EMILIO RUIZ DE ARCAUTE MARTÍNEZ
Consultant (expert in Conservation and Restoration of Works of Art and Cultural Heritage)
Researcher (Research Group HUM956. Heritage Conservation: Methods and Techniques), University of Seville
Professor (CIXAC Official Master), University of the Basque Country (UPV-EHU)
PhD in Fine Arts (University of Seville), Bachelor of Fine Arts (Complutense University of Madrid) and Diploma in Restoration (University of Seville), specialization stays at the Madrid Institute of Conservation and Restoration of Works of Art (current Institute of Cultural Heritage of Spain) and at the Institut Royal du Patrimoine Artistique (KIK-IRPA) in Brussels.
With a long professional and research career, I have been Senior Technician of the Restoration Service of the Provincial Council of Álava (Spain), from March 1987 to December 2023; Coordinator of the Spanish Working Group on Conservation and Restoration of Contemporary Art, from 1988 to 1996; Member of the Drafting Commission of the 20th Century Heritage National Plan of the Spanish Ministry of Culture, from 2011 to 1013, and of the Monitoring Commission of said National Plan, from 2014 to 2023.
Furthermore, I have participated in international research projects such as: Inside Installations: Preservation and Presentation of installation art, within the European Commission Culture 2000 Program , or Escultura policromada religiosa de los siglos XVII y XVII: Estudio comparativo de técnicas, alteraciones y conservación en Portugal, España y Bélgica, within the RAPHAEL Framework Program. 2000.
Researcher (Research Group HUM956. Heritage Conservation: Methods and Techniques), University of Seville
Professor (CIXAC Official Master), University of the Basque Country (UPV-EHU)
PhD in Fine Arts (University of Seville), Bachelor of Fine Arts (Complutense University of Madrid) and Diploma in Restoration (University of Seville), specialization stays at the Madrid Institute of Conservation and Restoration of Works of Art (current Institute of Cultural Heritage of Spain) and at the Institut Royal du Patrimoine Artistique (KIK-IRPA) in Brussels.
With a long professional and research career, I have been Senior Technician of the Restoration Service of the Provincial Council of Álava (Spain), from March 1987 to December 2023; Coordinator of the Spanish Working Group on Conservation and Restoration of Contemporary Art, from 1988 to 1996; Member of the Drafting Commission of the 20th Century Heritage National Plan of the Spanish Ministry of Culture, from 2011 to 1013, and of the Monitoring Commission of said National Plan, from 2014 to 2023.
Furthermore, I have participated in international research projects such as: Inside Installations: Preservation and Presentation of installation art, within the European Commission Culture 2000 Program , or Escultura policromada religiosa de los siglos XVII y XVII: Estudio comparativo de técnicas, alteraciones y conservación en Portugal, España y Bélgica, within the RAPHAEL Framework Program. 2000.
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Papers by EMILIO RUIZ DE ARCAUTE MARTÍNEZ
Este grupo de obras, realizadas en Bruselas a principios del siglo XVI por el afamado taller de los Borman, constituye un interesante muestrario de la ostentosa forma de vestir tan próxima al gusto por la opulencia y magnificencia de la mentalidad cortesana de la época.
Este grupo de obras, realizadas en Bruselas a principios del siglo XVI por el afamado taller de los Borman, constituye un interesante muestrario de la ostentosa forma de vestir tan próxima al gusto por la opulencia y magnificencia de la mentalidad cortesana de la época.
M. Debaene (ed.)
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312 p., 560 colour ill., 240 x 280 mm, 2019
ISBN: 978-1-912554-41-6
Languages: English
HardbackHardback
Borman was a virtuoso, a master but above all an innovator, who influenced many other sculptors.
“The Best Sculptor” is how Jan II Borman is described in a document dating from 1513. Ever since, Borman the man and his oeuvre are shrouded in mist. This late-medieval sculptor managed a busy workshop in Brussels, with commissions pouring in from religious institutions as well as from the bourgeoisie and princely rulers. He trained his sons Jan III and Passchier to become master sculptors after his own example and to have at least as shrewd a head for business as he himself. Borman was a virtuoso, a master but above all an innovator, who influenced many other sculptors. His iconic works are kept in the world’s greatest museums and churches. The book gathers essays by leading academics and presents a summary catalogue of all works attributed to the Borman family.
Review
“The Borman volume and the exhibition should be celebrated for bringing into the public arena a little-known family of sculptors and a wonderful body of little-known work and, together with host institution M and its sculpture society Ards, for re-energizing a field that has been flagging somewhat in recent decades. That both book and show raise as many queries as they answer is, in a sense, good news. This is not the last word. There is a new, more comprehensive book on the Bormans just waiting to be written.” (Kim Woods, in Historians of Netherlandish Art, June 2020)