Alonso Berruguete, Reinassance Sculptor - Page 59



15 C. Morte García, Damián forment. Escultor del Renacimiento, (Saragossa: Caja
Inmaculada, 2009).
16 I. del Río de la Hoz, El escultor Felipe Bigarny (h. 1470-1542) (Salamanca: Junta de
Castilla y León, 2001).
17 Azcárate, Alonso Berruguete, p. 15, published the document housed in the Archivo
General de Simancas, Registro General del Sello, September, 1519.
18 M. Arias Martínez, Alonso Berruguete, Prometeo de la escultura, (Palencia: Diputación
38 M. C. Heredia Moreno, “Dibujos de Alonso Berruguete, Julio de Aquilis y Andrés de
Melgar en la Fundación Lázaro Galdiano,” Goya 36, 2005, pp. 132-144.
39 J. M. Caamaño Martínez, “El estilo personal de Alonso Berruguete,” Revista de ideas
estéticas 1961, pp. 327-334.
40 M. Arias Martínez, “Un llanto sobre Cristo muerto de Alonso Berruguete,” Ars
Magazine 27, Julio-Septiembre 2015, pp. 62-73.
41 Martínez, Discursos practicables, p. 70.
provincial), 2011, pp. 79-81, plates 34 y 35. The drawing was attributed to
42 Azcárate, Alonso Berruguete, p. 23.
Torrigiano as it carries his signature. This attribution was dismissed by Angulo, Pérez
43 Jusepe Martínez had already pointed out how the retable from Huesca, made
Sánchez, A corpus of Spanish drawings, nº 248, plate XVIII.
between 1520 and 1534, showed the clear influence of Alonso Berruguete: “while
19 El libro de la Capilla Real (Miguel Sánchez, Granada, 1994).
the exact manner has been silenced, they say that it was due to seeing works by
20 J. Hoyos Alonso, “La obra de Berruguete en Valladolid,” in Alonso Berruguete: su obra e
Berruguete that are in this city that he made use of this style of work, being more
influencia, pp. 91-129.
gentle and slender than his own...” Azcárate, Alonso Berruguete, p. 78.
21 Arias Martínez, Alonso Berruguete, pp. 83-91.
44 In the retable of the chapel of Saint Ildefonsus in the cathedral of Palencia.
22 For the bibliography on the retable of San Benito see Arias Martínez, Alonso
45 J. M. Parrado del Olmo, Los escultores seguidores de Berruguete en Ávila (Avila: Obra
Berruguete, p. 101, note 174; and, more recently, the contribution of A. García García,
Social y Cultural de la Caja Central de Ahorros y Préstamos, 1981); J.M. Parrado
“El retablo de San Benito el Real de Alonso Berruguete en el siglo XIX: un caso
del Olmo, Los escultores seguidores de Berruguete en Palencia (Valladolid: Universidad,
de estudio y destrucción del Patrimonio,”Mito, Revista Cultural, nº 25, 16 September
Secretariado de Publicaciones,1981); J.M. Parrado del Olmo, “La influencia de
2015. http://revistamito.com
Alonso Berruguete en la meseta norte, obispados de Palencia y Ávila,” in Alonso
23 I. Bosarte, Viaje artístico a varios pueblos de España (Madrid: Imprenta Real, 1800), pp.
157-159.
24 J. Martí y Monsó, Estudios histórico-artísticos relativos principalmente a Valladolid (Valladolid:
Leonardo Miñón, 1901), p. 139.
25 F. de Guevara, Comentarios de la Pintura, 1560, in Sánchez Cantón, Fuentes, I, p. 155.
26 C. de Villalón, Ingeniosa comparación entre lo antiguo y lo presente, 1539, in Sánchez
Cantón, Fuentes, I, p. 28.

“Here in Valladolid resides Berruguete whose painted figures only lack Nature to
give them the spirit to speak. He has made the retable of San Benito, which I have
seen many times; if the Princes Philip and Alexander lived now, that held the works
of their time in such high regard, they would not have treasure enough to pay him
for what they are worth.”
Berruguete: su obra e influencia, pp. 131-148.
46 J. Palomero Páramo, “Un seguidor de Berruguete en Sevilla: Juan Bautista Vázquez
‘el Viejo’,” in Alonso Berruguete: su obra e influencia, pp. 149-170.
47 J. J. Martín González, “Berruguete y Juni confrontados” in Homenaje al profesor Alarcos,
II (Valladolid: Consejo Superior de Investigaciones Científicas, 1966), pp. 889-897.
48 M. Arias Martínez, Alonso Berruguete y Gaspar Becerra. Fortuna crítica y fascinación italiana,
Discurso de ingreso en la Real Academia de Bellas Artes de la Purísima Concepción
de Valladolid, Valladolid, 2008.
49 Leone & Pompeo Leoni, Actas del Congreso internacional. Proceedings of the International Symposium,
S. F. Schröder (ed.), Madrid, Museo Nacional de Prado, 2012.
50 El Greco en su IV Centenario: Patrimonio hispánico y diálogo intercultural, E. Almancha, P. Martínez
Burgos, E. Sainz (Coord.), ed. (Castilla-La Mancha, 2016).
27 Azcárate, Alonso Berruguete, p. 51. Copied with variations by Filippino Lippi (Uffizi).
28 Arias Martínez, Alonso Berruguete, p. 134, fig. 70.
29 Matthew 17, 1-13; Mark, 9, 2-13; Luke, 9, 28-36.
30 J. Camón Aznar, “Alonso Berruguete,” Goya 1962, 50-51, pp. 78 and ff.
31 S. Ramiro Ramírez, “Artistas italianos en torno a Francisco de los Cobos (c. 1477-1547);
artistas, obras y copias,” in VII encuentro Complutense de Jóvenes investigadores de Historia del
Arte, Madrid, 27 April 2015.
32 Azcárate, Alonso Berruguete, p. 24.
33 F. Marías, El Hospital Tavera, (Seville: Fundación Casa Ducal de Medinaceli, 2007).
From 1933 it was the seat of the Archivo Histórico de la Nobleza.
34 Don Gonzalo Jiménez de Cisneros (Torrelaguna, 1435-Roa de Duero, 1517). His
executors were in charge of the funerary monument that was installed in 1524 in
the chapel of the Colegio Mayor de San Ildefonso. The layout of the sepulchre was
designed by Domenico Fancelli, but its construction was overseen by Bartolomé
Ordóñez. In 1566, in order to protect the monument, a grille was put in under the
direction of Nicolás de Vergara “the Elder,” a sculptor from Toledo Cathedral, who
worked on it until his death in 1574. His son, Nicolás de Vergara “the Younger”
finished it before it was installed in 1591. It is now conserved in the Museo Arqueológico Nacional in Madrid and is a masterpiece of bronze sculpture made in Spain.
35 Some details of the sepulchre of Cardinal Tavera can be seen here in the pages
dedicated to the Putti.
36 J. de Arfe, De varia Commensuracion para la Esculptura y Architectura (Seville, 1585-1587);
A. Bustamante García, “El canon en la escultura española del siglo XVI,” in Actas
de las VI Jornadas de Arte La visión del mundo clásico en el arte español (1992) (Madrid,
1993), pp. 81-92.
37 J. J. Martín González, “Consideraciones sobre la vida y la obra de Alonso Berruguete,”
Boletín del Seminario de Arte y Arqueología XXVII, Valladolid, 1961, pp. 11-40.
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