_MEDIEVALE_2023_abenza.pdf","download_url":"https://www.academia.edu/attachments/113507304/download_file","bulk_download_file_name":"Cultural_Constructs_of_the_Female_Royal.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/113507304/ARTE_MEDIEVALE_2023_abenza-libre.pdf?1713524194=\u0026response-content-disposition=attachment%3B+filename%3DCultural_Constructs_of_the_Female_Royal.pdf\u0026Expires=1740048719\u0026Signature=eHqbSFslD3MtY5JeA8u5stL-OURe5-04K~fgH8S8fk4RVTwFkFaO-kBe8QeeSDMP969EwiM6vEkSo6yWcZRz-V-fn9jSKndoIK04NWYv7pMAM9AUAiyVWgyWgZy9wiJKNHuYOfAGXFvxkJqArEQ~FbVwICj3HhSefO-GuH5wp6m2JDMfomN85ACh7kyhgfzRbheInidABuB3iRTzZaC1jcgo4g36X~RAT7scx1FfLkBDU5bq6mka6T06MLimMmgHwf-nIQ3k5jwtgnBTICdeJvQIBztRHFjuHFC~Bjr0xncEl97PJoBTBRfwZefjZbnoXsfqnTk-4KJLhmirAobyfA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="108763061"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/108763061/Ad_hedificandum_ibi_domum_Santa_Mar%C3%ADa_de_Vallbona_su_fundaci%C3%B3n_y_primeras_etapas_constructivas"><img alt="Research paper thumbnail of Ad hedificandum ibi domum: Santa María de Vallbona, su fundación y primeras etapas constructivas" class="work-thumbnail" src="https://attachments.academia-assets.com/107065160/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/108763061/Ad_hedificandum_ibi_domum_Santa_Mar%C3%ADa_de_Vallbona_su_fundaci%C3%B3n_y_primeras_etapas_constructivas">Ad hedificandum ibi domum: Santa María de Vallbona, su fundación y primeras etapas constructivas</a></div><div class="wp-workCard_item"><span>Revista de Historia Jerónimo Zurita</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Los documentos relativos al monasterio femenino cisterciense de Santa María de Vallbona (Vallbona...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Los documentos relativos al monasterio femenino cisterciense de Santa María de Vallbona (Vallbona de les Monges, Urgell, Lleida), publicados y sobradamente conocidos, todavía no han sido interpretados a la luz de diversas cuestiones no resueltas en torno a su fundación y primer proceso constructivo y decorativo. Por ello, esta contribución quiere subrayar, en primer lugar, la importancia de la controversia historiográfica sobre las cistercienses de iure/sine iure en relación al debate sobre la génesis eremítica o regia del cenobio y su sometimiento a la observancia bernarda. Y, en segundo lugar, se pretende una lectura de los pormenores del conjunto arquitectónico y escultórico atendiendo a cuestiones como la identidad femenina de su comunidad y de sus principales promotoras artísticas y benefactoras, así como el uso cultual de sus distintos espacios.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="bbf9fe5a2ea13635ff739abf8dac0777" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107065160,"asset_id":108763061,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107065160/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="108763061"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="108763061"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 108763061; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="108762999"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/108762999/Iconos_devocionales_y_donantes_A_prop%C3%B3sito_de_una_nueva_Ko%C3%ADmesis_creto_veneciana_de_inicios_del_siglo_XVI"><img alt="Research paper thumbnail of Iconos devocionales y donantes. A propósito de una nueva Koímesis creto-veneciana de inicios del siglo XVI" class="work-thumbnail" src="https://attachments.academia-assets.com/107065100/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/108762999/Iconos_devocionales_y_donantes_A_prop%C3%B3sito_de_una_nueva_Ko%C3%ADmesis_creto_veneciana_de_inicios_del_siglo_XVI">Iconos devocionales y donantes. A propósito de una nueva Koímesis creto-veneciana de inicios del siglo XVI</a></div><div class="wp-workCard_item"><span>Estudios Bizantinos. Revista de la Sociedad Española de Bizantinística</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">El presente artículo trata de un desconocido icono de la Koímesis de inicios del siglo XVI, atrib...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">El presente artículo trata de un desconocido icono de la Koímesis de inicios del siglo XVI, atribuible al taller de los Ritzos, que nos permite valorar los gustos artísticos, estéticos y devocionales que caracterizaron a la sociedad creto-veneciana de Candia durante ese período. Sus dimensiones y formato horizontal indican un uso privado y devocional. Sus destinatarios fueron probablemente una pareja de patricios o plutócratas locales griegos que no dudaron en hacerse retratar alla veneziana como parte del planto de los funerales de la Virgen.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ce0bd425120471105f90a599ef9468e3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107065100,"asset_id":108762999,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107065100/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="108762999"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="108762999"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 108762999; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=108762999]").text(description); $(".js-view-count[data-work-id=108762999]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 108762999; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='108762999']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "ce0bd425120471105f90a599ef9468e3" } } $('.js-work-strip[data-work-id=108762999]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":108762999,"title":"Iconos devocionales y donantes. 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Cicli dell’Antico Testamento nella pittura murale medievale</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The wall paintings from the chapterhouse of Santa María de Sigena (Huesca, Aragon, Spain), today ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The wall paintings from the chapterhouse of Santa María de Sigena (Huesca, Aragon, Spain), today kept in the Museu Nacional d’Art de Catalunya (MNAC 068703-CJT), epitomize some complex patterns of artistic creation and transmission, whose disambiguation would enable us to better understand how cultural and artistic exchange at around 1200 contributed to reconfiguration of visual culture in the realm of Aragon. The murals, which were painted for a convent of Hospitaller nuns founded by Queen Sancha of Castile (Queen consort of Aragon, r. 1174-1208), consisted of an Old Testament cycle, a New Testament cycle and a series of portraits of the ancestors of Christ running from the walls to the vault spandrels and underside of the arches in the Chapterhouse. The murals convey a gendered message. It is in confronting a female portrait of sin and redemption, and the deliberate choice of images depicting Good and Evil, damnation and salvation, with the genealogical symbolism derived from the cycle of Christ ancestors and the topographic references to the Holy Land and the Holy Sites in the Chapterhouse walls, when it becomes apparent how this allegorical repertoire could be part of the message that the patron of the paintings wanted to be spread according to her own political and religious concerns.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="0ac29a1ce48ac514db98a09c99b5228e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107064929,"asset_id":108762801,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107064929/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="108762801"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="108762801"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 108762801; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="108762734"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/108762734/Ut_commutando_donemus_An_Approach_to_Female_Artistic_Patronage_in_Northeast_Iberia_1000_1100_"><img alt="Research paper thumbnail of Ut commutando donemus: An Approach to Female Artistic Patronage in Northeast Iberia (1000-1100)" class="work-thumbnail" src="https://attachments.academia-assets.com/107064867/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/108762734/Ut_commutando_donemus_An_Approach_to_Female_Artistic_Patronage_in_Northeast_Iberia_1000_1100_">Ut commutando donemus: An Approach to Female Artistic Patronage in Northeast Iberia (1000-1100)</a></div><div class="wp-workCard_item"><span>Bulletin du centre d'études médiévales d'Auxerre | BUCEMA</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Centring on the specific context of northeastern Iberia in the eleventh century, this article off...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Centring on the specific context of northeastern Iberia in the eleventh century, this article offers a concept of patronage as it was understood by the women who performed it. While medievalists are accustomed to reconstructing the circumstances in which an artwork was born, when studying artistic patronage there is still a general tendency to avoid consideration of the social, economic, and legal differences between men and women in the Middle Ages. By focusing on a representative set of women from the period, one of the main goals of this article is to show that, beyond devotional reasons, artistic patronage helped medieval women overcame some of these social constraints and allowed them to exercise different degrees of power and authority.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a24b9655735f2028effbba62579dface" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107064867,"asset_id":108762734,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107064867/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="108762734"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="108762734"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 108762734; 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Open Access: https://doi.org/10.3989/aearte.2021.18" class="work-thumbnail" src="https://attachments.academia-assets.com/87568417/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/81569635/En_Torno_a_Donantes_y_Me_Fecit_en_los_Bordados_Medievales_La_Estola_de_San_Narciso_y_el_Estandarte_de_San_Ot_Open_Access_https_doi_org_10_3989_aearte_2021_18">En Torno a Donantes y Me Fecit en los Bordados Medievales: La Estola de San Narciso y el Estandarte de San Ot. Open Access: https://doi.org/10.3989/aearte.2021.18</a></div><div class="wp-workCard_item"><span>Archivo Español de Arte, 94, 376, pp. 315-334, ISSN: 0004-0428. </span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Este es un artículo de acceso abierto distribuido bajo los términos de una licencia de uso y dist...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Este es un artículo de acceso abierto distribuido bajo los términos de una licencia de uso y distribución Creative Commons Reconocimiento 4.0 Internacional (CC BY 4.0)</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="63b56b5a95d0966cb8df96969bd615b2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":87568417,"asset_id":81569635,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/87568417/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="81569635"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="81569635"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 81569635; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=81569635]").text(description); $(".js-view-count[data-work-id=81569635]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 81569635; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='81569635']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "63b56b5a95d0966cb8df96969bd615b2" } } $('.js-work-strip[data-work-id=81569635]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":81569635,"title":"En Torno a Donantes y Me Fecit en los Bordados Medievales: La Estola de San Narciso y el Estandarte de San Ot. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="81716747"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/81716747/_Patronazgo_en_cuesti%C3%B3n_o_cuesti%C3%B3n_de_patronazgo_Ermessenda_de_Carcassone_y_el_desaparecido_frontal_de_altar_de_la_catedral_de_Girona_el_enigma_de_su_piedra_sigilar"><img alt="Research paper thumbnail of ¿Patronazgo en cuestión o cuestión de patronazgo? Ermessenda de Carcassone y el desaparecido frontal de altar de la catedral de Girona: el enigma de su piedra sigilar" class="work-thumbnail" src="https://attachments.academia-assets.com/88241003/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/81716747/_Patronazgo_en_cuesti%C3%B3n_o_cuesti%C3%B3n_de_patronazgo_Ermessenda_de_Carcassone_y_el_desaparecido_frontal_de_altar_de_la_catedral_de_Girona_el_enigma_de_su_piedra_sigilar">¿Patronazgo en cuestión o cuestión de patronazgo? Ermessenda de Carcassone y el desaparecido frontal de altar de la catedral de Girona: el enigma de su piedra sigilar</a></div><div class="wp-workCard_item"><span>Locus Amoenus, 18, pp. 5-26, ISSN: 1135-9722</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La condesa Ermessenda de Carcassone es célebre por su constante impulso al patronazgo de obras de...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La condesa Ermessenda de Carcassone es célebre por su constante impulso al patronazgo de obras de arte y de arquitectura en los diversos condados sobre los que, en dos ocasiones, ejerció su autoridad. El desaparecido frontal de altar románico de la catedral de Santa María de Girona es, sin embargo, la obra que mejor representa su rol como promotora artística. El presente artículo, a través de una revisión exhaustiva de las fuentes conocidas, pretende puntualizar algunos aspectos sobre su encargo, su manufactura y su apariencia, incidiendo particularmente en la importancia de la piedra sigilar que la condesa donó para adornar la pieza y rubricar su iniciativa. El énfasis, además, se pondrá en solventar las dudas sobre el uso de dicha calcedonia como parte de la decoración del frontal, así como su significación para el fenómeno de la promoción artística femenina en la Plena Edad Media.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c27dff6dc03a371d0eace132c80c09f9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":88241003,"asset_id":81716747,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/88241003/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="81716747"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="81716747"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 81716747; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=81716747]").text(description); $(".js-view-count[data-work-id=81716747]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 81716747; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='81716747']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c27dff6dc03a371d0eace132c80c09f9" } } $('.js-work-strip[data-work-id=81716747]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":81716747,"title":"¿Patronazgo en cuestión o cuestión de patronazgo? Ermessenda de Carcassone y el desaparecido frontal de altar de la catedral de Girona: el enigma de su piedra sigilar","internal_url":"https://www.academia.edu/81716747/_Patronazgo_en_cuesti%C3%B3n_o_cuesti%C3%B3n_de_patronazgo_Ermessenda_de_Carcassone_y_el_desaparecido_frontal_de_altar_de_la_catedral_de_Girona_el_enigma_de_su_piedra_sigilar","owner_id":27140032,"coauthors_can_edit":true,"owner":{"id":27140032,"first_name":"Verónica","middle_initials":null,"last_name":"Abenza","page_name":"VerónicaAbenza","domain_name":"ucm","created_at":"2015-03-03T07:47:39.324-08:00","display_name":"Verónica Abenza","url":"https://ucm.academia.edu/Ver%C3%B3nicaAbenza"},"attachments":[{"id":88241003,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/88241003/thumbnails/1.jpg","file_name":"07_VCAS_LA.pdf","download_url":"https://www.academia.edu/attachments/88241003/download_file","bulk_download_file_name":"Patronazgo_en_cuestion_o_cuestion_de_pa.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/88241003/07_VCAS_LA-libre.pdf?1656962065=\u0026response-content-disposition=attachment%3B+filename%3DPatronazgo_en_cuestion_o_cuestion_de_pa.pdf\u0026Expires=1739913355\u0026Signature=aSdUDeC32ePpJH33s8qanoTffbJt8mlwW3DUvrBsjFGGFxhe4proDC6qEN2WRuOMx7qgaKUUWNI4XuspxdfIZd5~fWT5RF6LEfGC6-uXckMRLidnRUa9SYu8BZDgQ0HZGmfr2JuxXkP24t3-TgaPWSQkOcTU5pJ1USa3jmGfEd0evhqcojl42hlmifOPBTWMDeMXYjehxzbkWG95PSH9XYbjsA5Ux8-zMZrqC3PBbtMAo2UifTA3o7djqS1vaIR48e28Xe8lp22bjAHsOu4iE-EDOfq-k-82a3HcjPIKBI10Cna2K-r3ASGvK88VsKXQ7pLYU7yzKKJ2D3NsxPwVmQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"},{"id":87664796,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/87664796/thumbnails/1.jpg","file_name":"Portada.pdf","download_url":"https://www.academia.edu/attachments/87664796/download_file","bulk_download_file_name":"Patronazgo_en_cuestion_o_cuestion_de_pa.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/87664796/Portada-libre.pdf?1655495238=\u0026response-content-disposition=attachment%3B+filename%3DPatronazgo_en_cuestion_o_cuestion_de_pa.pdf\u0026Expires=1739913355\u0026Signature=VjHpFZqJS7dtJge1JSMMCb03~g7Dv~Fdx1N~rPzuQUtRJhpruebZ9z9wsXKRMLQ29ibuYgPQGr7jlMUSrMBYabZKVqGmHhZsfX4DloaCK0XIo3AlzY88y6s9AOQ5msxIfkpzN642NwnMTiqAyuvTv0YfMa85wIpASILdk5E~QaONZ58OLNcVPriMR6YtzCjhqk6wXgPJwR7xyHziKMFr7jK48g5FtkGpe~6DX0J0v8rvdfwT5vOEu8eJcHnhZKiXzq1nk~HTttf9a2t6yFct6~rkXY49Ofs9uT7-ejgETrAYPSOEsJ0rkvbk9Ynf5Z~Hs2VCrYbnLDtNubvPs0hlOw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); 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(ed.)., Entre la letra y el pincel. El artista medieval. Leyenda, identidad y estatus, El Ejido: Círculo Rojo, 2017, p. 279-297 [ISBN: 978-84-9160-336-8]" class="work-thumbnail" src="https://attachments.academia-assets.com/56546832/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/12665734/_Mujeres_y_artistas_Un_g%C3%A9nero_subestimado_CASTI%C3%91EIRAS_M_ed_Entre_la_letra_y_el_pincel_El_artista_medieval_Leyenda_identidad_y_estatus_El_Ejido_C%C3%ADrculo_Rojo_2017_p_279_297_ISBN_978_84_9160_336_8_">"Mujeres y artistas: ¿Un género subestimado?", CASTIÑEIRAS, M. (ed.)., Entre la letra y el pincel. El artista medieval. Leyenda, identidad y estatus, El Ejido: Círculo Rojo, 2017, p. 279-297 [ISBN: 978-84-9160-336-8]</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">el artista medieval.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f109d56496b6f79e1f6416eaa064a972" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56546832,"asset_id":12665734,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56546832/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="12665734"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="12665734"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 12665734; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=12665734]").text(description); $(".js-view-count[data-work-id=12665734]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 12665734; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='12665734']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f109d56496b6f79e1f6416eaa064a972" } } $('.js-work-strip[data-work-id=12665734]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":12665734,"title":"\"Mujeres y artistas: ¿Un género subestimado?\", CASTIÑEIRAS, M. 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Manuel Castiñeiras, Judit Verdaguer, Universitat Autònoma de Barcelona, Bellaterra, 2014, 71-86." class="work-thumbnail" src="https://attachments.academia-assets.com/38274120/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/14338187/_Sant_Mart%C3%AD_de_Puigb%C3%B2_una_iconografia_per_a_Ramon_Berenguer_III_Pintar_fa_mil_anys_in_El_colors_i_l_ofici_del_pintor_rom%C3%A0nic_ed_Manuel_Casti%C3%B1eiras_Judit_Verdaguer_Universitat_Aut%C3%B2noma_de_Barcelona_Bellaterra_2014_71_86">“ Sant Martí de Puigbò: una iconografia per a Ramon Berenguer III?”, Pintar fa mil anys. in El colors i l’ofici del pintor romànic, ed. Manuel Castiñeiras, Judit Verdaguer, Universitat Autònoma de Barcelona, Bellaterra, 2014, 71-86.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ucm.academia.edu/Ver%C3%B3nicaAbenza">Verónica Abenza</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uab.academia.edu/ManuelCasti%C3%B1eiras">Manuel Castiñeiras</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">SANT MARTÍ DE PUIGBÒ: AN ICONOGRAPHY FOR RAMON BERENGUER III? Since the 19th century Catalan sc...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">SANT MARTÍ DE PUIGBÒ: AN ICONOGRAPHY FOR RAMON BERENGUER III?<br /> <br />Since the 19th century Catalan scholars have considered the altar frontal from the Romanesque church of Sant Martí de Puigbò (Gombrèn, El Ripollès) to be the oldest surviving example of panel painting in Catalonia. Nevertheless, this alleged ‘antiquity’ should be discussed in the light of a new possible framework. First, its close technical, stylistic and iconographical relationship with other panel paintings from the so-called Ripoll workshop - such as the altar Canopy of Ribes or the frontal from Esquius - would suggest their artists served a common apprenticeship within the abbey of Ripoll.  However, the artist responsible for the altar frontal of Puigbò seems to be less skilled, and to have been more limited in his choice of pigments. Notwithstanding this, the panel shows an awareness of other works and media in the abbey, especially the reliefs of the tomb of Ramon Berenguer III (+ 1131), with which he exchanged iconographical formulae. <br /><br />In this context, the altar frontal was probably given to the humble parish of Puigbò to ensure a proper decor for worship. Its hagiographical programme highlights the importance of the cult of Saint Martin as protector of Christian warriors in Catalonia and connects the work with the viscounts of Berga, who were the owners of the Castle of Puigbò at that time.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="76988cf3133e59b07c1fd6d121809d5e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":38274120,"asset_id":14338187,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/38274120/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="14338187"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="14338187"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 14338187; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=14338187]").text(description); $(".js-view-count[data-work-id=14338187]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 14338187; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='14338187']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "76988cf3133e59b07c1fd6d121809d5e" } } $('.js-work-strip[data-work-id=14338187]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":14338187,"title":"“ Sant Martí de Puigbò: una iconografia per a Ramon Berenguer III?”, Pintar fa mil anys. in El colors i l’ofici del pintor romànic, ed. Manuel Castiñeiras, Judit Verdaguer, Universitat Autònoma de Barcelona, Bellaterra, 2014, 71-86.","internal_url":"https://www.academia.edu/14338187/_Sant_Mart%C3%AD_de_Puigb%C3%B2_una_iconografia_per_a_Ramon_Berenguer_III_Pintar_fa_mil_anys_in_El_colors_i_l_ofici_del_pintor_rom%C3%A0nic_ed_Manuel_Casti%C3%B1eiras_Judit_Verdaguer_Universitat_Aut%C3%B2noma_de_Barcelona_Bellaterra_2014_71_86","owner_id":3436079,"coauthors_can_edit":true,"owner":{"id":3436079,"first_name":"Manuel","middle_initials":null,"last_name":"Castiñeiras","page_name":"ManuelCastiñeiras","domain_name":"uab","created_at":"2013-03-07T05:39:05.944-08:00","display_name":"Manuel Castiñeiras","url":"https://uab.academia.edu/ManuelCasti%C3%B1eiras"},"attachments":[{"id":38274120,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/38274120/thumbnails/1.jpg","file_name":"03_MCastineiras-VAbenza.pdf","download_url":"https://www.academia.edu/attachments/38274120/download_file","bulk_download_file_name":"Sant_Marti_de_Puigbo_una_iconografia_pe.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/38274120/03_MCastineiras-VAbenza-libre.pdf?1437680537=\u0026response-content-disposition=attachment%3B+filename%3DSant_Marti_de_Puigbo_una_iconografia_pe.pdf\u0026Expires=1739913356\u0026Signature=f5X83w5QpBqvPl~W1kJTIgeBcd-C-NdjuKv57B~anBhlRRSOlJXz57yvSkvST37ptVCAJx1XeNH-7CTEu51pYswJCbSVcfGbyCgFB3pskO4iDZdCYK100n8CkgQ9QTcyiVvX5trRwhAa51DVCUBW3f8lVXErGvkBbZQslzQKOcvQ1BcXTjA6VHn28qtlrUy~aOdxHPjxQhg1coDjSa17xJs2YIZs9quGmmicSEN9s2fEcdPDtp1ac18Tv5ltk8ckYyaCTDNapkmcM4l1jvCPPDsE6XvAcP4FBBP~Gej6Nlx2kwjki1UvGd70Us~ipzpt3duMHtNmuykCdsnjjotfug__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="12664747"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/12664747/_Sant_Mart%C3%AD_de_Puigb%C3%B2_una_iconografia_per_a_Ramon_Berenguer_III_Pintar_fa_mil_anys_Els_colors_i_lofici_del_pintor_rom%C3%A0nic_CASTI%C3%91EIRAS_M_VERDAGUER_J_ed_Bellaterra_UAB_Magistri_Cataloniae_2014_p_71_86"><img alt="Research paper thumbnail of "Sant Martí de Puigbò: una iconografia per a Ramon Berenguer III?", Pintar fa mil anys. Els colors i l'ofici del pintor romànic, CASTIÑEIRAS, M.; VERDAGUER, J. (ed.), Bellaterra: UAB/ Magistri Cataloniae, 2014, p. 71-86." class="work-thumbnail" src="https://attachments.academia-assets.com/107064625/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/12664747/_Sant_Mart%C3%AD_de_Puigb%C3%B2_una_iconografia_per_a_Ramon_Berenguer_III_Pintar_fa_mil_anys_Els_colors_i_lofici_del_pintor_rom%C3%A0nic_CASTI%C3%91EIRAS_M_VERDAGUER_J_ed_Bellaterra_UAB_Magistri_Cataloniae_2014_p_71_86">"Sant Martí de Puigbò: una iconografia per a Ramon Berenguer III?", Pintar fa mil anys. Els colors i l'ofici del pintor romànic, CASTIÑEIRAS, M.; VERDAGUER, J. (ed.), Bellaterra: UAB/ Magistri Cataloniae, 2014, p. 71-86.</a></div><div class="wp-workCard_item"><span>Pintar fa mil anys. Els colors i l'ofici del pintor romànic</span><span>, 2014</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The main goal of this book is the transmission of the results of the research developed within th...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The main goal of this book is the transmission of the results of the research developed within the Research Project “Artists, patrons and audiences. Catalonia and the Mediterranean (11th-15th centuries)-MAGISTRI CATALONIAE (HAR2011-23015), led by the Universitat Autònoma de Barcelona. It is published on the occasion of the exhibition entitled, Pintar fa mil anys. Els colors del romànic (Vic, May 31st-December 14th, 2014), being the result of a collaboration between the UAB and the Museu Episcopal de Vic (MEV).  The book mainly aims to look more deeply into issues related to the training and identity of the anonymous Romanesque painters. This task has been made possible thanks to the analysis of some outstanding pieces from the MEV collection -such as the Canopy of Ribes, the frontals of Santa Maria de Puigbò and Espinevles and the Altar of Lluçà- as well as some mural paintings such as those of Saint Thomas Becket in Santa Maria de Terrassa and Sant Martí in Puig-reig. All of them  have been analysed using an approach that combined art-historical methodologies along with scientific analysis. It means the reconstruction of the various agencies which are involved in the production of an artwork, and how each of these agencies have an effect on its genesis and reception. This is combined with  the application of sophisticated laboratory-based analytical techniques such as Optical Microscopy, SEM-EDX, XR Diffraction, FTIR, Chromatographic Techniques and MALDI-TOF. The result is a fascinating study in which is reported for the first time an ecclesiastical context for the starting of the Catalan panel painting. Furthermore, it discusses  in new ways the relation among the illumination, panel an mural painting techniques.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c233b14ed7d257aad8fb78ae69a19e86" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107064625,"asset_id":12664747,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107064625/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="12664747"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="12664747"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 12664747; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=12664747]").text(description); $(".js-view-count[data-work-id=12664747]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 12664747; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='12664747']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c233b14ed7d257aad8fb78ae69a19e86" } } $('.js-work-strip[data-work-id=12664747]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":12664747,"title":"\"Sant Martí de Puigbò: una iconografia per a Ramon Berenguer III?\", Pintar fa mil anys. 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Zwischen Präsenz und UnSichtbarkeit, KEIL, W.; KIYANRAD, S.; THEIS, C.; WILLER, L. (ed.), Berlin, De Gruyter</span><span>, 2018</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="893ffa5317064c48e7fcb19e273012c2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58694606,"asset_id":12665692,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58694606/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="12665692"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="12665692"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 12665692; 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(ed.)., Romanesque Art. Patrons and processes, London-New York: Routledge, Taylor and Francis, 2018, p. 183-193 [ISBN: 978-1-138-47704-9]." class="work-thumbnail" src="https://attachments.academia-assets.com/56547015/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/12665554/_The_Jaca_ivories_towards_a_re_evaluation_of_11th_Century_Female_patronage_in_the_Kingdom_of_Aragon_McNEILL_J_PLANT_R_CASTI%C3%91EIRAS_M_CAMPS_J_ed_Romanesque_Art_Patrons_and_processes_London_New_York_Routledge_Taylor_and_Francis_2018_p_183_193_ISBN_978_1_138_47704_9_">"The Jaca ivories: towards a re-evaluation of 11th Century Female patronage in the Kingdom of Aragon", McNEILL, J.; PLANT, R.; CASTIÑEIRAS, M.; CAMPS, J. (ed.)., Romanesque Art. 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Revista de Arte de Amigos del Románico (AdR), 30, pp. 40-48, ISSN: 1885- 8651." class="work-thumbnail" src="https://attachments.academia-assets.com/88246237/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/82592327/_Patronazgo_art%C3%ADstico_femenino_en_la_Edad_Media_Catalu%C3%B1a_Navarra_y_Arag%C3%B3n_Rom%C3%A1nico_Revista_de_Arte_de_Amigos_del_Rom%C3%A1nico_AdR_30_pp_40_48_ISSN_1885_8651">“Patronazgo artístico femenino en la Edad Media: Cataluña, Navarra y Aragón”, Románico. Revista de Arte de Amigos del Románico (AdR), 30, pp. 40-48, ISSN: 1885- 8651.</a></div><div class="wp-workCard_item"><span>Románico. Revista de Arte de Amigos del Románico (AdR)</span><span>, 2020</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c178fdfce36554404a4433140d3632d1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":88246237,"asset_id":82592327,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/88246237/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="82592327"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="82592327"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 82592327; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=82592327]").text(description); $(".js-view-count[data-work-id=82592327]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 82592327; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='82592327']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c178fdfce36554404a4433140d3632d1" } } $('.js-work-strip[data-work-id=82592327]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":82592327,"title":"“Patronazgo artístico femenino en la Edad Media: Cataluña, Navarra y Aragón”, Románico. 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Arte e iconografía en los primeros siglos del románico”, Desperta Ferro: Arqueologia. El románico en el Pirineo, 26, pp. 26-31, ISSN: 2387-1237." class="work-thumbnail" src="https://attachments.academia-assets.com/88245168/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/82590310/_Ad_promissa_perueniant_celestia_Arte_e_iconograf%C3%ADa_en_los_primeros_siglos_del_rom%C3%A1nico_Desperta_Ferro_Arqueologia_El_rom%C3%A1nico_en_el_Pirineo_26_pp_26_31_ISSN_2387_1237">“Ad promissa perueniant celestia. Arte e iconografía en los primeros siglos del románico”, Desperta Ferro: Arqueologia. El románico en el Pirineo, 26, pp. 26-31, ISSN: 2387-1237.</a></div><div class="wp-workCard_item"><span>Desperta Ferro: Arqueologia. El románico en el Pirineo</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">realización de su antipendio (Girona, ACG, Perg. Ss. IX-XII. Carp. 2, N.45). Hacia mediados del s...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">realización de su antipendio (Girona, ACG, Perg. Ss. IX-XII. Carp. 2, N.45). 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Me fecit: Comitentes, artistas y receptores del Románico, 20 (2015), p. 88-97.","internal_url":"https://www.academia.edu/25025828/_Ego_Regina_un_nuevo_retrato_del_patrocinio_art%C3%ADstico_femenino_en_Arag%C3%B3n_a_finales_del_siglo_XI_Rom%C3%A1nico_AdR_Me_fecit_Comitentes_artistas_y_receptores_del_Rom%C3%A1nico_20_2015_p_88_97","owner_id":27140032,"coauthors_can_edit":true,"owner":{"id":27140032,"first_name":"Verónica","middle_initials":null,"last_name":"Abenza","page_name":"VerónicaAbenza","domain_name":"ucm","created_at":"2015-03-03T07:47:39.324-08:00","display_name":"Verónica Abenza","url":"https://ucm.academia.edu/Ver%C3%B3nicaAbenza"},"attachments":[{"id":45348483,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/45348483/thumbnails/1.jpg","file_name":"Romanico_20_VABENZA_separata.pdf","download_url":"https://www.academia.edu/attachments/45348483/download_file","bulk_download_file_name":"Ego_Regina_un_nuevo_retrato_del_patroci.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/45348483/Romanico_20_VABENZA_separata-libre.pdf?1462373405=\u0026response-content-disposition=attachment%3B+filename%3DEgo_Regina_un_nuevo_retrato_del_patroci.pdf\u0026Expires=1740048720\u0026Signature=RkOzZGqKD5nc-Fe9rOpknJWuOTrcBN~I5aBJVQxgPAIf9SZri50hZlnfLo0ltcrb50pvhUFUtdWJQVQucYub~MR1unEGs9AE2eMAwAqgNxjZdhOKMVKi2DI2k8JEkEGPvI65Q9stZAS6c-mLNeiNDGhksLGiD1krWCIBuaMDCKWGYT6bfWNhuiGl8QuLkZHdpePd8oOMtrINQf6sf8BHrTHg3zPg7DYlFJjEQ6VtQVXCwYUV26DzHsu2WrdLdZrrEuJ4q8Mspn7dWMAhVGn-uGwliy4~-6nB63Uvz9sN2N77o5eXCokaTuwKBj6yu8I7OtPNWHcfo2wrip9I9MeDgQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="12664971"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/12664971/_El_D%C3%ADptic_de_Jaca_i_la_reina_Felicia_de_Roucy_S%C3%ADntesi_Quaderns_dels_Seminaris_de_Besal%C3%BA_Catalunya_i_la_Mediterr%C3%A0nia_circulaci%C3%B3_dartistes_objectes_i_models_2_2014_p_27_54_ISSN_2339_6741_"><img alt="Research paper thumbnail of "El Díptic de Jaca i la reina Felicia de Roucy", Síntesi. Quaderns dels Seminaris de Besalú. Catalunya i la Mediterrània: circulació d'artistes, objectes i models, 2 (2014), p. 27-54 [ISSN: 2339-6741]." class="work-thumbnail" src="https://attachments.academia-assets.com/37769149/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/12664971/_El_D%C3%ADptic_de_Jaca_i_la_reina_Felicia_de_Roucy_S%C3%ADntesi_Quaderns_dels_Seminaris_de_Besal%C3%BA_Catalunya_i_la_Mediterr%C3%A0nia_circulaci%C3%B3_dartistes_objectes_i_models_2_2014_p_27_54_ISSN_2339_6741_">"El Díptic de Jaca i la reina Felicia de Roucy", Síntesi. Quaderns dels Seminaris de Besalú. Catalunya i la Mediterrània: circulació d'artistes, objectes i models, 2 (2014), p. 27-54 [ISSN: 2339-6741].</a></div><div class="wp-workCard_item"><span>Síntesi. Quaderns dels Seminaris de Besalú. 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I SIMPOSI INTERNACIONAL MAGISTRI CATALONIAE. Artista anònim, artista amb signatura. Identitat, estatus i rol de l'artista en l'art medieval. Universitat Autònoma de Barcelona (Magistri Cataloniae)-Museu Episcopal de Vic. 7-8 November 2014." class="work-thumbnail" src="https://attachments.academia-assets.com/37769570/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/12665442/_Mujeres_y_artistas_Un_g%C3%A9nero_subestimado_I_SIMPOSI_INTERNACIONAL_MAGISTRI_CATALONIAE_Artista_an%C3%B2nim_artista_amb_signatura_Identitat_estatus_i_rol_de_lartista_en_lart_medieval_Universitat_Aut%C3%B2noma_de_Barcelona_Magistri_Cataloniae_Museu_Episcopal_de_Vic_7_8_November_2014">"Mujeres y artistas. ¿Un género subestimado?". I SIMPOSI INTERNACIONAL MAGISTRI CATALONIAE. Artista anònim, artista amb signatura. Identitat, estatus i rol de l'artista en l'art medieval. 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Female patron portraits and inscriptions in 11th Century Aragon", International Conference. Presence and InVisibility. Sign-bearing artefacts in sacred spaces. Materiale Textkulturen, Universität Heidelberg. 23-25 February 2015." class="work-thumbnail" src="https://attachments.academia-assets.com/37769685/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/12665530/_IN_THE_NAME_OF_THE_QUEEN_Female_patron_portraits_and_inscriptions_in_11th_Century_Aragon_International_Conference_Presence_and_InVisibility_Sign_bearing_artefacts_in_sacred_spaces_Materiale_Textkulturen_Universit%C3%A4t_Heidelberg_23_25_February_2015">"IN THE NAME OF THE QUEEN. Female patron portraits and inscriptions in 11th Century Aragon", International Conference. Presence and InVisibility. Sign-bearing artefacts in sacred spaces. Materiale Textkulturen, Universität Heidelberg. 23-25 February 2015.</a></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="164d5c533365430d3ab4863bad21800c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37769685,"asset_id":12665530,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37769685/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="12665530"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="12665530"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 12665530; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=12665530]").text(description); $(".js-view-count[data-work-id=12665530]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 12665530; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='12665530']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "164d5c533365430d3ab4863bad21800c" } } $('.js-work-strip[data-work-id=12665530]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":12665530,"title":"\"IN THE NAME OF THE QUEEN. 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This phenomenon was especially rich in the turmoil of 12th and 13th century art in the Mediterranean as a privileged space for interchanging between Latins, Greeks and Muslims. The prestige of Constantinople, the continuity of deep-rooted Byzantine artistic traditions in most of the areas of the Mediterranean (Sicily, Venice, Cyprus, Crusader States, etc), and the increasing mobility of artists, models, and codices fostered these kinds of artistic encounters.<br /><br />Some of the Byzantine codices from this period—chronicles, manuals of poliorcetics, cynegetic treatise or even biblical and ecclesiastical manuscripts—provide us precious information related to customs, ceremonies, warfare techniques, buildings, clothing, social strata and ethnic and cultural diversity.<br /><br />We invite articles concerning these topics, especially those regarding gender roles, the depiction of Otherness, the use and meaning of profane repertoires in manuscripts and their spreading and impact on other visual arts.    <br /><br />Proposals for papers of up to max 15.000 words in length should be sent to the guest editors, Manuel Castiñeiras, on <a href="mailto:manuel.castineiras@uab.cat" rel="nofollow">manuel.castineiras@uab.cat</a>, Verónica Abenza, on <a href="mailto:veronica.abenza@cchs.csic.es" rel="nofollow">veronica.abenza@cchs.csic.es</a>, and Carles Sánchez, on <a href="mailto:carlos.sanchez.marquez@uab.cat" rel="nofollow">carlos.sanchez.marquez@uab.cat</a>, by 31 October, 2022. Papers should be in English.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="dedd97a090b8abee3de33e89b988fa32" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":88590676,"asset_id":83138773,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/88590676/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="83138773"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="83138773"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 83138773; 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XXI Seminari de Romànic. Ecos i objectes de Bizanci a Catalunya. Associació Amics de Besalú i el seu comtat-Universitat Autònoma de Barcelona (Magistri Cataloniae). 6-9 July 2012." class="work-thumbnail" src="https://attachments.academia-assets.com/37769300/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/12665137/_El_D%C3%ADptic_de_Jaca_i_la_reina_Felicia_de_Roucy_XXI_Seminari_de_Rom%C3%A0nic_Ecos_i_objectes_de_Bizanci_a_Catalunya_Associaci%C3%B3_Amics_de_Besal%C3%BA_i_el_seu_comtat_Universitat_Aut%C3%B2noma_de_Barcelona_Magistri_Cataloniae_6_9_July_2012">“El Díptic de Jaca i la reina Felicia de Roucy”. XXI Seminari de Romànic. Ecos i objectes de Bizanci a Catalunya. 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Compostela, Jerusalén y Bari, en su condición de ciudades de llegada y partida de peregrinos, se convierten en centros privilegiados de un nuevo estilo internacional, el Románico, que ofrece a los peregrinos una nueva cultura figurativa adaptada a sus vicisitudes.<br /><br />Tras el éxito del I Coloquio El Camino de Santiago y el arte medieval (La catedral de Santiago de Compostela y Francia (1075-1122): Intercambio, memoria y confluencia artística), celebrado el pasado 22 de abril del 2015 en la Universidad Autónoma de Barcelona, proponemos llevar a cabo una mayor internacionalización del coloquio mediante la celebración de una jornada monográfica dedicada al estudio de la peregrinación circular entre Compostela, Bari y Jerusalén. Temas como el intercambio, la dedicación de capillas, la construcción de hospitales, las reliquias, los símbolos de peregrinación – la concha de Santiago- o los sujetos iconográficos (san Nicolás de Bari) serán analizados y estudiados en el coloquio. Para ello se cuenta con la participación de consagrados especialistas en las peregrinaciones a Santiago y Tierra Santa (Manuel Castiñeiras, UAB), en la Jerusalén cruzada (Avital Heyman, Independent Scholar); en las reminiscencias del Santo Sepulcro en los reinos hispanos (Eduardo Carrero, UAB); en el culto de Santiago en Cataluña (Anna Orriols, UAB), así como la difusión del culto a san Nicolás en el Mediterráneo (Rosana Biano,Università degli Studi di Bari, y Carles Sánches (UAB).  El coloquio concluirá con una mesa redonda dedicada a la Actualidad del Camino de Santiago: entre patrimonio mundial y experiencia local, con la participación del Xerente del Xacobeo, Rafael Sánchez, el Prof. Jordi Tresserras de la Univeristat de Barcelona, Ferran Lloret (Amics del Camí de Sant Jaume de Sabadell) i Celina Llarás (Escola Massana).<br /><br />Este coloquio, organizado por la Universidad Autónoma de Barcelona en colaboración con el Xacobeo de la Xunta de Galicia, está dirigido a estudiantes de grado y postgrado de la UAB, personal docente e investigador del centro y otras universidades estatales, miembros de instituciones museísticas y vinculadas con el Patrimonio, así como al público en general interesado en el objeto de estudio. Todos los participantes contaran con certificado de asistencia y recibirán una carpeta de documentación con las actividades llevadas a cabo por el Xacobeo.<br /><br /><br /><br /><br /><br /><br /><br /><br />Programa:<br /><br />9.30-10.15: Manuel Castiñeiras, Universitat Autònoma de Barcelona<br />Cruces en Compostela, Vieiras en Belén, y el Cristo jacobeo en Silos: peregrinación, competencia y afirmación <br /><br />10.15-11.00: Avital Heyman,  Independent Scholar<br />Entre cielo y Tierra Santa: el itinerario terrestre del peregrino cruzado en la época de la reina Melisenda de Jerusalén<br /><br />11.00-11.30 Pausa-café<br /><br />11.30-12.15: Eduardo Carrero, Universitat Autònoma de Barcelona<br />Evocaciones del Santo Sepulcro en el Camino de Santiago<br /><br />12.15-13.00: Anna Orriols, Universitat Autònoma de Barcelona<br />La llegenda de sant Jaume en dos cicles pictòrics catalans: la Seu d'Urgell i Frontanyà<br /><br />14.00-15.30 Pausa Comida<br /><br />15.30-16.15 Rosanna Bianco, Università degli Studi di Bari, Itàlia<br />La Puglia nel camino de Santiago. Culto e iconografia di San Giacomo lungo i percorsi di pellegrinaggio<br /><br />16.15-17.00: Carlos Sánchez, Universitat Autònoma de Barcelona<br />El culto a San Nicolás en el Mediterráneo Occidental: hospitales, ciclos hagiográficos y peregrinación.<br /><br />17.00-17.30 Pausa-Café<br /><br />17.30-18.30 Mesa redonda: Actualidad del Camino de Santiago: entre patrimonio mundial y experiencia local <br /><br />Moderador: Manuel Castiñeiras<br />Participan: Rafael Sánchez (Xerente del Xacobeo), Jordi Tresserras (Universitat de Barcelona), Carme Marsal (Presidenta de l’Associació del Camí de Sant Jaume de Sabadell).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="de726c4234800df7af83e37f4f24e472" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":44449898,"asset_id":24081781,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/44449898/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="24081781"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="24081781"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 24081781; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="22894305"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/22894305/Art_and_Ceremony_in_the_Latin_West_and_the_Byzantine_East_II_International_Meeting_Magistri_Cataloniae_Facultat_de_Filosofia_i_Lletres_UAB_27_April_2016"><img alt="Research paper thumbnail of Art and Ceremony in the Latin West and the Byzantine East, II International Meeting Magistri Cataloniae, Facultat de Filosofia i Lletres, UAB, 27 April 2016" class="work-thumbnail" src="https://attachments.academia-assets.com/43433386/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/22894305/Art_and_Ceremony_in_the_Latin_West_and_the_Byzantine_East_II_International_Meeting_Magistri_Cataloniae_Facultat_de_Filosofia_i_Lletres_UAB_27_April_2016">Art and Ceremony in the Latin West and the Byzantine East, II International Meeting Magistri Cataloniae, Facultat de Filosofia i Lletres, UAB, 27 April 2016</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/AvitalHeyman">Avital Heyman</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://ucm.academia.edu/Ver%C3%B3nicaAbenza">Verónica Abenza</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The international conference is organized by: GdR UAB Magistri Cataloniae Research Project HAR201...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The international conference is organized by:<br />GdR UAB Magistri Cataloniae Research Project HAR2015-3883-:<br />Movilidad y Transferencia Artística en el Mediterráneo Medieval<br />(1187-‐1388): artistas, objetos y modelos. <br />In collaboration with:<br />Facultat de Filosofia I Lletres UAB<br />Scientific Coordinators:<br />Manuel Castiñeiras<br />Verónica Abenza.<br /><br /><br />My paper title: "Jerusalén en procesión"<br /><br />Conferencia, Barcelona, 27.4.2016<br />Jerusalén en procesión<br />Resumen<br />El Patriarca cruzado de Jerusalén no caminaba solo. Las procesiones metropolitanas de la alta jerarquía eclesial no eran paseos privados, sino manifestaciones oficiales, cargadas de pompa ceremonial. La mayoría de estos desfiles estaba formado por un gran número de participantes, seguía una secuencia ordenada en su itinerario y comportaba una significación simbólica de gran escala. En esta conferencia hablaré de los movimientos de estas “comitivas” en el nuevo reino cruzado de Jerusalén como si se tratase de verdaderas marchas de poder (“power walks”), cuyo objetivo era unificar los centros cultuales -antiguos y nuevos-, a partir de la  idea fundamental de la conquista cruzada. <br />La recuperación de los Santos Lugares y su reconstrucción o adaptación a las necesidades del culto latino conformó un itinerario público, basado en una identidad político-cultural y colectiva de los cruzados. Los paradigmas bíblicos de la entrada triunfal de Cristo por la Puerta Dorada de Jerusalén, y la Traslación del Arca de Alianza por el rey David sirvieron a los cruzados como santos y prestigiosos modelos. A través de ellos, los Cruzados se veían a sí mismos como los herederos del reino davídico y  de los Macabeos. Como aquéllos, y más bien como Cristo, limpiaron el Templo. De ahí, la noción de una identidad cruzada basada en la procesión pública como constructor social, en la que la marcha se convierte en una emotiva expresión de la posesión política de la topografía sagrada recién conquistada. <br />Además, su proyección en el espacio y tiempo de la comunidad reavivaba un nuevo concepto teológico, pues la “comunidad cruzada” era la absoluta protagonista de una nueva y privilegidada relación histórica. Este concepto quedaba perfectamente expresado en el itinerario metafísico conocido con el nombre de Procesión del Santo Espíritu, que unificaba –histórica y teológicamente- el Monte del Templo, la Puerta Dorada, y el nuevo Sancta Sanctorum (el Santo Sepulcro). Existen, sin embargo, otros ejemplos de procesiones en los Santos Lugares que habría también que analizar siguiendo esos mismos parámetros.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1830c57f054376f97efa39e8705ca72d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":43433386,"asset_id":22894305,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/43433386/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="22894305"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="22894305"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 22894305; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="22634623"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/22634623/Art_and_Ceremony_in_the_Latin_West_and_the_Byzantine_East_II_International_Meeting_Magistri_Cataloniae_Facultat_de_Filosofia_i_Lletres_UAB_27_April_2016"><img alt="Research paper thumbnail of Art and Ceremony in the Latin West and the Byzantine East, II International Meeting Magistri Cataloniae, Facultat de Filosofia i Lletres, UAB, 27 April 2016" class="work-thumbnail" src="https://attachments.academia-assets.com/43229648/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/22634623/Art_and_Ceremony_in_the_Latin_West_and_the_Byzantine_East_II_International_Meeting_Magistri_Cataloniae_Facultat_de_Filosofia_i_Lletres_UAB_27_April_2016">Art and Ceremony in the Latin West and the Byzantine East, II International Meeting Magistri Cataloniae, Facultat de Filosofia i Lletres, UAB, 27 April 2016</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ucm.academia.edu/Ver%C3%B3nicaAbenza">Verónica Abenza</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uab.academia.edu/ManuelCasti%C3%B1eiras">Manuel Castiñeiras</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The aim of the II International Meeting Magistri Cataloniae: ART AND CEREMONY in the Latin West a...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The aim of the II International Meeting Magistri Cataloniae: ART AND CEREMONY in the Latin West and the Byzantine East, is to explore the relationship between civil and religious ceremonies and the art and architecture of both Western and Byzantine traditions over the long centuries since the earliest Christian worship to the Late Middle Ages.<br /><br />Ceremonies epitomize the vision, creed, dogma, doctrine, and cult of Latin and Eastern Orthodox Christian Churches. Yet, the performance of these rituals has to be placed within the broader context of the development of liturgy. Nonetheless, it is the goal of this meeting not to focus on liturgy per se but to address the ritual and symbolic aspects involved in cult within the execution of liturgy. Hence, the meeting will explore the complexity and growth of liturgical richness by reason of the accretion of thousands of ritual and ceremonial changes not only across the whole Europe but also within the Byzantine milieu. On the other hand, changes in the ceremonial practices within the court culture of the various Reigns and Empires in the Latin West and the Byzantine East during the Middle Ages were often dictated by factors such as local usages, the reinterpretation of political principles, increases in the realm's wealth, the growth of new standards, and the reform of religious doctrines. <br /><br />Further to the main purposes of this meeting, papers will address two diverse issues: the reinforcement of ritual practices through imagery and the way how these drastically reformations of liturgy and civil observances as well as fashion changes often resulted in the modification of architectural arrangements and ceremonial furnishings.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="12a81de86ff9401eba88e337e15e794b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":43229648,"asset_id":22634623,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/43229648/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="22634623"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="22634623"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 22634623; 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MEDITERRANEAN ENCOUNTERS: Art and artists between Byzantium and the West after the Fourth Crusade (1204-1430)." class="work-thumbnail" src="https://attachments.academia-assets.com/60668570/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/40413652/International_Conference_MEDITERRANEAN_ENCOUNTERS_Art_and_artists_between_Byzantium_and_the_West_after_the_Fourth_Crusade_1204_1430_">International Conference. MEDITERRANEAN ENCOUNTERS: Art and artists between Byzantium and the West after the Fourth Crusade (1204-1430).</a></div><div class="wp-workCard_item"><span>Universitat Autònoma de Barcelona, Sapienza Università di Roma, Academia de España en Roma, Sociedad Española de Bizantinística, Museu Nacional d'Art de Catalunya</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The Autonomous University of Barcelona is collaborating with the Sapienza University of Rome and ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The Autonomous University of Barcelona is collaborating with the Sapienza University of Rome and the Real Academia de España en Roma to stage an International Conference concerned with artistic exchange in the Mediterranean between the sack of Constantinople in 1204 and the fall of Byzantine Thessaloniki in 1430. It will focus on subject matters and case-studies that best testify to the encounter and/or clash between Latin, Byzantine and Islamic culture between 13th and 15th centuries. Main topics include: the mobility of artists and patrons; the meaning of gifts; the prestige of certain artistic forms; cross-cultural travel and pilgrimage and Mediterranean fascination with Byzantine Constantinople. The geographical areas that we will look at go from the Kingdom of Aragon to the Holy Land, encompassing Sicily, the maritime republics of Genoa and Venice, the Latin dominions in Greece, Cyprus, the empire of the Paleologs, Epirus, Cilicia, the Ayyubid and Malmuk Egypt, and the Islamic powers in Anatolia. <br /> <br />Link to the Program: <br /><a href="https://drive.google.com/file/d/1-89e5mxy9Yr1w5SinDcqhsqeEhyk_cBZ/view" rel="nofollow">https://drive.google.com/file/d/1-89e5mxy9Yr1w5SinDcqhsqeEhyk_cBZ/view</a> <br /><a href="https://www.magistrimediterranei.org/en/research/" rel="nofollow">https://www.magistrimediterranei.org/en/research/</a> <br /><a href="https://news.uniroma1.it/node/5620" rel="nofollow">https://news.uniroma1.it/node/5620</a> <br /><a href="https://bizantinistica.blogspot.com/2019/06/incontri-mediterranei-arte-e-artista.html" rel="nofollow">https://bizantinistica.blogspot.com/2019/06/incontri-mediterranei-arte-e-artista.html</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c0f605b35e2eb54b1f771ac42437933d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":60668570,"asset_id":40413652,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/60668570/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="40413652"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="40413652"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40413652; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=40413652]").text(description); $(".js-view-count[data-work-id=40413652]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 40413652; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='40413652']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c0f605b35e2eb54b1f771ac42437933d" } } $('.js-work-strip[data-work-id=40413652]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":40413652,"title":"International Conference. 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Workshop. L’abbatiale Sainte-Foy de Conques et son rayonnement aux XIe et XIIe siècles. Universitat Autònoma de Barcelona (Magistri Cataloniae). 7 May 2014." class="work-thumbnail" src="https://attachments.academia-assets.com/37769488/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/12665334/_El_taller_de_orfebrer%C3%ADa_del_abad_B%C3%A9gon_III_y_Arag%C3%B3n_a_finales_del_siglo_XI_Workshop_L_abbatiale_Sainte_Foy_de_Conques_et_son_rayonnement_aux_XIe_et_XIIe_si%C3%A8cles_Universitat_Aut%C3%B2noma_de_Barcelona_Magistri_Cataloniae_7_May_2014">"El taller de orfebrería del abad Bégon III y Aragón a finales del siglo XI". Workshop. L’abbatiale Sainte-Foy de Conques et son rayonnement aux XIe et XIIe siècles. 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window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=95516798]").text(description); $(".js-view-count[data-work-id=95516798]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 95516798; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='95516798']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=95516798]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":95516798,"title":"Mujeres y artistas: ¿un género subestimado?","internal_url":"https://www.academia.edu/95516798/Mujeres_y_artistas_un_g%C3%A9nero_subestimado","owner_id":27140032,"coauthors_can_edit":true,"owner":{"id":27140032,"first_name":"Verónica","middle_initials":null,"last_name":"Abenza","page_name":"VerónicaAbenza","domain_name":"ucm","created_at":"2015-03-03T07:47:39.324-08:00","display_name":"Verónica Abenza","url":"https://ucm.academia.edu/Ver%C3%B3nicaAbenza"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="94011835"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/94011835/Ut_commutando_donemus_An_Approach_to_Female_Artistic_Patronage_in_Northeast_Iberia_1000_1100_"><img alt="Research paper thumbnail of Ut commutando donemus : An Approach to Female Artistic Patronage in Northeast Iberia (1000-1100)" class="work-thumbnail" src="https://attachments.academia-assets.com/96589950/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/94011835/Ut_commutando_donemus_An_Approach_to_Female_Artistic_Patronage_in_Northeast_Iberia_1000_1100_">Ut commutando donemus : An Approach to Female Artistic Patronage in Northeast Iberia (1000-1100)</a></div><div class="wp-workCard_item"><span>Bulletin du Centre d’études médiévales d’Auxerre</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The advent of the year 1000 provided women from the Catalan counties and the kingdoms of Aragon a...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The advent of the year 1000 provided women from the Catalan counties and the kingdoms of Aragon and Navarre opportunities to assume an active role in the patronage of the arts. As pointed out by Teresa Vinyoles, women from those territories were able to buy, sell, and trade, to own lands and hold castles in fief, and to receive and pay tribute for their property in their own rights 1. For the most part, women's prolific agency in the creation and consumption of works of art and architecture kept pace with economic and social changes ushered in by the new millennium. Indeed, the journey to the three great pilgrimage destinations of Santiago de Compostela, Rome, and Jerusalem ; the continual advance of the Christian frontier towards the lands under Muslim rule, as well as pervasive Benedictine spirituality and emerging Cluniac sensibility are all key factors to bear in mind when specifying the context. Centring on the specific context of northeastern Iberia in the eleventh century, this article offers a concept of patronage as it was understood by the women who performed it. While medievalists are accustomed to reconstructing the circumstances in which an artwork was born, when studying artistic patronage there is still a tendency to avoid consideration of the social, economic, and legal differences between men and women in the Middle Ages. After a general reflection on this issue, this article focuses on the artistic patronage of three women of diverse status who to varying degrees ruled the counties, kingdoms, and lordships that were inherited or appropriated by their husbands, or whose agency actively contributed to shaping ruling policies when in power 2 .While scholarship has previously drawn historians' attention to Ermessenda de Carcassone (d. 1058), countess consort of Barcelona, Girona, and Osona (r. 992-1017), for the works she commissioned, Estefanía de Foix (d. 1066), queen consort of Navarre (r. 1040-1054), and Arsenda de Fluvià (d. 1068), wife of the Catalan warlord Arnau Mir de Tost (d. 1072), are less known. My intention in bringing the three together for comparison is to shine a light on how patronage helped each to realise her own expectations, whether of personal, familial, or institutional origin, and of a social, political, or devotional nature. One of the goals of this article is to analyse how works from the period convey different methods of selffashioning, including the use of textual and visual images to publicly present the patrons' main concerns. In addition, these images and works were used by these women to obtain some acknowledgment from male counterparts, especially as active agents involved in ruling matters. As consorts with limited power, these works of art and architecture were also crucial to exercise different degrees of authority in typical male realms such as war or ecclesiastical affairs. An examination of the circumstances Ut commutando donemus : An Approach to Female Artistic Patronage in Northeast...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="82c16d56374fa6eec1607ab813ed5a0c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":96589950,"asset_id":94011835,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/96589950/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="94011835"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="94011835"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 94011835; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=94011835]").text(description); $(".js-view-count[data-work-id=94011835]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 94011835; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='94011835']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "82c16d56374fa6eec1607ab813ed5a0c" } } $('.js-work-strip[data-work-id=94011835]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":94011835,"title":"Ut commutando donemus : An Approach to Female Artistic Patronage in Northeast Iberia (1000-1100)","internal_url":"https://www.academia.edu/94011835/Ut_commutando_donemus_An_Approach_to_Female_Artistic_Patronage_in_Northeast_Iberia_1000_1100_","owner_id":27140032,"coauthors_can_edit":true,"owner":{"id":27140032,"first_name":"Verónica","middle_initials":null,"last_name":"Abenza","page_name":"VerónicaAbenza","domain_name":"ucm","created_at":"2015-03-03T07:47:39.324-08:00","display_name":"Verónica Abenza","url":"https://ucm.academia.edu/Ver%C3%B3nicaAbenza"},"attachments":[{"id":96589950,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/96589950/thumbnails/1.jpg","file_name":"cem-19020.pdf","download_url":"https://www.academia.edu/attachments/96589950/download_file","bulk_download_file_name":"Ut_commutando_donemus_An_Approach_to_Fem.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/96589950/cem-19020-libre.pdf?1672429621=\u0026response-content-disposition=attachment%3B+filename%3DUt_commutando_donemus_An_Approach_to_Fem.pdf\u0026Expires=1739913356\u0026Signature=XEj3vWV6H8f1BkYQ5RrkrVNT1GBx8EaxXoum4OwGAnYU4jRNazfqt41CSroSgFT0E06GtQaau40iITytG-QFPB7rdB2yRZA~D6ptzjD25dkXT4VMr2abNnFcqjtRmUhekh-ruQgoKDEA6g88Mmd-DjBLFve2U9qI87Q2rs1IVopOTjyp4RWuGPPPu6MW8GuJIeMlu3r3U1iIdBEH2up~kntPrumyoBLG-RRpl7DOwxTK9phgCI8rCPS0l-6USctP7uedED12L~Gw9L84ndSpMiAXN0iweifTCmio~EWUxnBrRd66HXO-mFVeQj8rgK3OBDoJBSnFIf7raxfnFB7svw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="93537488"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/93537488/Ego_regina_Patronazgo_y_promoci%C3%B3n_art%C3%ADstica_femenina_en_Arag%C3%B3n_Navarra_y_Catalu%C3%B1a_1000_1200_"><img alt="Research paper thumbnail of Ego regina. Patronazgo y promoción artística femenina en Aragón, Navarra y Cataluña (1000-1200)" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/93537488/Ego_regina_Patronazgo_y_promoci%C3%B3n_art%C3%ADstica_femenina_en_Arag%C3%B3n_Navarra_y_Catalu%C3%B1a_1000_1200_">Ego regina. Patronazgo y promoción artística femenina en Aragón, Navarra y Cataluña (1000-1200)</a></div><div class="wp-workCard_item"><span>Ego regina. Patronazgo y promoción artística femenina en Aragón, Navarra y Cataluña (1000-1200)</span><span>, 2018</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="93537488"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="93537488"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 93537488; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=93537488]").text(description); $(".js-view-count[data-work-id=93537488]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 93537488; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='93537488']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=93537488]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":93537488,"title":"Ego regina. Patronazgo y promoción artística femenina en Aragón, Navarra y Cataluña (1000-1200)","internal_url":"https://www.academia.edu/93537488/Ego_regina_Patronazgo_y_promoci%C3%B3n_art%C3%ADstica_femenina_en_Arag%C3%B3n_Navarra_y_Catalu%C3%B1a_1000_1200_","owner_id":27140032,"coauthors_can_edit":true,"owner":{"id":27140032,"first_name":"Verónica","middle_initials":null,"last_name":"Abenza","page_name":"VerónicaAbenza","domain_name":"ucm","created_at":"2015-03-03T07:47:39.324-08:00","display_name":"Verónica Abenza","url":"https://ucm.academia.edu/Ver%C3%B3nicaAbenza"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="93004300"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/93004300/The_Jaca_ivories"><img alt="Research paper thumbnail of The Jaca ivories" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/93004300/The_Jaca_ivories">The Jaca ivories</a></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="93004300"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="93004300"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 93004300; 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</script> <div class="js-work-strip profile--work_container" data-work-id="92164747"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/92164747/En_torno_a_donantes_y_me_fecit_en_los_bordados_medievales_la_Estola_de_San_Narciso_y_el_Estandarte_de_San_Ot"><img alt="Research paper thumbnail of En torno a donantes y me fecit en los bordados medievales: la Estola de San Narciso y el Estandarte de San Ot" class="work-thumbnail" src="https://attachments.academia-assets.com/95247120/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/92164747/En_torno_a_donantes_y_me_fecit_en_los_bordados_medievales_la_Estola_de_San_Narciso_y_el_Estandarte_de_San_Ot">En torno a donantes y me fecit en los bordados medievales: la Estola de San Narciso y el Estandarte de San Ot</a></div><div class="wp-workCard_item"><span>Archivo Español de Arte</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Los bordados medievales de la Estola de San Narciso y el Estandarte de San Ot han uscitado cierto...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Los bordados medievales de la Estola de San Narciso y el Estandarte de San Ot han uscitado cierto interés de los investigadores por su contenido epigráfico y figurativo. Al incorporar inscripciones con me fecit y un retrato de donantes, se inscriben en la problemática para interpretar si estos recursos aluden al artista o al comitente, en su caso, una mujer. Por ello, la atención se ha centrado fundamentalmente en identificar al sujeto histórico responsable de su autoría. Contrariamente, este artículo pretende indagar en el sistema social y de creencias del contexto en el que ambos fueron creados. 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Arte e iconografía en los primeros siglos del románico" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/84487808/Ad_promissa_perueniant_celestia_Arte_e_iconograf%C3%ADa_en_los_primeros_siglos_del_rom%C3%A1nico">Ad promissa perueniant celestia". Arte e iconografía en los primeros siglos del románico</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Podria pensarse que los resortes socioeconomicos y culturales que impulsaron la fiebre constructi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Podria pensarse que los resortes socioeconomicos y culturales que impulsaron la fiebre constructiva en torno al ano mil en toda Europa occidental, y de la que participaron los territorios del nordeste peninsular y el sur de Francia, se habria traducido, igualmente, en una rapida renovacion del resto de tradiciones en el panorama general de las artes. Nada mas lejos de la realidad. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="84487772"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/84487772/_Patronazgo_en_cuesti%C3%B3n_o_cuesti%C3%B3n_de_patronazgo_Ermessenda_de_Carcassone_y_el_desaparecido_frontal_de_altar_de_la_catedral_de_Girona_el_enigma_de_su_piedra_sigilar"><img alt="Research paper thumbnail of ¿Patronazgo en cuestión o cuestión de patronazgo? Ermessenda de Carcassone y el desaparecido frontal de altar de la catedral de Girona: el enigma de su piedra sigilar" class="work-thumbnail" src="https://attachments.academia-assets.com/89494199/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/84487772/_Patronazgo_en_cuesti%C3%B3n_o_cuesti%C3%B3n_de_patronazgo_Ermessenda_de_Carcassone_y_el_desaparecido_frontal_de_altar_de_la_catedral_de_Girona_el_enigma_de_su_piedra_sigilar">¿Patronazgo en cuestión o cuestión de patronazgo? Ermessenda de Carcassone y el desaparecido frontal de altar de la catedral de Girona: el enigma de su piedra sigilar</a></div><div class="wp-workCard_item"><span>Locus Amoenus</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La condesa Ermessenda de Carcassone es célebre por su constante impulso al patronazgo de obras de...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La condesa Ermessenda de Carcassone es célebre por su constante impulso al patronazgo de obras de arte y de arquitectura en los diversos condados sobre los que, en dos ocasiones, ejerció su autoridad. El desaparecido frontal de altar románico de la catedral de Santa María de Girona es, sin embargo, la obra que mejor representa su rol como promotora artística. El presente artículo, a través de una revisión exhaustiva de las fuentes conocidas, pretende puntualizar algunos aspectos sobre su encargo, su manufactura y su apariencia, incidiendo particularmente en la importancia de la piedra sigilar que la condesa donó para adornar la pieza y rubricar su iniciativa. El énfasis, además, se pondrá en solventar las dudas sobre el uso de dicha calcedonia como parte de la decoración del frontal, así como su significación para el fenómeno de la promoción artística femenina en la Plena Edad Media. Palabras clave: Ermessenda de Carcassone; catedral de Girona; orfebrería medieval; mobiliario litúrgico; cultura diplomática en la Edad Media; piedra sigilar; restauración</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a71d9f10a0fc07223821e99e4261500e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":89494199,"asset_id":84487772,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/89494199/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="84487772"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="84487772"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 84487772; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=84487772]").text(description); $(".js-view-count[data-work-id=84487772]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 84487772; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='84487772']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a71d9f10a0fc07223821e99e4261500e" } } $('.js-work-strip[data-work-id=84487772]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":84487772,"title":"¿Patronazgo en cuestión o cuestión de patronazgo? 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