Esta investigación tiene como objetivo profundizar en el conocimiento de un pintor, conquense de nacimiento, cuya carrera artística quedó doblemente ligada a la Academia de Tres Nobles Artes de Sevilla, primero como alumno y posteriormente como profesor, e incluso director. Igualmente, se dan a conocer un total de siete obras inéditas, siendo ejemplo cuatro de ellas de una de las principales devociones sevillanas del siglo XVIII: las ánimas benditas del purgatorio.

Sin duda los más osados discursos autorreferenciales en los museos, como en la literatura, se han potenciado especialmente a partir de la posmodernidad, cuando se puso en cuestión el autocomplaciente relato teleológico moderno por los adictos de la “museología crítica”. Desde entonces han proliferado como nunca los museos de arte contemporáneo, que están cultivando este tipo de reflexiones no solo en exposiciones temporales, pues resulta cada vez más habitual que consagren espacios permanentes a reevaluar su pasado. Es una tendencia actual en la que cabe distinguir dos tipologías espaciales, aquí analizadas a través de numerosos ejemplos, a partir de los cuales po-drán expandirse buenas prácticas museográficas.

With this paper we study the itineraries that foreign travelers made through the monuments of Madrid, Toledo and Seville. For this purpose, we have selected a total of twenty-nine travel books belonging to the American Geographical Society Library of the University of Wisconsin-Milwaukee published between the mid-nineteenth century and the middle of the following century. The behavior of travelers from different periods is analyzed in order to know the most touristically consolidated Spanish monuments, the artistic styles preferred and the artistic terminology used. The relevance of the promenades, streets, and the Prado Museum in Madrid, of the medieval works in Seville and Toledo, the lack of appreciation of the neoclassical architecture and the absence of certain monuments are observed.

After having presented the marking of silver in Castile and in some European centres, we study, in this second part, the peculiar silver marking in the Kingdom of Aragon, which is not related to that existing in Castile, France or the Netherlands. In Saragossa, the silver marking was supervised by jurors elected by the City Council from among its members, although they had the technical help of silversmiths. The result was that the silver was marked with a mark alluding to the city. It was not necessary for silversmiths to mark silver with their personal mark. The marking system of the city of Zaragoza/Saragossa was also used in other important cities of the Kingdom such as Tarazona, Calatayud or Daroca, although some silversmiths added their personal mark due to the influence of the marking of Castile. However, throughout the 18th century, and especially after the decree of 1752 on the marking of silver, the triple Castilian marking was generalized in the cities of the Crown of Aragon.

The manga-anime partnership is widely known to both academic researchers and aficionados. Nowadays, a large number of anime series still originate from the namesake manga series. However, there is a subset of manga-to-anime works apart from mainstream, born from technical and/or creative choices, departing from the conventionalized elements usually shared by both media. In this article I present an analysis of Aku no Hana (The Flowers of Evil), a manga series by Oshimi Shūzō —named after Baudelaire's seminal work— and its controversial anime adaptation, known for using rotoscoping, paying special attention to the mangaesque and animesque elements found within.

Humor gráfico español del siglo XX appeared in 1970 as part of a collection of 100 titles, RTV Books, which was also published as the “Salvat Basic Library”; 96 cartoonists were included in this anthology, some of whom had already worked in the previous century. This selection came to light only four years after the “Press and Print-ing Law” was approved, which signaled a certain openness of the Franco regime; But, even so, the authorities made use of cultural dirigisme to control the contents of the editions or, as in this case, they authorized a list of works whose reading would not cause any political problems. And this is what was also achieved within the book we are discussing.

This text focuses on the analysis of three works developed by the cartoonist and illustrator Fermín Solís (Madroñera, Cáceres, 1972): Los días más largos (Ediciones Balboa, 2003), El año que vimos nevar (Astiberri, 2005) and Mi organismo en obras (Ediciones La Cúpula, 2011). They arise at different moments in his career, but are connected to each other by his main character, Martín Mostaza, and by the autobio-graphical development that arises in each of them. The analysis of it occurs on a narra-tive and aesthetic level, but also in the supposed reflection of Spain's own social and cultural evolution.

Sebastián de Almonacid is one of the most controversial and unknown artists of all those who worked in Castile in the transition from the four hundreds to the five hundreds. In this article we present an unpublished document that records the Good Friday pardon granted in 1492 by the Catholic Monarchs to Sebastián de Almonacid, whom we identify with the Toledo artist of the same name who was active in Castile around 1500. This source sheds new information on the biography of the master, an aspect of great relevance due to the fact that the few references we have about Almon-acid are of a professional nature.

Although the numerous graphic novels about Frida Kahlo focus on the biography of the artist, contributing to the consolidation of a myth that alternates the topics of feminism and exoticism. For this reason, in this article we have opted for a thematic selection that has biased psychobiography in favour of border issues such as Mexi-canness and political commitment. Through an analytical reading of the creative pro-cess of scriptwriters and illustrators, their attitude of flâneuse has been emphasised, thanks to literal drawings or drawings derived from symbolic exchanges. It is about outlining that there are different ways of approaching an artist that transcend her per-sonal life, as well as there are different illustrators and scriptwriters who go beyond appearances.

This work aims to study the typology of altarpieces that include estípite pilasters in its structure, focused on those located in southren Extremadura. In this sense, a series of elements are are analysed: concep of estípites, typers of altarpieces with estípite used in Extremadura, decorative elements, materials, and also, location with the Spanich and Extremadura temples. Addicionally, those masters involved in this typology of alterpieces are studied and referenced.