Alonso Berruguete_Reinassance Sculptor - Page 31

Fig. 26. Diego de Siloe,
Virgin and Child, stone,
Granada Cathedral.
Fig. 27. Diego de Siloe,
Puerta del Perdón, stone,
Granada Cathedral.
Fig. 28. Diego de Siloe, Virgin
and Child, wood, choirstalls,
Monastery of San Jerónimo,
Siloe lived on for another sixteen years. In 1563, seriously ill,
he drafted two wills.76 In the second he left his clerk of works,
Juan de Maeda (who would marry his widow two years later) his
architectural plans and drawings along with models of an arm and a
leg. His tools and geometrical instruments he left to his son, Asensio.
The sculptor whom Gómez-Moreno called the great “señor” of the
Spanish Renaissance died on 22 October of the same year.
Even from a quick survey such as this one it is clear that the
beginnings of Renaissance style in Spanish sculpture can be traced
to a few major artists over a period of some fifty years. Those that
have been judged by later generations to be most talented are
Ordóñez, Siloe and Berruguete, three Spaniards who travelled to
Italy and brought back the art of Donatello and Michelangelo.
Ordóñez seems to have remained most faithful to Renaissance
models and always worked in unpolychromed marble or alabaster.
Siloe, as Harold Wethey noted, also used polychromed wood and
imbued his painted and gilded figures with a religiosity which was
characteristically Spanish.77 Berruguete, as Rosario Coppel sets
out in her chapter, adapted everything he had learnt in Italy in the
service of a highly personal style in which polychromy played an
integral role. It was this personal imprimatura that set him apart as
the greatest of all Spanish sculptors.


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