Archives

No. 11 (2026)

This international issue addresses: 1. The representation of King Charles II (1661–1700) through the proclamation medals produced for the official ceremonies held in 1666 in Seville, Granada, and the Spanish Netherlands; 2. The proliferation of the various terms used to refer to artistic research—research on, for, and in art—and their epistemological and institutional implications; 3. The professional career of Pedro García de Sanlúcar, one of the master builders of Seville Cathedral during the early phases of the Gothic project, documented between 1419 and 1440; 4. The artistic theory of Piet Mondrian, with particular attention to his reflections on art’s capacity to evoke emotions in the viewer, the nature of those emotions, and the means through which they are generated, a dimension frequently overlooked due to the rationalist interpretation of his work; and 5. The awards granted by the “Manuel Belgrano” Fine Arts Salon from a gender perspective during the period between 1980 and 1990.
No. 10 (2025)

National issue featuring: a study on the perspectives and feigned architectural effects of Baroque mural painting in Sanlúcar de Barrameda during the eighteenth century; an analysis of art-market manipulations and heritage lossbased on the case of the paintings of Santa María del Águila destroyed in 1936; an examination of the presence and projection of the artists Victoria Martín Barhié and Alejandrina Gessler in nineteenth-century academic Cádiz; an investigation into the typology, symbolism, and artistic references of the plazas of Spain, with special attention to that of Seville; a documentary review of the frustrated foundational project of the Hieronymite monastery of San Juan de Aznalfarache, promoted by the Count-Duke of Olivares; and a technical and stylistic study of the sculpture Nuestra Señora del Rosario of Algodonales, attributed to the sculptor Cristóbal Ramos and focused on the original polychromy of the work.
No. 9 (2025)

International issue featuring: a study of the domestic furnishings of the First Marquis of Espinardo in the Kingdom of Galicia as a means of representing Baroque comfort; an approach to female taste at the Spanish court of the seventeenth century through the portraits of Isabel of Bourbon and Mariana of Austria; an intermedial reading of the work of Marga Gil Roësset through the literary, sculptural, and pictorial figures that traverse it; an analysis of Enlightenment-inspired policies and reforms applied in viceregal Lima under Gil de Taboada y Lemos at the end of the eighteenth century; a documentary review of the Convent of the Minims in Granada within the context of the 1836 disentailment; and a new attribution to the sculptor Juan Adán of the sculptural group of Our Lady of Bethlehem from the Convent of Santa Cruz in Córdoba, thus expanding the known catalogue of his workshop.
No. 8 (2024)

Internationally oriented issue addressing: the book Twentysix Gasoline Stations by Ed Ruscha, which represented a paradigm shift, both through the emergence of a new working format and through the definition of a new way of understanding the artist’s profession; a survey of the life and work of the Cuban singer Merceditas Valdés, a mediator between Yoruba culture and Afro-Cuban music, commemorating the centenary of her birth; the posters produced for the tourist promotion of Asturias, commissioned by two institutions operating under different dictatorial regimes at the beginning of the twentieth century—the National Tourism Board and the General Directorate of Tourism; the trajectory of several paintings of particular interest originating from the Monastery of San Zoilo de Carrión until their definitive disappearance; the evolution and development of the iconography of Saint John the Baptist in cinema; the paths of disintegration of the collection of the sixth Count of Monterrey; and the compilation of the documented works attributed to date to the sculptor Jerónimo Gómez, intended to serve as a concise catalogue of the artist and his workshop.
No. 7 (2024)

Internationally oriented issue addressing different topics, in particular: an unprecedented assessment of the international trajectory of Max Jiménez Huete (1900–1947), a central figure in Costa Rican and Central American avant-garde art through his international journey; the figure of the imaginer Luján Pérez, analysing one of the minor sculptures attributed to him, namely a previously unknown Calvary; the anti-modernist process of the journal Quixote between 1920 and 1926; the genealogy of the maternal imaginary in Argentine cinema from 1933 to the present, mapping its most representative figures and their evolution over time; and the ways of representing Picasso’s human anatomy in relation to the biopolitical and, above all, thanatopolitical development of fascisms during the 1930s and 1940s, in Spain and Europe.
No. 6 (2023)

Internationally oriented issue comprising 5 articles addressing the commemorative monument as a historical-critical device, books and writing in Murillo’s painting, artistic relations and new contributions concerning La Argentina and the ballet El fandango de Candil, the carving of San Sebastián de Algarrobo by Francisco Palma Burgos, and the photography of humanity focused on patients with AIDS in a London hospital.
No. 5 (2023)

Internationally oriented issue presenting 8 articles and 1 note. The contributions address: pilgrimages as a form of redemption in the eighteenth century; realism in Reygadas and Escalante; five Josephine sculptural groups and a Nativity scene attributed to Cristóbal Ramos; the textile identity of María Luisa de Parma; the Palácio de Dona Chica by Ernesto Korrodi; new findings on the Dutch sculptor Hernando Lamberto; the graphic work of Miguel Ourvantzoff preserved in Madrid; Gabriel Grün, illustrator of Life Is a Dream; and a new contribution to the catalogue of terracotta sculpture by Luisa Roldán.
No. 4 (2022)

Internationally oriented issue, comprising 5 articles and one review. The articles address: the French artist Dora Maar; the dowry and arras letter of Doña Inés de Zúñiga, Countess of Olivares; the origin of fantastic creatures in the work of J. K. Rowling based on the myths and folklore of Northern Europe; Guadalupan iconography in the Monastery of San Leandro in Seville; and the visual history of the papacy: the photography of Pius IX. The review presents the volume Italian Painting in Granada. Artists and Collectors, Originals and Copies.
No. 3 (2022)

Internationally oriented issue devoted to five topics: it opens with an article on Italian artists in Chile at the beginning of the twentieth century, investigated through the artistic press; it continues with the iconography of the death of Don Bosco, examined on the basis of an unpublished sketch; it then addresses the sculpture of José Montes de Oca, through a survey of five unpublished images from Sevillian cloistered contexts; another contribution deals with the artist Ortega Brú and the classification of his paintings; and it concludes with a study on medieval architecture in relation to the thought of Nicholas of Cusa.
No. 2 (2021)

In the present issue, different contributions converge, such as the development of a visual proposal addressing the problem of masculine identity in the current social and cultural context; a study on the work of the painter Hilario Bravo and another on the Cordoban architect Juan de Ochoa Méndez; an intervention on a wooden sculpture of Saint Roch of Montpellier, belonging to the mother parish of La Concepción in Tenerife; and a research study providing new data on María Joaquina Viera y Clavijo, Josefa Miranda, and Juana Evangelista de la Cruz y Ríos, women who carried out activities in the Canarian artistic sphere of the eighteenth century.
No. 1 (2021)

Internationally oriented issue, bringing together five articles that address the following topics: Andalusian artistic heritage, mysticism through cinema, Spanish monumental catalogues, and the theoretical reflection accompanying the sculptural discipline.
No. 0. (2020)

Internationally oriented issue addressing classical mythology as a key to reading the New World, the representation of the Mapuche people through the brushes of Celia Leyton, Toledanian miniaturism in the mid-seventeenth century, urban estrangements, and, finally, the church of San Pablo in Palencia.