{"id":2322,"date":"2021-01-30T16:51:48","date_gmt":"2021-01-30T15:51:48","guid":{"rendered":"https:\/\/arsuspaper.com\/?page_id=2322"},"modified":"2021-01-30T16:54:44","modified_gmt":"2021-01-30T15:54:44","slug":"enviny","status":"publish","type":"page","link":"https:\/\/arsuspaper.com\/en\/enviny\/","title":{"rendered":"-Enviny"},"content":{"rendered":"

Retablo de Enviny<\/strong><\/h2>\n

\"\" <\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

\u00a0<\/strong>\u00a0<\/strong><\/p>\n

Iglesia de la Mare de D\u00e9u de la Purificaci\u00f3.
\nEnviny, Lleida.
\nRetablo g\u00f3tico de Pere Espalargues.
\nMedidas: 3 x 5metros.
\nEncargo del Consell Comarcal del Pallars Sobir\u00e0.
\nOriginales conservados en el Hispanic Society de Nueva York y\u00a0 Philadelphia Museum of Art.<\/strong><\/p>\n

El Retablo g\u00f3tico de Enviny -obra de Pere Espalargues-, decor\u00f3 el \u00e1bside de la iglesia parroquial\u00a0de la Purificaci\u00f3n de Enviny\u00a0hasta 1909, a\u00f1o en el que fue vendido\u00a0 a un anticuario.<\/p>\n

Actualmente, esta valiosa obra se encuentra repartida en dos museos de EEUU. El cuerpo principal se conserva desde 1913 en la Hispanic Society of America de Nueva York y la\u00a0predela\u00a0y puertas laterales en el Philadelphia Museum of Art.
\nEn buena medida, ha sido gracias al tes\u00f3n de Agust\u00ed L\u00f3pez, alcalde de Sort, y el p\u00e1rroco de Enviny, Joan Escales, el que la imagen del retablo vuelva a presidir el templo.<\/p>\n

\n<\/div>

Como se puede apreciar en la fotograf\u00eda en blanco y negro tomada a principios del siglo XX -cedida gentilmente por el Institut Amatller d\u00b4Art Hispanic- el retablo se conserva incompleto. La talla de la virgen que se alojaba en la hornacina del cuerpo principal, se halla en paradero desconocido. La misma suerte han corrido el frontal del altar y la tabla\u00a0“ecce homo”\u00a0<\/em>que custodiaba el sagrario. La marqueter\u00eda que decoraba el conjunto de la\u00a0predela<\/em>\u00a0y puertas tambi\u00e9n ha desaparecido, aunque posiblemente su estado de conservaci\u00f3n hizo imposible recuperarla.<\/p>\n<\/div>

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Fotografia cedida por\u00a0el Institut Amatller d Art Hispanic.<\/p><\/div>\n<\/div>

La fotograf\u00eda sirvi\u00f3 tambi\u00e9n como referencia para\u00a0re-crear<\/em>\u00a0todos los elementos constructivos y ornamentales perdidos. Para ello, se redimension\u00f3 la imagen y se obtuvieron calcos a tama\u00f1o real de las columnas, cenefas, calados y dem\u00e1s elementos decorativos de la marqueter\u00eda.
\nSe tallaron y modelaron las formas.
\nCon ayuda de moldes se repitieron algunos motivos.<\/p>\n

\"\"detalle de los calados<\/p>\n<\/div>

<\/span><\/div>

modelado del ornamento<\/p>\n<\/div>

<\/div><\/div><\/div>
<\/span><\/div>

molde de silicona<\/p>\n<\/div>

<\/div><\/div><\/div><\/div>

Se construy\u00f3 una\u00a0estructura met\u00e1lica para la colocaci\u00f3n\u00a0de todos los elementos que conforman el retablo: las tablas, el guardapolvo, la hornacina, las molduras, etc.<\/p>\n

Las tablas se prepararon con una\u00a0imprimaci\u00f3n similar a la original. Se recrearon lagunas, grietas, bajorrelieves\u00a0y dem\u00e1s texturas de la obra.<\/p>\n<\/div>

<\/div><\/div><\/div>
<\/span><\/div>

modelo de carta estandarizada con parches de color\u00a0para la correcci\u00f3n crom\u00e1tica de la fotograf\u00eda<\/p>\n<\/div>

<\/div><\/div><\/div>
<\/span><\/div>

Aurora modelando elementos de la marqueter\u00eda<\/p>\n<\/div>

<\/div><\/div><\/div><\/div><\/div>

Las zonas de este minucioso trabajo reservadas a los dorados, se aplicaron en la transferencia con Papelgel.\u00a0La t\u00e9cnica permite aplicar pintura met\u00e1lica en el fondo de las im\u00e1genes. De este modo, los fondos dorados quedan totalmente integrados en la pintura, aportando un aspecto convincente en el color, las veladuras donde el oro respira, las zonas donde aparece el bol de la preparaci\u00f3n, etc.<\/p>\n

Finalmente se protegi\u00f3 y matiz\u00f3 adecuadamente el conjunto del retablo.<\/p>\n<\/div>

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