Juan de Mesa_Master of Passion - Page 36



notes
1.
One of the first exhibitions to bring them to the attention of the public outside
they were of German origin. See e.g., Fernando De la Villa Nogales and Esteban
of Spain, and to relate their work to the art of painters such as Diego Velázquez
Mira Caballos, “El Crucificado de la Hermandad de la Amargura de Carmona:
and Francisco de Zurbarán, was The Sacred Made Real at the National Gallery in
Obra de Jorge Fernández Alemán (1521),” Atrio 5, 1993, pp. 7-13.
London and National Gallery of Art in Washington from October 2009 to May
10.
Bray, The Sacred Made Real, p.17.
2010. See Xavier Bray, ed., The Sacred Made Real: Spanish Painting and Sculpture,
11.
José Gestoso Pérez, Ensayo de un diccionario de artífices que florecieron en Sevilla desde
1600-1700 (London: National Gallery, 2009). Also see e.g., The Spanish Golden Age:
el siglo XIII hasta el XVIII, vol. 1, (Seville: 1899, en la oficina de la Andalucía
Painting and Sculpture in the Time of Velázquez (Berlin: Hirmer, 2016).
2.
3.
Moderna), Seville, 1899, pp. 324-325.
See e.g., “Lorenzo Mercadante, primus inter pares of northern European
12.
Gestoso Pérez, Ensayo de un diccionario de artífices, vol. 1, p.324.
sculptors in fifteenth-century Castile,” in Lorenzo Mercadante de Bretaña: Virgen
13.
A. Floriano Cumbreno, “El retablo de Santa María la Mayor de Cáceres,” Boletín
del Buen Fin, eds. Nicola Jennings and Teresa Laguna Paul, (London:
del Seminario de Estudios de Arte y Arqueología VII (1940-1941), p.85; José Hernández
Colnaghi, 2016), pp. 13-44.
Díaz, “Roque de Balduque en Santa María de Cáceres,” Archivo Español de Arte,
José Hernández Díaz, “Crucificados medievales sevillanos. notas para su
catalogación,” in Homenaje al Dr. Muro Orejón vol. I, ed. Antonio Muro Orejón
1970, vol. 43, 172, pp. 375-384.
14.
(Seville: Universidad de Sevilla, Facultad de Filosofía y Letras, 1979), pp. 47-54.
4.
Michelangelo’s Madonna was produced between 1504 and 1506 when it was
Boston: Brill, 2012).
15.
is generally described as a Mannerist, his drawings for the altarpiece of the
1506 establish that Torrigiani was active as a sculptor in Rome, Florence and
church of Santa Ana look towards the naturalism which would be associated
elsewhere in Italy until 1506 when he moved to northern Europe. See Alan
with later artists including Velázquez. See Juan Serrera, “Sevilla y Velázquez,” in
Phipps Darr, Pietro Torrigiani (1472-1528) Grove Art Online, https://doi-org.
Velázquez y Sevilla, exhibition catalogue (Seville: Junta de Andalucia, Consejeria de
published online 2003, updated 2010, accessed January 2018.
cultura 1999), pp. 51-59.
16.
La Escultura del Renacimiento en España (Barcelona: Pantheon, 1931), pp.
form see Johannes Taubert, “Introduction: Plastic Form and Color,” in Polychrome
79- 80. Also see Margarita M. Estella Marcos, Juan Bautista Vázquez el Viejo en
Sculpture: Meaning, Form, Conservation, eds. Johannes Taubert, Michele Marincola
Castilla y America, Nicolas de Vergara, su colaborador (Madrid: Consejo Superior de
2015), pp. 1-13. Also see e.g., Susie Nash, “The Lord’s Crucifix of Costly
Investigaciones Científicas, 1990), pp. 32-33.
17.
Workmanship: Colour, Collaboration and the Making of Meaning on the Well
Universidad de Córdoba, 2014), pp. 43-44.
18.
Porres Benavides, La técnica, pp. 27-28.
Kunsthalle München; Hirmer: Gemäldegalerie, Staatliche Museen zu Berlin,
19.
Porres Benavides, La técnica, p .33.
2010), pp. 356-381.
20.
Cited by Elizabeth du Gué Trapier in Luis de Morales and Leonardesque Influences in
Hanno-Walter Kruft, “Pace Gagini and the Sepulchres of the Ribera in Seville,”
Spain (New York: Hispanic Society of America, 1953), p. 33.
21.
de Historia de Arte (Granada 1973)(Granada: Universidad de Granada: 1977),
Alfonso Rodríguez G. de Ceballos, “The Art of Devotion. Seventeenth-Century
Cathedral similar in type to the pathetic Crucifixi Dolorosi in Seville.
22.
34
Although the Virgen de las Fiebres is undocumented, Hernández Díaz and other
Spanish Painting and Sculpture in its Religious Context,” in Bray, ed., The Sacred
experts from Seville attribute it without question to Vázquez. See e.g., José
Made Real, p. 45.
Hernández Díaz, Imaginería hispalense del Bajo Renacimiento (Seville: Consejo
José Roda Peña, “El triunfo del naturalismo en la escultura sevillana,” in Cuesta
Superior de Investigaciones Científicas, Instituto “Diego Velázquez,” Sección de
Hernández et al., La consolidación del barroco en la escultura andaluza e hispanoamericana
9.
The idealized nature of Vázquez’s Cristo de Burgos is particularly striking given
that it is named after a fourteenth-century figure of the same name in Burgos
vol. 2, pp. 327-338.
8.
Jesús Ángel Porres Benavides, La técnica de Juan Bautista Vázquez el Viejo (Cordoba:
of Moses,” in Circumlitio: The Polychromy of Antique and Medieval Sculpture (Munich:
in España entre el Mediterráneo y el Atlántico, Actas del XXIII Congreso Internacional
7.
On Gómez-Moreno’s attribution, see Manuel Gómez-Moreno y Martínez,
For an interesting discussion of the contribution of polychromy to meaning and
and Carola Kleinstürck-Schulman (Los Angeles: Getty Conservation Institute,
6.
As Benito Navarrette and Juan Serrera have pointed out, although Campaña
shipped to Bruges. Recently discovered documents dating between 1493 and
ezproxy2.londonlibrary.co.uk/10.1093/gao/9781884446054.article.T085753,
5.
See e.g., Barbara Baert, Caput Johannis in Disco: Essay on a Man’s Head (Leiden;
Sevilla, 1951), p. 26.
(Granada: Universidad de Granada, 2013), p.151.
23.
Hernández Díaz, Imaginería hispalense, p. 52.
It is not known where they were born but their last name, Alemán, indicates that
24.
Hernández Díaz, Imaginería hispalense, p. 53.
35

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