Thaïs Rodés, PhD. School of Humanities and Social Sciences, has published a book on contemporary sacred art in Navarre, the result of her research. thesis

Thaïs Rodés, researcher at the Higher Institute of Religious Sciences (ISCR) and collaborator of Institute for Culture and Society (ICS), has published the book "Talleres retablistas e imaginería religiosa contemporánea en Pamplona y su Cuenca (1890-2018)". The work is the result of her doctoral thesis , defended at the School of Philosophy y Letras.

Published by EUNSA and EUS (publishing house University of Seville), the monograph presents an unpublished study on contemporary Navarrese altarpiece workshops, image makers and sculptors, from the end of the 19th century to the beginning of the 21st century.

On June 17, in the refectory of the Cathedral of Pamplona, Rodés presented her book, accompanied by Archbishop Francisco Pérez, Archbishop of Pamplona, and Julia Pavón, dean of the School of Philosophy and Letters of the University of Navarra. 

In the following interview, he shares the keys to this work:

Q. How and why did the idea of writing this book come up?
 

R. For decades, contemporary art in Navarre, and even more so of a sacred nature, has gone unnoticed and received little interest or attention in our historiography. It is for this reason that eight years ago, coinciding with my doctoral studies at School of Philosophy y Letras, I set out to explore, with respect and devotion, this singular artistic scene, which had a significant historiographical vacuum. 

Q. Who is the target audience?
 

R. To all of you who are now reading this interview, to your family and friends, to art lovers and contemplators of beauty. In a way, we are all custodians and spokespersons of this artistic bequest .

Q. What idea would you like to highlight?
 

R. The 69 altarpieces, 23 of which belong to the Pamplona Basin, and the 84 sculptures inventoried in this research, were mostly unpublished, coexisting in medieval and contemporary architectures, provoking an authentic sacred marriage and an inevitable dialogue, since both contribute new nuances and light to the altarpiece and sculptural tradition of contemporary Pamplona, generating transcendental debates and artistic concerns in the current panorama.

At the same time, this coexistence has allowed us to get to know the plastic evolutions and the particular characteristics of each art form, from the neo-medievalism of the altarpiece workshops to the avant-garde of the sculptors, thus establishing a beautiful "sacred landscape".

Q. Why would you encourage reading it?
 

R. I believe that this book can help to get to know and delve a little deeper into the sacred heritage of Navarre, to discover "treasures" and to live a new experience, open to the contemporary.

I invite you to visit and enjoy, especially during this time of Lent and Holy Week, the contemporary altarpieces and sculptures that await you in the churches and parishes of Pamplona and the surrounding villages.