
Francisco Prado-VilarUniversity of Santiago de Compostela | USC · Department of History of Art
Francisco Prado-Vilar
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Publications (15)
This article commences with an examination of the circumstances surrounding the arrival of Picasso’s Guernica at Harvard’s Fogg Museum in 1941, where it encountered other works of art that had been “exiled” from various wars, collectively forming a unique installation that underscored their shared tragic genealogy. The painting was mounted on a set...
During the restoration works and archaeological excavation carried out in the crypt of the Portal of Glory of Santiago Cathedral between 2017 and 2021 numerous pieces of its dismantled medieval stone choir were unearthed, including a series of reliefs representing the Massacre of the Innocents. This article analyzes the stylistic, iconographic, con...
This essay focuses on two previously unpublished photographs of the Dream of Charlemagne, one of most famous illuminations from the twelfth-century Codex Calixtinus (Santiago Cathedral Library, MS. CF 14), which allow the reconstruction of details of its composition that seemed to have been lost. The search for these photographs goes parallel with...
Focusing on a series of extraordinary photographs of the sarcophagus lid of Alfonso Ansúrez (d. 1093), I delve in this essay into its formal, iconographic and performative aspects as I follow its geographical and temporal iterations in the first decades of the twentieth century. It traveled from the municipal cemetery of Sahagún, where it had been...
The conference Metal Soaps in Art (Amsterdam, 2016) brought together conservators, scientists and art historians to find solutions to a shared problem: the formation of metal soaps in the oil paint films used by great masters over the centuries. That meeting at the Rijskmuseum assembled the authors of this text. Five years later, and alla maniera d...
The essay begins with a multisensorial immersion in the figural orchestration of a marble column from the north portal of the cathedral of Santiago de Compostela (known as the Porta Francigena, ca. 1105), which features episodes of the struggle of Ulysses with the sirens and other sea monsters, inspired by Roman sarcophagi and interpreted through t...
Taking the Aeneid as a methodological environment and ekphrasis as an analytical principle, with the historiographical background provided by the Historia Seminense, this article offers a complex vision of the imbrications between art, politics, and tragedy in the Kingdom of Leon-Castile during the reigns of Fernando I (r. 1037-1065) and Alfonso VI...
When the Orestes sarcophagus, now in the Museo Arqueologico Nacional in Madrid, was reused for a Christian burial in the Middle Ages, there started one of the most complex and fascinating cases of the "survival of Antiquity" in the history of art. A convergence of historical, political, aesthetic, and psychological circumstances caused its imagery...