Spanish Frescoes of the Romanesque Period [antikvár]

J) | omanesque painting began to be re-evaluated for JLfj historical and iconographic reasons during the last century. Not until today, however, has it been fully appreciated for the plastic qualities which, in our time, appeal to contemporary sensitivity and taste. Historically speaking, awareness of Romanesque painting on the Ibérián peninsula is first manifested in a few references made to it in the xvinth century, but the study and understanding of Romanesque painting is very much more recent. There is, on the one hand, the monumental work on Catalan painting directed by J. Pijoan and published by the "Institut d'Estudis Catalans" from 1907-1921. On the other hand, a bibliography for Castile and León began with studies made by J. & R. Amador de los Ríos, M. GómezMoreno, P. Mata y Alvaro, J. Pérez Llamazares and J. Garnelo, while R. del Arco devoted himself to the art of Aragon. In addition to these studies, we have the research carried out by other scholars, both Spanish and foreign. From 1906 on, the Museum of Barcelona, adopting a principle customary in other countries, began a systematic reproduction of all Catalan murai paintings. But, in 1919, this work was abruptly halted and it was decided to remove the originál works from the walls. This decision was reached for various reasons, the major one being that only by removing paintings as they were discovered, could their slow and irreparable destruction be avoided. In countries like Francé, where similar steps were not taken, there