🏛 Rear structure to provide mount for original apse frescoes (in this case not from Sant Joan de Boí). National Museum of Art of Catalonia (MNAC), Barcelona, Catalonia ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Ⓒ Peter Callas 2018. All Rights Reserved. This image may not be used, reposted or reproduced in any way without prior written permission from the copyright holder. ⠀⠀⠀⠀⠀⠀⠀⠀⠀
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Sé lo suficiente loco para saber que puedes hacer lo que sea en la vida! #mylife #nature #mountains #catalunya #catalunyaexperience #pirineudelleida #valldeboi #ilovemountains #pasapas
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🏔 Exterior, Sant Joan de Boí, Vall de Boí, Catalonia ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Ⓒ Peter Callas 2018. All Rights Reserved. This image may not be used, reposted or reproduced in any way without prior written permission from the copyright holder. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ We travelled to both venues in 2011: the National Museum of Art of Catalonia (MNAC), Barcelona, where the surviving 12th century frescoes are installed in a contextual but rather bland (hardly “evocative”) layout; and the replica frescoes at Sant Joan de Boi in the Vall de Boi, situated near the borders of Aragon and France in the Pyrenees - a distance of about 300kms. The first extraction of the original murals by Italian technicians took place between 1919-1923; the second detachment by Spanish technicians was between 1976-1978. Copies were placed on both the interior and exterior walls between 1977 & 1998. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ From a label in the National Museum of Art of Catalonia (MNAC), Barcelona: “The Boi valley is one of the regions of the Catalan Pyrenees where the most Romanesque art been conserved, testimony to the importance of the area during the Middle Ages but to the subsequent isolation that prevented it from disappearing. The remains of the mural decoration from the church of Boi, the village after which the valley is named, are installed here in a space that evokes the church’s architecture, making it possible to place most of the fragments according to their original setting. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ “From the inside of the church, only the paintings from the side aisles have been conserved, although the entire church must have been polychromed... [Their] style has little in common with other Catalan groups and is [instead] linked to the artistic culture of... southern France. The dynamic nature of the painting or the use of plain colours and well-outlined shapes are similar to the procedures used in the illumination of manuscripts, from where... some of the iconographical motifs come.” ⠀⠀⠀⠀⠀⠀⠀⠀⠀
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⚪️ Apsidole, exterior. Sant Joan de Boí, Vall de Boí, Catalonia ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Ⓒ Peter Callas 2018. All Rights Reserved. This image may not be used, reposted or reproduced in any way without prior written permission from the copyright holder. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ We travelled to both venues in 2011: the National Museum of Art of Catalonia (MNAC), Barcelona, where the surviving 12th century frescoes are installed in a contextual but rather bland (hardly “evocative”) layout; and the replica frescoes at Sant Joan de Boi in the Vall de Boi, situated near the borders of Aragon and France in the Pyrenees - a distance of about 300kms. The first extraction of the original murals by Italian technicians took place between 1919-1923; the second detachment by Spanish technicians was between 1976-1978. Copies were placed on both the interior and exterior walls between 1977 & 1998. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ From a label in the National Museum of Art of Catalonia (MNAC), Barcelona: “The Boi valley is one of the regions of the Catalan Pyrenees where the most Romanesque art been conserved, testimony to the importance of the area during the Middle Ages but to the subsequent isolation that prevented it from disappearing. The remains of the mural decoration from the church of Boi, the village after which the valley is named, are installed here in a space that evokes the church’s architecture, making it possible to place most of the fragments according to their original setting. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ “From the inside of the church, only the paintings from the side aisles have been conserved, although the entire church must have been polychromed... [Their] style has little in common with other Catalan groups and is [instead] linked to the artistic culture of... southern France. The dynamic nature of the painting or the use of plain colours and well-outlined shapes are similar to the procedures used in the illumination of manuscripts, from where... some of the iconographical motifs come.” ⠀⠀⠀⠀⠀⠀⠀⠀⠀
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🏔 Exterior. Sant Joan de Boí, Vall de Boí, Catalonia ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Ⓒ Peter Callas 2018. All Rights Reserved. This image may not be used, reposted or reproduced in any way without prior written permission from the copyright holder. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ We travelled to both venues in 2011: the National Museum of Art of Catalonia (MNAC), Barcelona, where the surviving 12th century frescoes are installed in a contextual but rather bland (hardly “evocative”) layout; and the replica frescoes at Sant Joan de Boi in the Vall de Boi, situated near the borders of Aragon and France in the Pyrenees - a distance of about 300kms. The first extraction of the original murals by Italian technicians took place between 1919-1923; the second detachment by Spanish technicians was between 1976-1978. Copies were placed on both the interior and exterior walls between 1977 & 1998. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ From a label in the National Museum of Art of Catalonia (MNAC), Barcelona: “The Boi valley is one of the regions of the Catalan Pyrenees where the most Romanesque art been conserved, testimony to the importance of the area during the Middle Ages but to the subsequent isolation that prevented it from disappearing. The remains of the mural decoration from the church of Boi, the village after which the valley is named, are installed here in a space that evokes the church’s architecture, making it possible to place most of the fragments according to their original setting. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ “From the inside of the church, only the paintings from the side aisles have been conserved, although the entire church must have been polychromed... [Their] style has little in common with other Catalan groups and is [instead] linked to the artistic culture of... southern France. The dynamic nature of the painting or the use of plain colours and well-outlined shapes are similar to the procedures used in the illumination of manuscripts, from where... some of the iconographical motifs come.” ⠀⠀⠀⠀⠀⠀⠀⠀⠀
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🏔 Exterior. Sant Joan de Boí, Vall de Boí, Catalonia ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Ⓒ Peter Callas 2018. All Rights Reserved. This image may not be used, reposted or reproduced in any way without prior written permission from the copyright holder. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ We travelled to both venues in 2011: the National Museum of Art of Catalonia (MNAC), Barcelona, where the surviving 12th century frescoes are installed in a contextual but rather bland (hardly “evocative”) layout; and the replica frescoes at Sant Joan de Boi in the Vall de Boi, situated near the borders of Aragon and France in the Pyrenees - a distance of about 300kms. The first extraction of the original murals by Italian technicians took place between 1919-1923; the second detachment by Spanish technicians was between 1976-1978. Copies were placed on both the interior and exterior walls between 1977 & 1998. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ From a label in the National Museum of Art of Catalonia (MNAC), Barcelona: “The Boi valley is one of the regions of the Catalan Pyrenees where the most Romanesque art been conserved, testimony to the importance of the area during the Middle Ages but to the subsequent isolation that prevented it from disappearing. The remains of the mural decoration from the church of Boi, the village after which the valley is named, are installed here in a space that evokes the church’s architecture, making it possible to place most of the fragments according to their original setting. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ “From the inside of the church, only the paintings from the side aisles have been conserved, although the entire church must have been polychromed... [Their] style has little in common with other Catalan groups and is [instead] linked to the artistic culture of... southern France. The dynamic nature of the painting or the use of plain colours and well-outlined shapes are similar to the procedures used in the illumination of manuscripts, from where... some of the iconographical motifs come.” ⠀⠀⠀⠀⠀⠀⠀⠀⠀
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