Alonso Berruguete, Reinassance Sculptor - Page 33



notes
1
The story of the transition to Renaissance style in the other kingdoms of the
peninsula is a much longer one. For a fuller account of this period throughout Spain
in this period see e.g., F. Checa Cremades, Pintura y escultura del Renacimiento en Espana,
1450-1600. 5th ed. ed. (Madrid: Catedra, 2005): J.M. Azcarate, Escultura del siglo
& Achim Bunz, Carved Altarpieces: Masterpieces of Late Gothic Art and Craftsmanship
(London: Thames & Hudson, 2006). Also see M. Baxandall, The Limewood Sculptors of
Renaissance Germany (New Haven/ London: Yale University Press, 1980).
Patrick Lenaghan, “The Tombs from San Francisco in Cuéllar: Sacred Images in
17 Kahsnitz, Bunz, Carved Altarpieces, p. 23, fig. 25.
Digital Reconstructions,” Hispanic Research Journal 16, no. 5 (2015): 379-402. For an
18 Kasl, The Making of Hispano-Flemish Style, p. 109.
earlier analysis of the tombs, see Gilman Proske, Castilian Sculpture, pp. 370-469. I am
19 http://www.metmuseum.org/art/collection/search/471816 (accessed December 1, 2016).
extremely grateful to Patrick for his generosity in reading a draft of this chapter and
20 Yarza Luaces Gil Siloe, p. 74. On the development of this procedure, see M. Frinta,
Cuéllar tombs.
Having been dismantled and removed from their original location in the early
twentieth century the tomb fragments were displayed in the low-ceilinged Manhattan
gallery with a view to symmetry rather than accuracy. Their original disposition is
“The Use of Wax for Appliqué Relief Brocade on Wooden Statuary,” Studies in
Conservation 8, no. 4 (1963), pp. 136-149.
21 See e.g., M. Miquel Juan, “Pintura, devoción y piedad en Toledo a principios del
siglo XV,” Boletín del Museo de Bellas Artes de Bilbao 7 (2013), pp. 49-87.
22 S. Roller, “The Polychromy of Mediaeval Sculpture: A Brief Overview,” in
known from photographs taken in. Cuéllar ca. 1900. See Lenaghan, “The Tombs
Circumlitio: The Polychromy of Antique and Medieval Sculpture, eds. Vinzenz Brinkmann
from San Francisco,”pp. 388-391.
and others, Schriftenreihe der Liebieghaus Skulpturensammlung, Frankfurt am
4Gomez-Moreno, Renaissance Sculpture in Spain, pp. 28-30.
Main ed. (Munchen: Hirmer, 2010), p. 344; J.Taubert, M. D. Marincola & C.
5
This is the tomb of Archbishop Diego Hurtado de Mendoza by Domenico Fancelli,
Kleinstuck-Schulman, Polychrome Sculpture: Meaning, Form, Conservation (Los Angeles,
produced 1508-1510 and further discussed below.
California: Getty Conservation Institute, 2015), p. 9 .On the use of these features in
See e.g., Jose Gomez Frechina, Los Hernandos : Pintores 1505-1525/c. 1475-1536
Spanish Baroque sculpture see e.g., The Sacred Made Real: Spanish Painting and Sculpture,
6
(Madrid: Arco/Libros, 2011).
7
1600-1700, exhibition catalogue (London: National Gallery, 2009).
I. Del Río da la Hoz, El escultor Felipe Bigarny (h. 1470-1542) (Valladolid: Junta de
23 Roller, “The Polychromy of Mediaeval Sculpture,” p. 347.
Castilla y Leon, 2000), p. 19.
24 See e.g., H. Belting & E. F. N. Jephcott, Likeness and Presence : A History of the Image
8
Del Rio de la Hoz, El escultor Felipe Bigarny, p. 42.
9
For a fascinating account of the exchanges between Italy and the Burgundian
Netherlands, see Paula Nuttall, From Flanders to Florence : The Impact of Netherlandish
Painting, 1400-1500 (New Haven, Conn./London: Yale University Press, 2004).
10 Del Rio de la Hoz, El escultor Felipe Bigarny, p.72. The Salamanca retable was
dismantled in 1767.
11 M. Arias Martinez, ed., Museo Nacional de Escultura. Colección/Collection. (Madrid:
Ministerio de Educación, Cultura y Deporte, 2015), pp. 78-83.
12 M. Arias Martínez, El Museo crece. Últimas adquisiciones 2005-2010. (Valladolid:
Ministerio de Cultura-Museo Nacional Colegio de San Gregorio, 2011), pp. 28-35.
13 Although no contract survives for the involvement of the two craftsmen, a priest
before the Era of Art (Chicago; London: University of Chicago Press, 1994), p. 9.
25 See e.g., A. Derbes, Picturing the Passion in Late Medieval Italy : Narrative Painting, Franciscan
Ideologies, and the Levant (Cambridge: Cambridge University Press, 1996), pp. 10-11.
26 Stephen Perkinson, The Likeness of the King : A Prehistory of Portraiture in Late Medieval
France (Chicago; London: The University of Chicago Press, 2009), p. 238.
27 Taubert, Marincola & Kleinstuck-Schulman, Polychrome Sculpture, p. 9.
28 Taubert, Marincola & Kleinstuck-Schulman, Polychrome Sculpture, pp. 1-13. Also
see e.g., Susie Nash, “The Lord’s Crucifix of Costly Workmanship”: Colour,
Collaboration and the Making of Meaning on the Well of Moses,” in Circumlitio: The
Polychromy of Antique and Medieval Sculpture, pp. 356-381.
29 This is the case, for example, for the tombs produced in the mid-fifteenth century by
named Atienza stated in 1537 that he had seen Acuña pay Siloe for the work.
the workshop of the Master of Don Álvaro de Luna. See Maria Teresa Pérez Higuera,
See J. Yarza Luaces, Gil Siloe: El retablo de la Concepcion en la capilla del Obispo Acuna
“El sepulcro del Arzobispo Don Sancho de Rojas, En su capilla de la Catedral de
(Burgos: Asociacion Amigos de la Catedral de Burgos, 2000), p. 46.
Toledo,” in Homenaje al Profesor Herández Perera, ed. Francisco Portela Sandoval (Madrid:
14 Recent scholars who have commented on Siloe’s innovation include Joaquín Yarza
and Ronda Kasl. See Yarza Luaces, Gil Siloe, p.46; Ronda Kasl, The Making of
32
Luaces, Gil Siloe, p. 31-33 and 37-38.
16 See for example the Rothenberg and Nordlingen altarpieces in R. Kahsnitz
to Renaissance. (New York: The Hispanic Society of America, 1951); M. Gomez-
making comments which greatly improved it, as well as for his photographs of the
3
are “Emberres” (meaning Antwerp) and “Urliones” (meaning Orleans). See Yarza
XVI (Madrid: Editorial Plus-Ultra, 1958); B. Gilman Proske, Castilian Sculpture, Gothic
Moreno, Renaissance Sculpture in Spain (Florence: Pantheon Casa Editrice), 1931).
2
15 Two places of origin named in documents which may have been associated with him
Universidad Complutense, Departamento del Historia del Arte, 1992), pp. 577-604.
30 M. D. Marincola, “The Surfaces of Riemenschneider,” in Tilman Riemenschneider: Master
Hispano-Flemish Style: Art, Commerce, and Politics in Fifteenth-Century Castile (Turnhout:
Sculptor of the Late Middle Ages, eds. M. Baxandall & J. Chapuis (Washington, DC; New
Brill, 2013), p.3.
Haven; London: National Gallery of Art, Washington; Yale University Press, 1999), pp. 102-116.
33





Powered by


Full screen Click to read
Paperturn flipbook system
Search
Overview
Download as PDF
Print
Shopping cart
Full screen
Exit full screen