Alonso Berruguete, Reinassance Sculptor - Page 57



notes
1
A. Hauser, El Manierismo. La crisis del Renacimiento y los orígenes del Arte Moderno, Madrid,
2
“For the nuns of S. Jeronimo, upon the hill of S. Giorgio in Florence, he (Filippo
1965, p. 32.
Lippi) began the picture of the high altar, which was continued with considerable
success after his death (1504) by Alonso Berughetta, a Spaniard, although completed
by others painters on the latter going to Spain.” G. Vasari, Vite, ed. & trans. A.B.
Hinds (London/New York: Everyman’s Library, 1963), II, p. 112. Vasari refers
to Alonso Berruguete in his biographies of Philippo Lippi, Massacio, Bandinelli,
Michelangelo and Jacopo Sansovino. See T. Mozzati, “Alonso Berruguete en Italia:
Antonio Pucci, La coronación de la Virgen para la iglesia de San Jerónimo y San
Francisco, una circunstancia Hispano-florentina,” in Alonso Berruguete: su obra y su influencia,
Actas del Curso de la Universidad Casado del Alisal, celebrado en Paredes de Nava, los días 10 a 12 de
noviembre de 2011 (Palencia: Diputación de Palencia, 2013), pp. 1-31.
3
These include the following paintings, all in oil on panel: the Virgen with Child, ca.
1510, 89 x 64 cm, Florencia, Galleria degli Uffizi; the Virgen with Child with the
infant Saint John, also known as the Tondo Loeser, 83 cm in diameter, ca. 1513-14, in
Florence’s Palazzo Vecchio; the Virgen with Child with the Infant Saint John, ca. 1513-14,
124 x 104 cm, Munich, Alte Pinakothek; the Virgen with Child, Saint Elizabeth and the
Infant Saint John, ca. 1516-17, 112 x 90 cm., Roma Galleria Borghese. See L. A.
Waldman, “Two foreign artists in Florence: Alonso Berruguete and Gian Francesco
Bembo,” Apollo CLV, 484, 2002, pp. 22-29.
4
Oil on panel, 87.5 x 71 cm, shared attribution with Giovan Francesco Bembo
(Cremona, act. de 1509 a 1541,) made in the second decade of the sixteenth century.
See Norma e Capriccio. Spagnoli in Italia agli essordi della “maniera moderna,” exhibition
catalogue, Galleria degli Uffizi (Florence: 2013).
5
F. J. Sánchez Cantón, Dibujos españoles, II, siglo XVI y primer tercio del XVII (Hauser
y Menet: Madrid, 1930); D. Angulo and A. E. Pérez Sánchez, A Corpus of Spanish
Drawings. 1400 to 1600 (Harvey Miller: London, 1975); F. Caglioti, “Alonso
Berruguete in Italia: un nuovo documento fiorentino, una nuova fonte donatelliana,
qualche ulteriore traccia,” in Scritti di Storia dell’arte in onore di Sylvie Béguin (Academia
Clementina di Bologna, Napoli, 2001), pp. 109-146.
6
T. Mozzati, “Alonso Berruguete a Roma: un conto corrente e gli itinerari del
soggiorno italiano,” in Mitteilungen des Kunsthistorischen Institutes in Florenz, 51, 2007
(2009), pp. 568-574; T. Mozzati, “Alonso Berruguete in Italia: nuovi itinerari,” in
Norma e capriccio, pp. 16-47.
7
F. Haskell and N. Penny, Taste and the Antique: The Lure of Classical Sculpture, 1500-1900,
London, 1981, pp. 243-247, nº 52, fig. 125.
8
The only monumental bronze made by Michaelangelo is the seated statue of Julius
II, which was destroyed in 1511 by the Bolognese rebels.
9
Ch. de Tolnay, The Sistine Ceiling (Princeton: Princeton University Press, 1964).
10 N. Dacos, Rafael. Las Loggias del Vaticano (Barcelona: Lunewerg, 2008).
11 De la Pintura Antigua y El diálogo de la Pintura, 1548, Castilian version by M. Denis
(1563), ed. F. J. Sánchez Cantón, Fuentes literarias para la Historia del Arte Español, 1923,
I, pp. 41-124 (Visor Libros: Madrid, 2003).
12 M. Gómez Moreno, Las águilas del Renacimiento español. Bartolomé Ordóñez, Diego Siloe,
Pedro Machuca, Alonso Berruguete, 1517-1558 (Gráficas Uguina: Madrid, 1941) second
edition; R. de Orueta, Alonso Berruguete y su obra, Madrid, 1917, (reed. Madrid:
Ministerio de Cultura, 2011); J. M. de Azcárate, Alonso Berruguete. Cuatro ensayos, II
(Ristori: Valladolid, 1963, reed. Salamanca, 1988), pp. 34-57. The influence of
Italian sculpture in the works of Berruguete has been thoroughly analyzed.
13 He accompanied prince Carlos on his first trip to Spain forming part of the Flemish
retinue and then stayed on as an adviser at court in charge of important affairs. See
C. Morte García, “Carlos V y los artistas de corte en Zaragoza: Fancelli, Berruguete
y Bigarny,” Archivo Español de Arte LIV, 1991, pp. 317-335; M. J. Redondo Cantera,
“Alonso Berruguete, “Pintor del Rey,” in Alonso Berruguete, su obra y su influencia, pp. 49-89.
14 Jusepe Martínez, Discursos practicables del Nobilisimo arte de la Pintura, 1675, in Sánchez
Cantón, Fuentes, III, 1934, pp. 13-84, cited on pp. 69-70; Edición de J. Gállego,
Madrid, 1988, pp. 261-62.
57





Powered by


Full screen Click to read
Paperturn flipbook system
Search
Overview
Download as PDF
Full screen
Exit full screen
Close
Close
Paperturn
The email was successfully sent.
You can not let this field empty
Please insert a valid e-mail address
You can not let this field empty
Please insert a valid e-mail address
Paperturn Sending. Please wait...
Paperturn
Close