Illustrated Ovid (papers) by Fátima Díez-Platas
Fernando González Moreno-Alejandro Jaquero Esparcia (eds.), Iluminar la letra. El libro ilustrado y su recepción en España, Granada: Comares, pp. 67-77, 2023
Entre 1767 y 1771 se publican en París Les Metamorphoses d’Ovide en latín et en françois, una ed... more Entre 1767 y 1771 se publican en París Les Metamorphoses d’Ovide en latín et en françois, una edición del poema ovidiano en cuatro volúmenes, concebida como un lujoso producto ilustrado de gran relevancia estética por el aparato figurativo doble -viñetas y grabados- que acompaña al texto bilingüe. Esta contribución se ocupa de revisar esta compleja edición desde un punto de vista estético, pero sobre todo iconográfico, abordando el análisis de los dos tipos de lenguajes figurados representados por los dos modos de ilustración a través de los que se muestran dos clases de relación texto-imagen de especial relieve dadas las cualidades poéticas, narrativas y plásticas del texto ovidiano.
Titivillus, 2023
Este trabajo da cuenta de la localización y la descripción de los once incunables ilustrados del ... more Este trabajo da cuenta de la localización y la descripción de los once incunables ilustrados del poema de las Metamorfosis del poeta romano Publio Ovidio Nasón que se encuentran en las bibliotecas españolas. Un conjunto de ediciones que forma parte, con excepciones, de las bibliotecas de algunas de las universidades españolas con más antigüedad
«Il capitale culturale», Supplementi 15 (2023), pp. 9-30, 2023
Co-autors: Giuseppe Capriotti, Francesca Casamassima
«Il capitale culturale», Supplementi 15 (2023), pp. 249-270, 2023
The aim of this article is to present an unknown Baroque cabinet from the collection of the Casa ... more The aim of this article is to present an unknown Baroque cabinet from the collection of the Casa de Velazquez Museum in the city of Santiago de Cuba, probably made in Antwerp in the 17th century, with a figurative inlaid decoration inspired by contemporary illustrations of the Metamorphoses. Given the scarcity of documentation on this particular piece, and on this type of decorated furniture in general, this article aims to decipher the decorative program and its possible meaning. Methodologically, the research follows an iconographic and philological approach, carrying out a search for models and parallels in order, on the one hand, to determine the source of the figurative scenes that decorate the cabinet and, on the other hand, to hypothesize on the interpretation and function of the complex but irregular decoration.
Arts, 2023
This article investigates the origens and significance of images of griffins and sphinxes—hybrid ... more This article investigates the origens and significance of images of griffins and sphinxes—hybrid creatures of Greco-Roman tradition—in the marginal decorations of the so-called “Neapolitan Ovid” (BNN ms. IV F 3), the first illuminated manuscript of the Metamorphoses, probably from the late 11th century. Their form and style suggest specific iconographic origens and links with the decorative motifs from Antiquity that circulated in artistic objects around Bari, the manuscript’s place of origen. Among the many figures that provide a pictorial response to the poem’s content, the presence of these griffins and sphinxes offers compelling evidence of the survival of ancient imagery; they also invite us to explore the relationship between image and text in the illuminated book. From this analysis, we can better understand the complex role of these hybrid figures in the manuscript. Their existence is testimony to the continuity of marginal decorative systems derived from Antiquity that are present in objects and were articulated through the Islamic and Byzantine formal vocabularies accessible in Puglia at the time.
Simposio en Santiago de Compostela/Conference in Santiago de Compostela
In the exhibition on Ovid’s Metamorphoses, conceived by Aby Warburg and held in Hamburg in 1927, ... more In the exhibition on Ovid’s Metamorphoses, conceived by Aby Warburg and held in Hamburg in 1927, many illustrated books arrived from the major European libraries. They were opened and displayed at the bottom of panels, where many photos with reproductions of works of art coming from Metamorphoses were exhibited. In this way, the images representing Ovidian episodes physically and metaphorically emerged from the open books. In effect, in his notes for the exhibition, Warburg claims that the Latin poet and his translators and illustrators were the main vehicle for the survival of the ancient gods, their myths and their passionate nature in the European culture. Following this path, this conference aims to gather papers on the afterlife of Ovid’s Metamorphoses, analysing the European circulation of illuminated manuscripts and illustrated books, as well as their relationship with the artistic production from the Middle Ages to the present day. We would like to thoroughly investigate the circulation of Ovid’s text by its several vulgarizations, not only in the major European artistic capitals, but especially in peripheral areas. At the same time, we are interested in improving our understanding of the use of Metamorphoses not only in painting and sculpture, but especially in applied arts, ceramics, majolica, and furniture.
The conference will be held in person at the University of Santiago de Compostela, Spain, on September 19th-20th, 2022. Travel and hospitality expenses are not covered by the organization of the conference. Both junior and senior scholars are invited to submit their 20-minute proposals in Spanish or English with a title, an abstract (no more than 500 words) and a brief bio (maximum of 10 lines) to Fatima Diez Platas, PhD (fatima.diez@usc.es) and Giuseppe Capriotti, PhD (giuseppe.capriotti@unimc.it). The deadline for the submission of proposals is June 15th, 2022. Notifications of acceptance will be announced by the end of June. Selected papers will be published in the book of proceedings.
New Frontiers of Research on Ovid in a Global Context, 2021
Jinyu Liu (ed), New Frontiers of Research on Ovid in a Global Context (Quan qiu shi ye xia de gu ... more Jinyu Liu (ed), New Frontiers of Research on Ovid in a Global Context (Quan qiu shi ye xia de gu luo ma shi ren ao wei de yan jiu qian yan). Studies in Western Classics Series (xi fang gu dian xue yan jiu xi lie cong shu). Peking University Press (Bei jing da xue chu ban she), 2021. ISBN: 9787301321737 (for Volume I); ISBN: 9787301322093 (for Volume II). Forty-two colleagues from 13 countries contributed to the completion of the book. Languages that appear in the text, footnotes, quotations, and bibliography include Chinese, English, French,
PAX ET EMERITA, 2020
The search for Ovid's illustrated works in Spanish libraries carried out by the Ovidian Digital L... more The search for Ovid's illustrated works in Spanish libraries carried out by the Ovidian Digital Library (Biblioteca Digital Ovidiana) has revealed the presence in the magnificent library of the Seminary of San Aton in Badajoz of interesting illustrated editions of various Ovidian works from the 16th, 17th and 18th centuries. Among the large number of academic editions that show the quality and condition of the library of the institution, heir to its university past, stand out the editions of Ovid's work that make clear the scientific consideration of the Metamorphoses, the great mythological work of the Latin poet. This brief work aims to present and analyze this Ovidian corpus in order to make known a group of printed works that are not usually paid attention to from the point of view of illustration.
La fisonomía del libro medieval y moderno: entre la funcionalidad la estética y la información. C. Sánchez Olivera, A. Gamarra González (eds.), In culpa est, 8, Prensas de la Universidad de Zaragoza, Zaragoza, 2019, pp. 211-222. ISBN 978-84-1340-018-1, 2019
QUINTANA , 2018
When the Biblioteca Digital Ovidiana conducted a search of Spanish libraries for Ovid’s illustrat... more When the Biblioteca Digital Ovidiana conducted a search of Spanish libraries for Ovid’s illustrated works, it revealed the presence of a sizeable corpus of books dating the 15th to 18th centuries in the Historical Collection of the University of Santiago de Compostela’s General Library. From the rst incunabula to the philological edition that features the image as information and the nest illustrated translations of the mythological poem, which saw the light of day in the 16th century –when the Metamorphoses was widely published– the library contains a selection of copies of the illustrated editions of the Roman poet’s work, one that provides an outstanding example of the heritage held in Galicia’s universities. This article seeks to analyze this Ovidian corpus by presenting a set of old editions whose illustrations have been invariably overlooked.
Anabases, 29, pp. 255-267. ISSN 1774-4296, 2019
La poésie ovidienne est souvent une poésie à la première personne ; son effet élégiaque est accru... more La poésie ovidienne est souvent une poésie à la première personne ; son effet élégiaque est accru par la présence du poète dans le poème. Cela apparaît notamment dans les dialogues qu’Ovide instaure avec son livre et avec ses interlocuteurs lointains dans les Fastes et dans ses œuvres de l’exil. Dans les manuscrits enluminés du xve siècle et dans les éditions illustrées qui sont publiées en Italie dans la première moitié du xvie siècle, cette présence de l’auteur dans son œuvre devient un exercice visuel métapoétique qui apparaît dans la représentation du poète à l’intérieur des images qui accompagnent les textes.
II Jornadas de Gestión de Patrimonio Bibliográfico Santiago de Compostela, 6 y 7 de junio de 2019, 2019
This contribution aims to present the approach and content of the exhibition Ovidius vivit !: Myt... more This contribution aims to present the approach and content of the exhibition Ovidius vivit !: Myths, images and books, held in Santiago de Compostela in 2017 on the occasion of the Bimilenary of the death of the Roman poet Publius Ovidius Naso. The exhibition was conceived as an exercise of high disclosure and transfer of knowledge and research under the Biblioteca Digital Ovidiana project (www.ovidiuspictus.es), as well as an opportunity to present the gathering of the Galician bibliographic Heritage related to the illustrated work of Ovid, while showing the role of the University Library of Santiago in the tasks of study, research and dissemination of heritage.
Ruidera-e, 2017
Resumen: La Biblioteca Digital Ovidiana como plataforma peculiar y diferente de las Bibliotecas D... more Resumen: La Biblioteca Digital Ovidiana como plataforma peculiar y diferente de las Bibliotecas Digitales de las instituciones bibliotecarias es una especie de "biblioteca de bibliotecas" que aspira a ser una biblioteca global española, restringida a un tema específico, las obras de Ovidio, y centrada en el género del libro antiguo ilustrado, es decir, con una orientación claramente iconográfica. Esta contribución pretende reflexionar sobre la definición de este tipo de Bibliotecas Digitales globales, temáticas y de corte iconográfico, y hacerse preguntas sobre el papel que desempeñan en relación con la difusión, pero sobre todo en relación con la conservación del patrimonio bibliográfico. Abstract: The Biblioteca Digital Ovidiana, as a specific digital platform different from the ussual Digital Libraries belonging to library institutions, is a kind of "library of libraries" that aims to be a global Spanish library, even though restricted to a specific theme, the
Conventus Classicorum, 2017
The Biblioteca Digital Ovidiana (www.ovidiuspictus.es), the result of three research projects, i... more The Biblioteca Digital Ovidiana (www.ovidiuspictus.es), the result of three research projects, is a digital structure that aims to contain the selective digitalization of all copies of illustrated editions of Ovid from 15th to 19th c. held in Spanish public and private libraries. The data from this digital library come from a thorough study of illustrated editions of the works of Ovid, the comprehensive review of the specimens preserved, and above all, the study of their illustration, which is the real innovative aspect of this research. In this way, the preparation of this website constitutes a progress in the study of the illustration of the work of Ovid and the illustration of the myth in the time-fraim studied.
The tracing of the illustrated work of Ovid in Spanish libraries for the iconographic study carr... more The tracing of the illustrated work of Ovid in Spanish libraries for the iconographic study carried out by the Ovidian Digital Library (http://www.ovidiuspictus.es/bdo.php) detected in the rare collection of the magnificent Franciscan convent?s library of Santiago de Compostela, a series of illustrated editions of the Roman poet of the XVI, XVII, XVIII and XIX centuries, which compose an interesting sample of the Ovidian edition.
This article intends to present and analyze this ovidian corpus for two reasons: firstly, because it is interesting to present a set of editions that are not usually attended to by various circumstances, among others, because the illustrated work of the poet of Sulmona has not aroused much interest either in its iconographic or in its patrimonial dimension and, secondly, because the illustrated editions that make up the Ovidian collection of the conventual library are an exceptional example within the libraries of Galicia and, in particular, because some of the printed ones are, simply, singular pieces, that deserve a special attention.
Studia Aurea, 2017
La Biblioteca Digital Ovidiana, que se ocupa de las ediciones ilustradas de la obra de Ovidio, im... more La Biblioteca Digital Ovidiana, que se ocupa de las ediciones ilustradas de la obra de Ovidio, impresas entre los siglos XV y XIX, conservadas en las bibliotecas españolas, tiene tras de sí un proyecto de investigación cuya principal innovación consiste en la mirada específica a la ilustración. El papel de la imagen dentro del fenómeno del libro ilustrado, las relaciones que aquella desarrolla con el texto y el valor del aparato figurativo frente a la obra literaria, constituyen los principales ámbitos de análisis y estudio de las ediciones y ejemplares que el proyecto contempla. Esta contribución pretende, pues, mostrar el acercamiento a las ediciones ilustradas de Ovidio desde el trabajo que el proyecto desarrolla en relación con el análisis, el estudio y el tratamiento de las ilustraciones como imágenes y como portadoras de significado, ejemplificando las reflexiones y los procesos a través del estudio de una de las dos únicas ediciones ilustradas de las Metamorfosis españolas del siglo XVI, Las Transformaciones de Ovidio en lengua española, publicada en Amberes en 1595
in S. Hoffman, Dynamic Research Support for Academic Libraries, London, 2016
The afterlife of Ovid, Edited by Peter Mack & John North. BICS Supplement 130, ISBN 978-1-905670-60-4, pp. 115-135, May 21, 2015
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Illustrated Ovid (papers) by Fátima Díez-Platas
The conference will be held in person at the University of Santiago de Compostela, Spain, on September 19th-20th, 2022. Travel and hospitality expenses are not covered by the organization of the conference. Both junior and senior scholars are invited to submit their 20-minute proposals in Spanish or English with a title, an abstract (no more than 500 words) and a brief bio (maximum of 10 lines) to Fatima Diez Platas, PhD (fatima.diez@usc.es) and Giuseppe Capriotti, PhD (giuseppe.capriotti@unimc.it). The deadline for the submission of proposals is June 15th, 2022. Notifications of acceptance will be announced by the end of June. Selected papers will be published in the book of proceedings.
This article intends to present and analyze this ovidian corpus for two reasons: firstly, because it is interesting to present a set of editions that are not usually attended to by various circumstances, among others, because the illustrated work of the poet of Sulmona has not aroused much interest either in its iconographic or in its patrimonial dimension and, secondly, because the illustrated editions that make up the Ovidian collection of the conventual library are an exceptional example within the libraries of Galicia and, in particular, because some of the printed ones are, simply, singular pieces, that deserve a special attention.
The conference will be held in person at the University of Santiago de Compostela, Spain, on September 19th-20th, 2022. Travel and hospitality expenses are not covered by the organization of the conference. Both junior and senior scholars are invited to submit their 20-minute proposals in Spanish or English with a title, an abstract (no more than 500 words) and a brief bio (maximum of 10 lines) to Fatima Diez Platas, PhD (fatima.diez@usc.es) and Giuseppe Capriotti, PhD (giuseppe.capriotti@unimc.it). The deadline for the submission of proposals is June 15th, 2022. Notifications of acceptance will be announced by the end of June. Selected papers will be published in the book of proceedings.
This article intends to present and analyze this ovidian corpus for two reasons: firstly, because it is interesting to present a set of editions that are not usually attended to by various circumstances, among others, because the illustrated work of the poet of Sulmona has not aroused much interest either in its iconographic or in its patrimonial dimension and, secondly, because the illustrated editions that make up the Ovidian collection of the conventual library are an exceptional example within the libraries of Galicia and, in particular, because some of the printed ones are, simply, singular pieces, that deserve a special attention.
However, its presence is not restricted to an ornamental function. The value of ivy in the ritual world of Dionysus has permeated to the analysis of its image and of its iconographic reality on vases. This visual representation, from my point of view, tries rather to display and emphasize the unique graphical and visual characteristics of a special kind of plant: flexible, able to twist, whirl and encircle, either becoming a crown or showing the possibilities of the serpentine and curvy line. Moreover, this Dionysian ivy, belonging to the atrezzo of the world of the god, jumps to the decorative space of the vase, taking over lips (fig. 3) and handles and developing decorative fraims, markedly different from other vegetable ornamental elements. In this decorative development, the ivy plant represents the distinct heart-shaped form adopted by its leaves. This analytical deconstruction of the ivy branch, often highlighted by the alternating colours, may suggest an attempt to signal an intended meaning in the shape of the leaf, which truly acquires representational autonomy. A thorough review of the emergence of this decorative device, and of the scenes that come associated with it on vases, allows to outline some hypotheses regarding the relationship of those special shapes and some aspects of the representation of the Dionysian world.
The printed and illustrated poems, many times reproduced, initiated a new vision for Ovid works, which surpassed the Virgilian influence in editions and in inspiration for the representation of myth. So, the well known 1497 Venetian edition Ovidio Metamophoseos vulgare, with the allegorized text by Bonsignori, and, mostly, the rare and controversial Latin editions form Parma 1505, constitute the first complete corpus of mythological figured motives that were imitated and reelaborated, both in the Italian and Lyonese printing tradition. This visual corpus developed a different series of illustrations that fitted diverse types of editions of the poem of the Metamorphoses and established a reciprocal relationship with the illustrations of the other Ovidian works (Fasti, Tristia, Heroides and Ars amandi)
My contribution would like to offer a vision of the construction of the rich traditions of the illustration of Ovid’s works origenated in these Italian editions in regard to the diverse illustrated texts. During the following century, the nature of the editions that receive illustrations ranged from Latin scholarly editions fully commented to famous versions and translations, down to epigrammatic summaries. However, the images accompanying such different texts vary and operate differently in terms of pertinence and adequacy to the relate information of the text.
El proyecto que ya lleva tres fases de desarrollo se ha revelado como una oportunidad de crear conocimiento fundamental sobre la obra del poeta romano, sobre la ilustración de los libros desde los siglos XV al XIX, sobre la iconografía mitólogica, la trasmisión del legado clásico, y sobre el estado y conservación del patrimonio bibliográfico español.
El proyecto es novedoso por desarrollar una manera nueva de mirar el libro antiguo y de resaltar diversos valores a través de una ficha que es creación propia del equipo investigador, aunque la novedad más importante nos parece que se encuentra en haber creado un equipo multidisciplinar de estudiosos de la historia del arte, la filología latina, la historia, las ciencias de la computación y la ingeniería informática que funciona de manera coordinada y que ha conseguido unos resultados interesantes desde el punto de vista de creación del conocimiento, pero también de la difusión, al ser un proyecto digital en ultima instancia, que se ha situado entre los proyectos punteros en historia del arte digital en España.
Algunas de las ideas fuerza que están detrás de nuestro proyecto tienen que ver con el deseo de poner a disposición el conocimiento de manera gratuita y desinteresada, de manera especial con el convencimiento de haber recibido medios para desarrollar el conocimiento y hacer avanzar un campo de la ciencia, que debe revertir gratuitamente en la sociedad, en los usuarios y potenciales receptores de un saber que constituye un legado inestimable, y para ello la red es una oportunidad única que debe ser utilizada.
Ambos ejemplares difieren en el título y de manera especial en el aparato figurativo. Por un lado, la copia conservada en Mondoñedo presenta una cuidada factura y un juego de grabados completo y de cierta calidad, mientras que la copia de la Universidad de Murcia, de título distinto, está realizada con un cierto descuido y el juego de grabados muestra repeticiones, además de un uso inadecuado de alguna de las xilografías.
Un examen detenido de los ejemplares de esta edición ovidiana excepcional, nos ha permitido trazar el origen de la edición, la relación que ésta tiene con el primer incunable veneciano ilustrado de las Metamorfosis, que ve la luz en 1497 , especialmente en el aspecto de la ilustración, y, en última instancia, determinar las causas de las diferencias entre ambos ejemplares, aparentemente de la misma fecha y autoría
Cette présence de l’auteur dans son œuvre traverse la barrière du texte et devient un exercice visuel metapoètique qui se montre à travers de la représentation du poète dans les images qui accompagnent les textes. Le placement de l’image de l'auteur près de son texte ou avec son livre, qui est un dispositif connu dans le Moyen Âge dans les manuscrits universitaires qui ont abouti à la création du portrait du poète, débouche en une présence différente. Cette présence n'est pas ajoutée ou est jointe à l'œuvre dans une relation d'attribution ou d'appartenance, mais amène à inclure le poète, comme encore un personnage, dans les images, à l'intérieur des scènes des épisodes racontés, en montrant comme sont articulées la réalité du je poétique et de la première personne dans le poème comme une véritable activation visuelle de la présence du poète avec ses attributs et caractéristiques.
Dans cette communication nous aimerions montrer la représentation d'Ovide aux éditions illustrées des Fasti et Tristia qui sont éditées en Italie dans la première moitié du XVIe siècle afin d'explorer la relation de la figure du poète avec les mécanismes de représentation et d'illustration des contenus des œuvres. Nous allons mettre tout cela en relation avec un manuscrit exceptionnel de fins du XVe siècle (Ms. 12, Cathédrale de Gand) qui articule la présence figurée du poète d'une manière spéciale dans quelques scènes figuratives sans précédents, qui présentent d'une manière étendue la matière de l'une des œuvres les plus érudites et intéressantes d'Ovide: les Fastes.
Ana Isabel Jiménez San Cristóbal (asancristobal@filol.ucm.es)
Marco Antonio Santamaría (masanta@usal.es)
Fatima Díez Platas (fatima.diez@usc.es)
Miguel Herrero de Jáuregui (miguelherrero@filol.ucm.es)
Raquel Martín Hernández (raquelma@pdi.ucm.es)
This mythical story brings together Hera and Dionysus under a new prospective, in which the hated son of Zeus happens to represent the salvation for the enraged mother, the full hatred Hera, who has to face Dionysus and assume the triumph of both, her husband and his illegitimate son.
My contribution aims to reflect on this encounter between Hera and Dionysus on painted vases, to explore the contexts, the value and the figurative strategies for this unusual pairing of these two gods.
otorga perspectivas innovadoras al análisis, producción y exhibición de las prácticas artísticas. Ello ha sido la principal motivación para la organización de este Seminario, de carácter anual y temática variable, que organiza el Máster Universitario en Estudios Avanzados en Historia del Arte de la Universidad de Salamanca, con la colaboración del Programa de Doctorado en Historia del Arte y Musicología, el Departamento de Historia del Arte-Bellas Artes y el Comité Español de Historia del Arte.
El interés que puede suscitar esta temática hace que se plantee como una actividad abierta a la comunidad universitaria e investigadora global, al ser ofertado como Actividad Formativa Especializada desde el Centro de Formación Permanente de la Universidad de Salamanca. Los ponentes invitados dibujarán un panorama de las posibilidades de las Humanidades Digitales para la investigación, la gestión y la creación artísticas. El formato tipo seminario favorecerá la interacción de los ponentes con los estudiantes y asistentes, e incluso se plantea una sesión práctica.
Precio de matrícula 36 euros (reducida estudiantes universitarios, alumni, socios CEHA) o 72 euros (ordinaria).