Juan de Mesa_Master of Passion - Page 80

Fig. 56 Gregorio Fernández, Inmaculada, 1621, polychromed wood,
Fig. 57 Juan Martínez Montañés, La Cieguecita, 1629-1632,
Salamanca, church of La Vera Cruz.
polychromed wood, Seville Cathedral.
The Andalusian representation addressed two objectives. First
and aesthetic problems, but it was expected and hoped that
an artistic one, corresponding to both the Renaissance ideal
artists, even with limited artistic resources, could come up with
in which, following the classical mode, anatomical volume is
convincing plastic representations. It is well-known that great
suggested by drapery, and the Baroque one in which human
artists interiorize their subject so as make it their own, and this
models should be true to life, referred to in contemporary
was particularly true of the sculptors who experienced the intense
documents as “al vivo y al natural”. Secondly there was a religious
religiosity of that era. We see them attempting time and again to
objective, of representing a model of feminine beauty which
create the masterpiece which would satisfy both the learned and
convincingly evoked the supernatural – not an easy thing to
the unschooled, addressing the challenge with novel solutions and
achieve. A humble young woman was chosen to be the mother
seeking to lend their works the air of truth. A modest feminine
of God, and, because of that, God also gave her the grace of
face could, by means of its grace, purity and tenderness, evoke
being conceived without the stain of original sin which tainted all
supreme beauty of body and soul. These objectives were echoed
other humans. This theological question posed difficult artistic
in the artistic and religious literature of the period.3


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