Eneko Tuduri
I am a Basque Art Historian, with a line of research that focuses on medieval wall paintings in the kingdom of Navarre during the Late Middle Ages. Currently, I teach in the Art History department of the University of the Basque Country.
Ph.D. in Art History University by the Basque Country (UPV/EHU) and in Basque Studies by the University of Nevada, Reno (UNR) in a joint Ph.D. program. I am also a graduate in Art History (UPV/EHU), graduate in Artistic Photography (EASD), MA in Museum Studies (UDIMA), and MA in Historical Research Methods (UPV/EHU). Such degrees have given me insight into an interdisciplinary understanding of the fields of visual arts, history, and heritage.
I also gained professional experience in the museum sector curating in 2018 the exhibition Carlismo desde el Cine, for the Museo del Carlismo, in Estella-Lizarra, after working in different museums in the Basque Country and USA.
Since 2014 I have been studing 14th-century mural paintings located in parish churches in Navarre. To research such heritage, I developed an Ad Hoc interdisciplinary methodology that has brought rich results, such as patronage on the paintings, materials used (pigments and binders), as well as analysis of scenes and iconographic programs.
With this methodology, the dissertation —Painting Heaven and Hell in the Wake of Plague, a contribution to the study of wall painting in parish churches in Navarre between 1349–1387— focuses on the period after the arrival of the Black Death to Navarre. The purpose was to reveal the creative process, patronage, and symbolic function of fourteenth-century murals.
Who could afford expensive wall paintings in a period of deep crisis after 1348, full of famines, wars, and the Black Death? Where did the Navarrese painters get the precious pigments—such as azurite—to paint the wide surfaces of rural parish church interiors? The answers to these questions have brought an enriching overview of the 14th-century Navarre, far from the idea of a barren scenario for the arts after 1348.
Supervisors: Soledad de Silva y Verastegui (UPV/EHU), Xabier Irujo (UNR), and Javier Vélez (UPV/EHU)
Ph.D. in Art History University by the Basque Country (UPV/EHU) and in Basque Studies by the University of Nevada, Reno (UNR) in a joint Ph.D. program. I am also a graduate in Art History (UPV/EHU), graduate in Artistic Photography (EASD), MA in Museum Studies (UDIMA), and MA in Historical Research Methods (UPV/EHU). Such degrees have given me insight into an interdisciplinary understanding of the fields of visual arts, history, and heritage.
I also gained professional experience in the museum sector curating in 2018 the exhibition Carlismo desde el Cine, for the Museo del Carlismo, in Estella-Lizarra, after working in different museums in the Basque Country and USA.
Since 2014 I have been studing 14th-century mural paintings located in parish churches in Navarre. To research such heritage, I developed an Ad Hoc interdisciplinary methodology that has brought rich results, such as patronage on the paintings, materials used (pigments and binders), as well as analysis of scenes and iconographic programs.
With this methodology, the dissertation —Painting Heaven and Hell in the Wake of Plague, a contribution to the study of wall painting in parish churches in Navarre between 1349–1387— focuses on the period after the arrival of the Black Death to Navarre. The purpose was to reveal the creative process, patronage, and symbolic function of fourteenth-century murals.
Who could afford expensive wall paintings in a period of deep crisis after 1348, full of famines, wars, and the Black Death? Where did the Navarrese painters get the precious pigments—such as azurite—to paint the wide surfaces of rural parish church interiors? The answers to these questions have brought an enriching overview of the 14th-century Navarre, far from the idea of a barren scenario for the arts after 1348.
Supervisors: Soledad de Silva y Verastegui (UPV/EHU), Xabier Irujo (UNR), and Javier Vélez (UPV/EHU)
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Books by Eneko Tuduri
Available in:
https://www.amazon.es/Estudio-pinturas-murales-Salvador-Gallipienzo/dp/1979760039
ISBN: 978-1979760034
Cover for the exihibition El Carlismo desde el Cine, that I curated in 2018 for the Museo del Carlismo in Estella-Lizarra, Navarre. The exhibit was curated by the Navarrese government. For copyright reasons, I cannot upload the original book.
Congresses by Eneko Tuduri
Abstract: As in the rest of Western European kingdoms, the impact of the 1348 Black Plague in Navarre did not only caused the dreadful disease but unrolled a chain of consequences that reached economic crisis and social revolts. However, despite the odds, the activity of the local school of gothic-style painters, which historiography called as La Escuela de Pamplona, continued with the same intensity as the previous 1348 golden age for the arts. A discovery of a local silver mine in 1337 helped to this scenario, which also treasured the rich azurite blue mineral, key to depicting heavenly scenes in mural painting.
In these murals after 1348, a turn in certain topics can be tracked. In this panel, I would focus on those murals that specifically decorated funerary spaces, such as the parish churches of San Juan Bautista de Eristain and Puente de la Reina, or the more monumental spaces of the cloisters of the Cathedral of Pamplona and Santa Maria de Ujué. New iconographies were introduced, as the Three Living and the Three Dead, while a general division between Hellish scenes and Hagiographical scenes can be traced down in the funerary space of Eristain.
Paper presented in the group: New Research on Medieval Parish Church Art and Architecture I. Saturday, May 14, 11:00 am EDT. Directed by Zachary Stewart.
Papers by Eneko Tuduri
Conference Presentations by Eneko Tuduri
Dissertation abstracts by Eneko Tuduri
Newspaper articles by Eneko Tuduri
Available in:
https://www.amazon.es/Estudio-pinturas-murales-Salvador-Gallipienzo/dp/1979760039
ISBN: 978-1979760034
Cover for the exihibition El Carlismo desde el Cine, that I curated in 2018 for the Museo del Carlismo in Estella-Lizarra, Navarre. The exhibit was curated by the Navarrese government. For copyright reasons, I cannot upload the original book.
Abstract: As in the rest of Western European kingdoms, the impact of the 1348 Black Plague in Navarre did not only caused the dreadful disease but unrolled a chain of consequences that reached economic crisis and social revolts. However, despite the odds, the activity of the local school of gothic-style painters, which historiography called as La Escuela de Pamplona, continued with the same intensity as the previous 1348 golden age for the arts. A discovery of a local silver mine in 1337 helped to this scenario, which also treasured the rich azurite blue mineral, key to depicting heavenly scenes in mural painting.
In these murals after 1348, a turn in certain topics can be tracked. In this panel, I would focus on those murals that specifically decorated funerary spaces, such as the parish churches of San Juan Bautista de Eristain and Puente de la Reina, or the more monumental spaces of the cloisters of the Cathedral of Pamplona and Santa Maria de Ujué. New iconographies were introduced, as the Three Living and the Three Dead, while a general division between Hellish scenes and Hagiographical scenes can be traced down in the funerary space of Eristain.
Paper presented in the group: New Research on Medieval Parish Church Art and Architecture I. Saturday, May 14, 11:00 am EDT. Directed by Zachary Stewart.