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Freelance translator and/or interpreter, Verified site user
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Translation, Voiceover (dubbing)
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Specializes in:
Music
Art, Arts & Crafts, Painting
Also works in:
Folklore
Tourism & Travel
Livestock / Animal Husbandry
Materials (Plastics, Ceramics, etc.)
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Sample translations submitted: 4
Spanish to English: no title General field: Art/Literary Detailed field: Art, Arts & Crafts, Painting
Source text - Spanish La relación de Picasso, que llevaba años viviendo en Francia, con la República había trascendido desde la indiferencia inicial hasta un compromiso derivado de la insistencia de algunos intelectuales cercanos al gobierno, como Josep Renau, que estaba seguro que su ya por entonces gran prestigio podía resultar de ayuda en el extranjero. Pese a la premura de tiempo, casi cuatro meses después el artista apenas había avanzado en unos bocetos. Las noticias que llegaron desde el País Vasco lo cambiaron todo y precipitaron la producción de la obra. El 12 de julio, con notable retraso respecto a las fechas oficiales de la Exposición Universal, el cuadro, de 11 x 4 metros, fue presentado junto al resto del Pabellón. Los pormenores del encargo del Guernica y de su devenir posterior, recogidos con cuidado, lo convierten en, posiblemente, una de las obras de arte mejor documentadas de la historia.
Translation - English By now Picasso had been living in France for some years, and his initial indifference towards the Republic had warmed somewhat thanks to the insistence of certain intellectuals in government circles, such as Josep Renau, who felt that Picasso’s already great prestige would be advantageous abroad. Although time was short, four months into the commission, the artist had barely advanced beyond the initial sketches. The news from the Basque Country, however, changed everything and galvanised the artist into completing the work. On 12 July, well behind the Expo’s official opening date, the canvas, measuring 7.75 x 3.5 metres, was finally unveiled alongside the rest of the pavilion’s exhibits. The details of the Guernica commission and its subsequent trajectory have all been meticulously recorded, making it possibly one of the best-documented works in art history.
Spanish to English: Traditional Jewellery Making General field: Art/Literary Detailed field: Art, Arts & Crafts, Painting
Source text - Spanish Hay un factor que incide en este espectacular desarrollo del género menor en la orfebrería considerada tradicional por ser consumida fundamentalmente por las clases más humildes. En 1601, ante la situación de casi bancarrota del Estado por la proliferación del trabajo en plata y oro procedente de las monedas de curso legal (tal y como vimos en el cuadro de Petrus Christus antes citado), incluso la Inquisición , con su proceder discreto y sombrío, no tarda en ejercer influencia sobre el poder político, sucediéndose las pragmáticas que restringen el uso y labor de este artesanado.
Translation - English One factor contributed significantly to the spectacular development of the genre of traditional jewellery considered ‘minor’ on account of its popularity with the lower classes. In 1601, the Spanish State was in a situation of near bankruptcy as a result of the proliferation of gold- and silverwork fashioned from legally minted coins (as depicted in the aforementioned painting by Petrus Christus). Even the Inquisition , with its sombre and guarded manoeuvrings, was not slow to exert its influence on the political class, the result of which was a series of pragmatic legislative changes that restricted the uses and practices of this craft.
Spanish to English: The Era of the Historiated Portals General field: Art/Literary Detailed field: Art, Arts & Crafts, Painting
Source text - Spanish Tanto en 1100 como en 1105, en sus dos viajes a Roma, Gelmírez recorrió la llamada via francigena italiana, el camino de los peregrinos que iban a Roma y que conectaba a través de la via tolosana con el camino de peregrinación a Santiago. Ello le dio la oportunidad de conocer, de primera mano, en Italia, el resurgimiento del arte monumental promovido por la ideología de la Reforma Gregoriana, que recurriendo a los modelos paleocristianos quería retornar a los orígenes de la Iglesia y enseñar, además, los dogmas de la fe a través de las imágenes en una especie de «escritura para iletrados». No obstante, no hay que olvidar que en ambos viajes, para llegar a tierras italianas, Gelmírez y su séquito tuvieron que atravesar los caminos de Francia, donde pudieron conocer de primera mano los grandes centros creadores del arte románico de ese momento como Toulouse, Conques, Moissac o Cluny, lo cual generará importantes intercambios artísticos con los talleres que entonces trabajaban en Compostela en la construcción y decoración de la catedral de Santiago.
Translation - English On both his visits to Rome, in 1100 and in 1105, Gelmírez took the Italian Via Francigena, the route taken by pilgrims travelling to Rome and which connected, via the Via Tolosana, with the pilgrim road to Santiago. This gave him the opportunity to experience first hand the rebirth in Italy of monumental art promoted by the ideology of the Gregorian Reform which drew on paleo-Christian models in its quest to return to the origins of the Church and to teach the dogmas of the faith by means of images in a sort of ‘writing for the illiterate’. It is important to remember that on both journeys, in order to reach Italy, Gelmírez and his retinue had to travel on French roads, where they came into direct contact with the great creative centres of Romanesque art of the day, such as Toulouse, Conques, Moissac, and Cluny, which led to important artistic exchanges with the masons’ workshops engaged in work in Compostela on the construction and decoration of the cathedral of Santiago.
Spanish to English: Wide Open General field: Art/Literary Detailed field: Art, Arts & Crafts, Painting
Source text - Spanish Los retratos con parejas de personas del mismo sexo que reúne este volumen se enmarcan en la tradicional iconografía, de amplio predicamento durante gran parte de la historia del arte occidental, de pinturas que muestran, frecuentemente, a las élites sociales –las únicas que podían permitirse dichos encargos– posando frente al pintor en su taller. Más tarde, con la aparición de la fotografía a finales del siglo XIX, las compañeras o compañeros podrán ir ya, de un modo mucho más universal e igualitario, al estudio fotográfico para guardar recuerdo de esa imagen común y compartida. En las pinturas precedentes, o luego en las instantáneas, lo interesante es saber por qué posan juntos esos dos individuos y por qué desean aparecer representados de ese modo ante la mirada exterior. Y la respuesta es trascendental: quieren mostrar su especial comunión para superar sus individualidades, de la que nace ese anhelo de compartir el mismo escenario, de fundir sus almas en un único retrato.
Translation - English The portraits of the same-sex couples we see in this volume belong to the traditional iconography – hegemonic for much of Western art history – of paintings that depicted principally the social elites (the only ones who could afford to commission such works) posing in a painter’s atelier. Later, with the advent of photography at the end of the 19th century and the proliferation of photographic studios, couples, male and female, were able to obtain images of a shared moment in a much fairer and more accessible way. But what is interesting in both the paintings and the photographs is why these two individuals are seen posing together; i.e, what motivates their desire to be represented in this way to the outside world. And the answer is deeply significant: it is the wish to transcend their individualities, declare their communion, and unite their souls in a single portrait.
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Experience
Years of experience: 31. Registered at ProZ.com: Oct 2010.