Estudio del dibujo subyacente de Fernando Yáñez de Almedina a través de cuatro tablas del Museu de Belles Arts de València
[EN] The works of the Hernandos in general, and those of Fernando Yánez de Almedina in particular, have been analysed from multiple points of view, but a study of his underlying drawings is still outstanding. The aim of this article is to show that a close study of these drawings may be key to under...
| Autores: | , , |
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2024 |
| País: | España |
| Institución: | Universitat Politècnica de València (UPV) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | español |
| OAI Identifier: | oai:riunet.upv.es:10251/226881 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/226881 |
| Access Level: | acceso abierto |
| Palabra clave: | Pintura renacentista Valencia Dibujo subyacente Técnica Renaissance painting Underdrawings Technic |
| Sumario: | [EN] The works of the Hernandos in general, and those of Fernando Yánez de Almedina in particular, have been analysed from multiple points of view, but a study of his underlying drawings is still outstanding. The aim of this article is to show that a close study of these drawings may be key to understanding the Castilian artist¿s creative process. By subjecting the four boards preserved at the Museu de Belles Arts de València to infrared photography, it has been possible to identify some techniques that met the artists¿ formal and expressive needs. They also show a certain hitherto undetected versatility in the transposition of the preliminary drawing to the final painting which contributes to an understanding of the artistic identity of this artist. |
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