{"id":2465,"date":"2021-02-06T11:05:20","date_gmt":"2021-02-06T10:05:20","guid":{"rendered":"https:\/\/arsuspaper.com\/?page_id=2465"},"modified":"2021-02-06T11:05:20","modified_gmt":"2021-02-06T10:05:20","slug":"santa-maria-daneu","status":"publish","type":"page","link":"https:\/\/arsuspaper.com\/en\/santa-maria-daneu\/","title":{"rendered":"-Santa Mar\u00eda d\u00b4\u00c0neu"},"content":{"rendered":"

Santa Mar\u00eda d’\u00c0neu<\/strong><\/h2>\n


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

Pintura mural,<\/strong>\u00a0siglo XI.
\nGuingueta d\u2019\u00c0neu. L\u00e9rida.
\nEncargo del Consell Comarcal del Pallars Sobir\u00e0.
\nOriginales conservados en el Museu Nacional d\u2019Art de Catalunya (MNAC).<\/strong><\/p>\n

De la decoraci\u00f3n mural del antiguo convento visig\u00f3tico -convertido en el siglo XI en monasterio benedictino-\u00a0 tan solo se han conservado parte de las pinturas del \u00e1bside central.
\nAtribuidas al Maestro de Pedret,\u00a0son pinturas con intensa y abundante policrom\u00eda.\u00a0El tema central est\u00e1 dedicado a la Epifan\u00eda y Adoraci\u00f3n de los Reyes Magos, aunque es la\u00a0 poderosa\u00a0 im\u00e1gen de los\u00a0serafines -con sus alas llenas de ojos- la que se ha constituido en icono del templo.\u00a0Tambi\u00e9n estan representadas otras escenas como las visiones\u00a0de Isa\u00edas y Ezequiel.
\nPor su calidad pl\u00e1stica y su originalidad iconogr\u00e1fica, constituye uno de los conjuntos m\u00e1s importantes de pintura rom\u00e1nica en Catalu\u00f1a.<\/p>\n

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El Plan de Dinamizaci\u00f3n Tur\u00edstica del Consejo Comarcal del Pallars Sobir\u00e0, fue el escenario ideal para comprobar las ventajas conceptuales y econ\u00f3micas de un sistema de reproducci\u00f3n de obras de arte realizadas a partir de fotograf\u00eda. La intenci\u00f3n de dicho Plan era “recuperar”<\/span> parte de las obras de arte repartidas en colecciones de medio mundo y “devolverlas”<\/span>\u00a0a su\u00a0lugar de origen en forma de copias. Lo importante era que la fidelidad de las reproducciones aportasen la sensaci\u00f3n que los originales provocaban en el visitante antes de su \u00e9xodo.<\/p>\n

Santa Mar\u00eda d\u00b4\u00c0neu se convert\u00eda as\u00ed, en aut\u00e9ntico banco de pruebas para el desarrollo de un sistema de reproducci\u00f3n de obras de arte in\u00e9dito en el mundo.<\/p>\n<\/div>

\"\"El \u00e9xito del trabajo estuvo asegurado con la inestimable colaboraci\u00f3n de la compa\u00f1\u00eda\u00a0Hewlett-Packard y\u00a0el equipo t\u00e9cnico\u00a0de\u00a0su centro mundial de I+D en San Cugat.<\/p>\n

HP intervino en la delicada gesti\u00f3n del color, en la calibraci\u00f3n de sus m\u00e1quinas impresoras de gran formato y en ciertos estudios relativos a la calidad de imagen, como el de la permanencia del color realizado en su centro de investigaci\u00f3n en Palo Alto, EEUU.<\/p>\n

Las im\u00e1genes de las pinturas de Santa Mar\u00eda d\u00b4\u00c0neu (y por ende el rom\u00e1nico catal\u00e1n) se han mostrado en medio mundo.\u00a0 La descripci\u00f3n de la nueva tecnolog\u00eda (y de los trabajos realizados) solo se pod\u00eda explicar por el deseo de sus antiguos usuarios en renovar su presencia en los muros para los que hab\u00edan sido creadas.<\/p>\n<\/div>

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Jordi Calveras, del servicio fotogr\u00e1fico del Museu Nacional d\u00b4Art de Catalunya, fue el responsable de la toma de fotograf\u00edas en gran formato necesarias para asegurar la calidad y definici\u00f3n que requer\u00eda la copia.<\/p>\n

Las transparencias fueron digitalizadas, montadas y escaladas a su tama\u00f1o original.<\/p>\n

Despu\u00e9s de las pruebas y correcciones de color, se imprimieron en Papelgel.<\/p>\n<\/div>

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Montaje previo de fotograf\u00edas<\/p>\n<\/div>

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\"\"Para asegurar la completa reversibilidad del trabajo, se construy\u00f3 una estructura igual a la superficie del muro original. Un \u00e1bside sobre el \u00e1bside original separado unos cent\u00edmetros.<\/p>\n

Un armaz\u00f3n met\u00e1lico, con forma de media jaula, se forr\u00f3 con malla de acero para moldear los vol\u00famenes. \u00c9sta, a su vez, fue forrada de resina de poli\u00e9ster armada con fibra de vidrio. El mortero se elabor\u00f3 con arena de pizarra de la zona para que el aspecto de las lagunas que presentaban las p\u00e9rdidas de capa pict\u00f3rica coincidiesen con las del original. La superficie que ocupar\u00edan las im\u00e1genes se trabaj\u00f3 buscando la textura m\u00e1s adecuada, similar a las que presenta una pintura de esta naturaleza.<\/p>\n

Las im\u00e1genes impresas en Papelgel fueron adaptadas a las formas y texturas.<\/p>\n

Finalmente, se aplic\u00f3 un barniz protector sobre la obra.<\/p>\n

El resultado del trabajo fue recogido ampliamente por los medios de comunicaci\u00f3n, tanto en prensa escrita como The National Geoghaphic<\/strong>, El Pais<\/strong>, La Vanguardia<\/strong>, El Peri\u00f3dico<\/strong> y 5 D\u00edas<\/strong>, entre otros; as\u00ed como en los canales informativos de Tve2<\/strong> y Tv3<\/strong>.<\/p>\n<\/div>

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