Publication: Patrones de estofas en el taller de los Araciel
Authors
Labaña Freitas, María
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Publisher
Murcia: Universidad de Murcia, Editum
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DOI
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info:eu-repo/semantics/article
Description
Abstract
El siglo XVII fue el comienzo de un largo establecimiento de imagineros de calidad en Murcia, llegando a su máximo esplendor
de la mano de Francisco Salzillo y que gracias a sus discípulos abarcaría el siglo XIX, hasta nuestros días. Dos de estos seguidores
de la escuela de Salzillo en pleno siglo XIX fueron Francisco Sánchez Tapia y su hijo Francisco Sánchez Araciel, de los cuales se
conserva una colección de patrones de estofas usados para traspasar los diseños a la obra real. Dichos objetos son únicos en su estilo,
ya que normalmente este traspaso del dibujo se hacía a mano alzada, a excepción de este taller familiar. Se han encontrado esculturas
de dichos imagineros en las que existen los mismos motivos de las plantillas, por lo que se confrma la teoría de su uso.
The 17th century was the beginning of a long setting of highly skilled religious sculptors in Murcia, coming to his maximum brilliance with Francisco Salzillo; and thanks to his disciples this setting included the 19th century, ranging up to the present days. Two of the followers of the Salzillo's school, in the 19th century, were Francisco Sánchez Tapia and his son Francisco Sánchez Araciel, of whom a collection of estofado patterns still remains used to transfer the designs to the sculpture. These patterns are unique, since normally this transfer of the drawings was done freehand, with the exception of this family workshop. A number of sculptures of the above mentioned religious sculptors have been found with the same pattern motives, confrming the theory of their use.
The 17th century was the beginning of a long setting of highly skilled religious sculptors in Murcia, coming to his maximum brilliance with Francisco Salzillo; and thanks to his disciples this setting included the 19th century, ranging up to the present days. Two of the followers of the Salzillo's school, in the 19th century, were Francisco Sánchez Tapia and his son Francisco Sánchez Araciel, of whom a collection of estofado patterns still remains used to transfer the designs to the sculpture. These patterns are unique, since normally this transfer of the drawings was done freehand, with the exception of this family workshop. A number of sculptures of the above mentioned religious sculptors have been found with the same pattern motives, confrming the theory of their use.
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