Relevant bibliographies by topics / Furniture, Spanish

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Academic literature on the topic 'Furniture, Spanish'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Furniture, Spanish"

1

Mateos Martín, Mario, and Pilar Benito García. "Connected Royal Oficios (offices): Furriera, Upholstery and Guardajoyas." Res Mobilis 10, no. 13-1 (April 15, 2021): 148–64. http://dx.doi.org/10.17811/rm.10.13-1.2021.148-164.

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As a general rule, during 18th century the production and treatment of furniture within the Spanish court was determined by the characteristics of the raw materials used for its construction, mainly the wood and the textile. The pre-eminance of one of these materials explained the management of furniture by different Oficios (offices) of the Royal Household. If wood was considered the key element, the furniture would be managed by the Furriera. When a textile was the most outstanding element, the Tapicería was the Oficio in charge of it. The presence of rich elements such as gold, silver or precious stones meant that the Guardajoyas was also involved. Therefore, it can be established that there was a close collaboration between the different workers of the Royal household. However, materials were not always the reason why a furniture was going to be managed by one Oficio or another so, occasionally, function and/or type of furniture were also the key elements that determined its management.
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Bachiller Canal, David. "The International Trade Fair in Barcelona in 1942: a Look at Furniture in the Franco Era." Res Mobilis 10, no. 13-2 (June 14, 2021): 303–27. http://dx.doi.org/10.17811/rm.10.13-2.2021.303-327.

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This article studies the furniture present at the Xth Barcelona International Trade Fair in 1942, the first one after the Civil War. It is important to point out that the Franco regime tried to use this Fair as a propaganda device, as well as to reactivate the local and national economy, and internationalize the autarchic industries. The study focuses on the wood industry and the commercial and aesthetic relations with all invited countries, as well as with the Moroccan protectorate, and with Equatorial Guinea (a Spanish colony at the time, and source of exotic woods). The study also delves into the relationships between various local decoration and furniture companies and the Fair. In addition, it aims to create a typology of the different pieces of furniture that appeared at the event to draw a working hypothesis about the evolution of furniture during this period.
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3

Braulio-Gonzalo, Marta, and María D. Bovea. "Criteria analysis of green public procurement in the Spanish furniture sector." Journal of Cleaner Production 258 (June 2020): 120704. http://dx.doi.org/10.1016/j.jclepro.2020.120704.

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4

Sánchez Casado, Antonio. "Madrid-Mallorca-Barcelona. Furniture for a Royal Union." Res Mobilis 10, no. 13-2 (June 14, 2021): 100–126. http://dx.doi.org/10.17811/rm.10.13-2.2021.100-126.

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In 1802 the heir to the Spanish crown and his sister María Isabel married their cousins, the prince of Naples and Sicily and his sister María Antonia. Being the wedding in Barcelona, the court had to move there, with the logistical problem that this represented. Part of the magnificent furniture that was made for the occasion in Madrid is largely known. However, some years ago I brought to light some furniture designs that seemed to have been made in Mallorca for this event and I was able to identify with some furniture from the royal collection. Fortunately, all the documentation related to this order has appeared and confirms many of the suggestive aspects of this unknown production system, confirming who commissioned it, why in Mallorca, what cabinetmaker, under what conditions, with what deadlines, for what price and even by what criteria some of them were rejected.
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Garelick, Rhonda. "Fashioning Hybridity." TDR/The Drama Review 53, no. 2 (June 2009): 150–57. http://dx.doi.org/10.1162/dram.2009.53.2.150.

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In the summer of 2008, French performance artist ORLAN launched a large-scale political, psychoanalytic, and philosophical meditation on the roles of artist and spectator in the installation Suture, Hybridization, Recyclage, bringing together a new kind of biogenetic fusion process; work by young Spanish designer David Delfin (Davidelfin); a text by philosopher Michel Serres; and furniture by designer Philippe Starck.
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Díaz del Campo Martín-Mantero, Ramón Vicente. "Miguel Fisac and St. Peter Martyr Theological Center." Res Mobilis 10, no. 13-1 (April 15, 2021): 333–54. http://dx.doi.org/10.17811/rm.10.13-1.2021.333-354.

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The fifties were important in Spain for the creation of a modern architecture. The architects, who began working in previous years, created his artistic languages inspired in modern styles. Miguel Fisac was one of the most popular Spanish architects in the second half of the twentieth century. In 1954 he received a request from the Dominican Order to design a theological centre for the youngest members. In view of the particular circumstances surrounding this case, the architect had many preparatory documents (sketches, memories, plans ...) and currently housed in the Miguel Fisac’s documentary archives and Foundation. Everything was done following Fisac’s drawings. In February 1958, Fisac carried out some furniture projects for the building while directing its construction. He wrote some documents where he explicitly detailed the place of each piece of furniture in each space.
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7

Mihatsch, Wiltrud. "Collectives, object mass nouns and individual count nouns." Lexical plurals and beyond 39, no. 2 (December 31, 2016): 289–308. http://dx.doi.org/10.1075/li.39.2.05mih.

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Mass superordinates such as clothing, clothes and furniture form a distinct and peculiar class of nouns in languages with an obligatory singular/plural distinction. These nouns often have pluralia-tantum variants as well as count equivalents – both within one linguistic system as well as cross-linguistically. This study is a follow-up of my earlier analysis of Romance superordinates (Mihatsch, 2006). The data are taken from English, German, French and Spanish in order to demonstrate the striking cross-linguistic pattern. The highly variable Spanish ropa(s) ‘clothing/clothes’ is analysed in greater detail. I argue that in most cases the apparently unsystematic synchronic variants arise from partly unidirectional diachronic changes, namely a lexicalisation process leading from collective nouns to object mass nouns, often followed by the appearance of plural forms, which oscillate between a lexical and an inflectional plural.
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8

Sales-Vivó, Vicente, Irene Gil-Saura, and Martina Gallarza. "Modelling value co-creation in triadic B2B industrial relationships." Marketing Intelligence & Planning 38, no. 7 (June 16, 2020): 941–55. http://dx.doi.org/10.1108/mip-11-2019-0574.

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PurposeThis study examines the triadic approach of value co-creation (VcC) in B2B relationships between the industrial manufacturer, its main supplier and its main client, by validating VcC as antecedent of Trust and Commitment, which, in turn, affect Satisfaction.Design/methodology/approachA model studies the association of VcC to Trust, Commitment and Satisfaction, the latter in its economic and social dimensions. The relationships in the model are empirically contrasted twice (with suppliers and clients) for a sample of 77 firms participating in an industrial panel, the Spanish Furniture Market Observatory.FindingsUsing PLS-SEM, results suggest that, in industrial B2B relationships, VcC acts as antecedent of Trust and, to a minor extent, of Commitment. It also has a positive effect on Social Satisfaction, the latter having a positive effect in turn on Economic Satisfaction.Research limitations/implicationsResults are limited to the Spanish furniture industry with a cross-sectional approach. The linkages between VcC and Commitment, as well as the differences found between Social Satisfaction and Economic Satisfaction, need replications.Practical implicationsThe study suggests that VcC is the core of B2B industrial relationships. VcC may also boost Economic Satisfaction.Originality/valueLiterature on VcC has been extensive in B2C and B2B mostly for service contexts; this paper contributes by bringing evidence from a B2B manufacturing context. At the same time, it depicts a triadic approach of VcC in B2B, by measuring the relationships with both the manufacturer's main supplier and main client. The study also contributes with evidence to the role played by Trust and Commitment in the relationship between VcC and two Satisfactions.
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Mateos Martín, Mario. "Two pedestal Tables by Jean-Charles-François Leloy in the Royal Collections of Patrimonio Nacional." Res Mobilis 10, no. 13-1 (April 15, 2021): 165–88. http://dx.doi.org/10.17811/rm.10.13-1.2021.165-188.

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The aim of this paper is to provide an in-depth information of two pedestal tables (named Table du Sacre and Guéridon Mauresque) designed by Leloy, and kept in the royal collections of Patrimonio Nacional (National Heritage). Despite their differences, they both have some elements in common: not only Sèvres porcelain was used as their main decorative material offering painted historical scenes, but also both of them were gifts from French sovereigns to Spanish monarchs. The two pieces were also displayed in the 19th century at the Louvre Royale Manufactures Exhibitions as an example of the high quality that the Sèvres Manufacture achived. Although the Table du Sacre (table of coronation due to its iconography) is of great interest, the decoration of the Guéridon Mauresque is specially remarkable as it provides an interesting insight between courts. It depicts Boabdil leaving the Alhambra, being directly inspired by the Nasrid Palace (15th century): a piece of furniture depicting a scene of the Spanish Moorish past, was made in France and later offered as a gift to the regent of the Spanish Kingdom María Cristina de Borbón.
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10

Rodríguez Ortiz, Esther. "INTERIORES Y MOBILIARIO DE LA DÉCADA DE LOS 60 EN EL HUMOR GRÁFICO DE TOMÁS NIEMBRO.Interior design and furniture in the 60´s as part of the graphic humor by Tomás Niembro." Res Mobilis 1, no. 1 (December 10, 2012): 125. http://dx.doi.org/10.17811/rm.1.2012.125-133.

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La representación de los interiores y los muebles en el humor gráfico, ofrece un punto de vista diferente sobre este tema y lo haremos a través del trabajo de Tomás Niembro, uno de los dibujantes más importantes de la década de los sesenta en Asturias. Gracias a estos chistes podremos ver la vida de la clase media, los interiores y los objetos decorativos de sus casas. En este punto, podemos analizar cómo cambian los hábitos y las tendencias. España, en aquella época, tiene una nueva política como el Plan de Estabilización de 1959, fue una ley reguladora de la economía española tras la Autarquía. En otras palabras el consumismo se está estableciendo en nuestro país. Pero no es sólo una cuestión sobre el mueble, sino sobre las personas, sobre la sociedad, y por último, sobre el humor gráfico. A través de los ojos de Tomás Niembro vamos a ver los cambios en la sociedad española.The representation of interior design and furniture in the graphic humour offers a different point of view. We’ll address this subject considering Tomás Niembro’s work, who was one of the most popular cartoonists in the sixties in Asturias. Thanks to these cartoons, we can analyze the lives of people from the middleclass, interior designs and some decorative objects in their homes. At this point, we may study how habits and trends keep changing. At that time, Spain faced new political developments like the Stabilization Plan of 1959, which was a law aimed at regulating the Spanish economy after the Autarchy. In other words, a new consuming culture was being established in our country. However, this was not only a matter of furniture, but also of people, society and, at last, humour. We will study and analyze all these changes in the Spanish society through Tomás Niembro’s eyes.
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Books on the topic "Furniture, Spanish"

1

Dessa, Bokides, ed. New Mexican furniture, 1600-1940: The origins, survival, and revival of furniture making in the Hispanic Southwest. Santa Fe, N.M: Museum of New Mexico Press, 1987.

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2

Francisco Pérez de Salazar Verea. El mobiliario en Puebla: Preciosismo, mitos y cotidianidad de la carpintería y la ebanistería. Puebla de los Ángeles [Mexico]: Fundación Mary Street Jenkins, 2009.

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3

Hispanic furniture: An American collection from the Southwest. Stamford, Conn: Architectural Book Pub. Co., 1986.

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4

Bernis, Sofía Rodríguez. Diccionario de mobiliario. [Madrid?]: Ministerio de Cultura, Dirección General de Bellas Artes i Bienes Culturales, Subdirección General de Museos Estatales, 2005.

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5

Rivas, Jorge. El repertorio clásico en el mobiliario venezolano, siglos XVIII y XIX =: The classical repertoire in eighteenth and nineteenth century Venezuelan furniture. Caracas, Venzuela: Fundación Cisneros, 2007.

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Colección Patricia Phelps de Cisneros., ed. El repertorio clásico en el mobiliario venezolano, siglos XVIII y XIX =: The classical repertoire in eighteenth and nineteenth century Venezuelan furniture. Caracas, Venzuela: Fundación Cisneros, 2007.

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7

Orden y decoro: Felipe II y el amueblamiento del Monasterio de El Escorial. [Madrid]: Sociedad Estatal para la Conmemoración de los Centenarios de Felipe II y Carlos V, 2001.

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8

Baca, Elmo. Romance of the mission: Decorating in the mission style. Salt Lake City: Gibbs Smith Publisher, 1996.

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Baca, Elmo. Romance of the mission: Decorating in the mission style. Salt Lake City: Gibbs Smith Publisher, 1996.

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10

Ekström, Brita-Lena. På spaning efter Lamino: Om möbelformgivaren Yngve Ekström. Malmö: Arena, 2007.

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Book chapters on the topic "Furniture, Spanish"

1

De Lucca, Valeria. "The Spanish Years." In The Politics of Princely Entertainment, 201–33. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190631130.003.0007.

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Between 1679 and 1681 Lorenzo Onofrio Colonna took the position of Viceroy of Aragon and moved to Spain for a few years. His time in Saragozza as a noble foreigner in a position of political power proved quite challenging and led him to spend most of his time in Madrid, so that he could also attend the celebrations for the wedding of King Charles II and try to negotiate some sort of deal with Maria, who lived in a convent in the city. The self-fashioning of a foreign diplomat in a new country also relied heavily on his ability to construct his identity through the objects, furniture, paraphernalia, and books that he took with him. This chapter considers Lorenzo Onofrio’s Spanish years, with a particular emphasis on his self-fashioning through the books, scores, and librettos he brought with him on this very meaningful journey.
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Orr, David W. "The Carbon Connection." In Down to the Wire. Oxford University Press, 2009. http://dx.doi.org/10.1093/oso/9780195393538.003.0011.

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Having seen pictures of the devastation did not prepare me for the reality of New Orleans. Mile after mile of wrecked houses, demolished cars, piles of debris, twisted and downed trees, and dried mud everywhere. We stopped every so often to look into abandoned houses in the 9th Ward and along the shore of Lake Pontchartrain to see things close up: mud lines on the walls, overturned furniture, moldy clothes still hanging in closets, broken toys, a lens from a pair of glasses . . . once cherished and useful objects rendered into junk. Each house had a red circle painted on the front to indicate the results of the search for bodies. Some houses showed the signs of desperation, such as holes punched through ceilings as people tried to escape rising water. The musty smell of decay was everywhere, overlaid with an oily stench. Despair hung like Spanish moss in the hot, dank July air. Ninety miles to the south, the Louisiana delta is rapidly sinking below the rising waters of the Gulf. This is no “natural” process but rather the result of decades of mismanagement of the lower Mississippi, which became federal policy after the great flood of 1927. Sediments that built the richest and most fecund wetlands in the world are now deposited off the continental shelf—part of an ill-conceived effort to tame the river. The result is that the remaining wetlands, starved for sediment, are both eroding and compacting, sinking below the water and perilously close to no return. Oil extraction has done most of the rest of the damage by crisscrossing the marshlands with channels that allow the intrusion of saltwater and storm surges. Wakes from boats have widened the original channels considerably, further unraveling the ecology of the region. The richest fishery in North America and a unique culture that once thrived in the delta are disappearing, and with them the buffer zone that protects New Orleans from hurricanes. “Every 2.7 miles of marsh grass,” in Mike Tidwell’s words, “absorbs a foot of a hurricane’s storm surge” (2003, p. 57).
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