{"id":893,"date":"2020-08-28T09:00:04","date_gmt":"2020-08-28T09:00:04","guid":{"rendered":"http:\/\/gobetween.wpengine.com\/?p=893"},"modified":"2020-09-28T10:09:30","modified_gmt":"2020-09-28T10:09:30","slug":"mihaela-elena-man-at-a-crossroads-kerstings-depiction-of-the-almudena-cathedral","status":"publish","type":"post","link":"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/2020\/08\/28\/mihaela-elena-man-at-a-crossroads-kerstings-depiction-of-the-almudena-cathedral\/","title":{"rendered":"Mihaela Elena Man: At a Crossroads &#8211; Kersting&#8217;s depiction of the Almudena Cathedral"},"content":{"rendered":"\r\n<h2>Audio Version<\/h2>\r\n<p class=\"wp-block-paragraph\"><iframe loading=\"lazy\" title=\"Spotify Embed: At a crossroads: Anthony Kersting&amp;apos;s depiction of Almudena Cathedral, Madrid\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" src=\"https:\/\/open.spotify.com\/embed\/episode\/5q7sP40BRNl4zjA31CVe3t?si=SyhZ5mWITPqhwZsj5sP7bw&#038;utm_source=oembed\"><\/iframe><\/p>\r\n<h2>Text Version<\/h2>\r\n<p>One photograph that <a href=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/category\/the-kersting-archive\/\">Anthony Kersting<\/a> took during one of his journeys through Madrid reveals a site whose open roof, skeletal towers and central cavity would easily classify it as a plain depiction of an early twentieth century abandoned architectural project. <br \/><br \/><\/p>\r\n<figure id=\"attachment_917\" aria-describedby=\"caption-attachment-917\" style=\"width: 1024px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-917\" src=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/files\/2020\/08\/Screenshot-2020-08-26-at-13.12.05-1024x406.jpg\" alt=\"Front and back images of a Kersting print. The back side is annotated by Anthony Kersting.\" width=\"1024\" height=\"406\" srcset=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2020\/08\/Screenshot-2020-08-26-at-13.12.05-1024x406.jpg 1024w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2020\/08\/Screenshot-2020-08-26-at-13.12.05-300x119.jpg 300w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2020\/08\/Screenshot-2020-08-26-at-13.12.05-768x305.jpg 768w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2020\/08\/Screenshot-2020-08-26-at-13.12.05-1536x609.jpg 1536w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2020\/08\/Screenshot-2020-08-26-at-13.12.05.jpg 2000w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption id=\"caption-attachment-917\" class=\"wp-caption-text\">A.F. Kersting. KER_PNT_H009971 and KER_PNT_H009971b, 27 April 1956. On the back Kersting has written: \u201cThe Madrid facade of the new Cathedral of Nuestra Se\u00f1ora de la Almudena as it now appears. The Cathedral was started in 1895, but only the Crypt was completed. Recently, however, the framework for the Twin Towers of the facade has been completed\u201d.<\/figcaption><\/figure>\r\n<p>As alluring as images of outmoded objects and sites are, they very often carry the intrinsic ability to make their viewers venture into a purely nostalgic cul-de-sac. American artist <a href=\"https:\/\/en.wikipedia.org\/wiki\/Robert_Morris_(artist)\">Robert Morris<\/a> unsympathetically asserts &#8220;that all the great ruins have been so desecrated by the photograph, so reduced to banal image, and thereby so fraught with sentimentalising historical awe&#8221;[1]. I would&#8217;ve concluded with a similar statement had I not discovered the note Kersting wrote at the back of the photograph: <br \/><br \/>&#8220;The Madrid facade of the <a href=\"https:\/\/en.wikipedia.org\/wiki\/Almudena_Cathedral\">new Cathedral of Nuestra Se\u00f1ora de la Almudena<\/a> as it now appears. The Cathedral was started in 1895, but only the Crypt was completed. Recently, however, the framework for the Twin Towers of the facade has been completed.&#8221;<br \/><br \/>In his caption, Kersting introduces the subject of the image, the Almudena Cathedral &#8220;as it now appears&#8221;, which was most certainly the moment when the image was taken in 1956. It also seems that at a later date he added two other details to the description, namely a note to say that 1895 was the year when the construction of the building began, and a more recent moment, when (to his seeming surprise) the twin towers of the fa\u00e7ade were completed. This caption, attached to the image, pencils the troubling timeline of the Cathedral\u2019s biography.<br \/><br \/><\/p>\r\n<figure id=\"attachment_914\" aria-describedby=\"caption-attachment-914\" style=\"width: 528px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/commons.wikimedia.org\/wiki\/Catedral_de_la_Almudena#\/media\/File:Proyecto_Marqu\u00e9s_de_Cubas_Catedral_de_la_Almudena_01.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-914 size-full\" src=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/files\/2020\/08\/Proyecto_Marqu\u00e9s_de_Cubas_Catedral_de_la_Almudena_01.jpg\" alt=\"\" width=\"528\" height=\"744\" \/><\/a><figcaption id=\"caption-attachment-914\" class=\"wp-caption-text\">Postal de la maqueta del proyecto de Francisco de Cubas para la Catedral de la Almudena (Madrid, Espa\u00f1a).<br \/>(Postcard of the model of Francisco de Cubas&#8217;s project for the Almudena Cathedral)<br \/>By Unknown author &#8211; Memoria de Madrid, banco de im\u00e1genes hist\u00f3ricas del Ayuntamiento de Madrid, CC BY-SA 2.5, https:\/\/commons.wikimedia.org\/w\/index.php?curid=77758865<\/figcaption><\/figure>\r\n<p>Due to insufficient funding, the building of the Cathedral was put on hold shortly after the laying of its foundations in 1895. The resumption of the project was further complicated by the death of <a href=\"https:\/\/en.wikipedia.org\/wiki\/Francisco_de_Cubas\">Francisco de Cubas<\/a>, the architect who drafted the initial plans. As such, only the Neo-Romanesque Crypt was finished and opened to the public in 1911. The following eruption of the Spanish civil war led to a more than a two-decade stagnancy. <br \/><br \/>In the 1940s, aesthetic criteria changed. Finalising the construction in a Gothic style was no longer suitable because of the stark contrast it may create with its urban surroundings. Therefore, the Directorate General for Fine Arts organised a national contest, which selected Fernando Chueca Goitia and Carlos Sidro to complete the Cathedral\u2019s construction in a Baroque fashion.<br \/><br \/>Not accidentally, the exercise of visualising the Cathedral\u2019s hectic timeline is interrupted by the skeletal towers, the centrepiece of Kersting\u2019s photograph. At first sight, the moment of Kersting\u2019s &#8220;now&#8221;, the \u201cnow\u201d when he clicked the shutter, captures the absent fa\u00e7ade of the building, which was not completed until the 1960s. This corresponds to one of the periodic moments in the Cathedral\u2019s life when a cloud of uncertainty was hovering around its construction. <br \/><br \/>Closing the timeline of the Cathedral\u2019s building is the completion of the Baroque cloisters and fa\u00e7ade in the 1960s, and the subsequent embellishing of its interiors in 1993. Within a prevailing Neo-Gothic nave, \u201cstatues of contemporary artists, in heterogeneous styles, from historical revivals to pop-art decor\u201d[2] are housed. The palimpsestic nature of the Cathedral\u2019s architecture, coupled with Kersting&#8217;s ambiguous photograph, further highlights the tumultuous process of how it eventually came to be a fully functional site. Their association also proves that \u201cthe history of images is a history of objects that are temporally impure, complex, overdetermined\u201d.[3]\u00a0<br \/><br \/>A photographic document like Anthony Kersting\u2019s is deceiving. It demands us to flip the \u201cinert\u201d or \u201cescapist\u201d side of the picture and read its description to realise that the captured moment is the indivisible and decisive element of the monumental timeline which concludes with the Cathedral&#8217;s eventual unveiling. In \u201cIteration\u201d, <a href=\"https:\/\/courtauld.ac.uk\/people\/robin-schuldenfrei\">Robin Schuldenfrei<\/a> mentions the \u201cbarely visible\u201d, yet visceral nature of \u201citerative gaps\u201d. She gives the example of a ship, whose sailing from one destination to another is incredibly physical, in its speed through water and in the mechanics of towing, yet the \u201citerative gap\u201d lingers in the uncertainty as to whether it will reach its destination.[4] Natural or technical threats constitute some of the many dependencies that such a travel embodies. These conditions are, however, predominantly neglected once the ship reaches the shore. In the case of the Cathedral, a gap is closed as the completed a place of worship in unveiled. While capturing such an iterative gap, Kersting encourages the unhealed edges of the edifice&#8217;s history to surface. Rather than a standstill, we have reached a crossroads.<br \/><br \/><\/p>\r\n<figure id=\"attachment_918\" aria-describedby=\"caption-attachment-918\" style=\"width: 1024px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-918\" src=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/files\/2020\/08\/1440px-Main_facade_of_Almudena_Cathedral_2013_-_02-1024x768.jpeg\" alt=\"Side view of the cathedral under a cloudy sky.\" width=\"1024\" height=\"768\" srcset=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2020\/08\/1440px-Main_facade_of_Almudena_Cathedral_2013_-_02-1024x768.jpeg 1024w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2020\/08\/1440px-Main_facade_of_Almudena_Cathedral_2013_-_02-300x225.jpeg 300w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2020\/08\/1440px-Main_facade_of_Almudena_Cathedral_2013_-_02-768x576.jpeg 768w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2020\/08\/1440px-Main_facade_of_Almudena_Cathedral_2013_-_02.jpeg 1440w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption id=\"caption-attachment-918\" class=\"wp-caption-text\">Main facade of Almudena Cathedral.<br \/>By Little Savage &#8211; Own work, CC BY-SA 3.0, https:\/\/commons.wikimedia.org\/w\/index.php?curid=27077669<\/figcaption><\/figure>\r\n<p>&nbsp;<\/p>\r\n<p>[1] R. Morris, 1970. The Present Tense of Space, in Continuous Project Altered Daily.<\/p>\r\n<p>[2] Almudena Cathedral &#8211; Madrid Tourist Attractions. (n.d.). http:\/\/www.madridtourist.info\/almudena_cathedral.html<\/p>\r\n<p>[3] G. Didi-Huberman, 2000. Before the Image, Before Time: The Sovereignty of Anachronism, in Compelling Visuality: The Work of Art in and out of History.<\/p>\r\n<p>[4] R. Schuldenfrei, 2020. Iteration: Episodes in the Mediation of Art and Architecture.<\/p>\r\n<hr \/>\r\n<p>Mihaela Elena Man<\/p>\r\n<p>Courtauld Connects Digitisation Oxford Micro-Internship Participant<\/p>\r\n","protected":false},"excerpt":{"rendered":"<p>Audio Version Text Version One photograph that Anthony Kersting took during one of his journeys through Madrid reveals a site whose open roof, skeletal towers and central cavity would easily classify it as a plain depiction of an early twentieth century abandoned architectural project. As alluring as images of outmoded objects and sites are, they&hellip;<\/p>\n<p><a class=\"more-link\" href=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/2020\/08\/28\/mihaela-elena-man-at-a-crossroads-kerstings-depiction-of-the-almudena-cathedral\/\" title=\"View &lsquo;Mihaela Elena Man: At a Crossroads &#8211; Kersting&#8217;s depiction of the Almudena Cathedral&rsquo;\">View <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":204,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[313,8,418],"tags":[477,412,476,474,475,473,237,478,480,479,171],"class_list":["post-893","post","type-post","status-publish","format-standard","hentry","category-micro-internship","category-the-kersting-archive","category-volunteer-audio","tag-almudena-cathedral","tag-audio","tag-baroque","tag-carlos-sidro","tag-cathedrals","tag-fernando-chueca-goitia","tag-gothic","tag-madrid","tag-neo-gothic","tag-neo-romanesque","tag-spain"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Mihaela Elena Man: At a Crossroads - Kersting&#039;s depiction of the Almudena Cathedral - Digital Media<\/title>\n<meta name=\"description\" content=\"Mihaela Elena Man takes us alongside Anthony Kersting to discover the Almudena Cathedral in Madrid, and Kersting&#039;s own annotations on the back of the image.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/2020\/08\/28\/mihaela-elena-man-at-a-crossroads-kerstings-depiction-of-the-almudena-cathedral\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Mihaela Elena Man: At a Crossroads - Kersting&#039;s depiction of the Almudena Cathedral - Digital Media\" \/>\n<meta property=\"og:description\" content=\"Mihaela Elena Man takes us alongside Anthony Kersting to discover the Almudena Cathedral in Madrid, and Kersting&#039;s own annotations on the back of the image.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/2020\/08\/28\/mihaela-elena-man-at-a-crossroads-kerstings-depiction-of-the-almudena-cathedral\/\" \/>\n<meta property=\"og:site_name\" content=\"Digital Media\" \/>\n<meta property=\"article:published_time\" content=\"2020-08-28T09:00:04+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2020-09-28T10:09:30+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/files\/2020\/08\/Screenshot-2020-08-26-at-13.12.05-1024x406.jpg\" \/>\n<meta name=\"author\" content=\"Digitisation Placement\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Digitisation Placement\" \/>\n\t<meta name=\"twitter:label2\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/sites.courtauld.ac.uk\\\/digitalmedia\\\/2020\\\/08\\\/28\\\/mihaela-elena-man-at-a-crossroads-kerstings-depiction-of-the-almudena-cathedral\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/sites.courtauld.ac.uk\\\/digitalmedia\\\/2020\\\/08\\\/28\\\/mihaela-elena-man-at-a-crossroads-kerstings-depiction-of-the-almudena-cathedral\\\/\"},\"author\":{\"name\":\"Digitisation Placement\",\"@id\":\"https:\\\/\\\/sites.courtauld.ac.uk\\\/digitalmedia\\\/#\\\/schema\\\/person\\\/ab20727f7304caf038b1fd62ba1b33bb\"},\"headline\":\"Mihaela Elena Man: At a Crossroads &#8211; 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