Exhibition: THE SACRED REAL MADE

home-spanish-scupture-c-bannerSACRED REAL FACT (1600-1700), SPANISH RELIGIOUS ART IN THE NATIONAL GALLERY OF LONDON
Today on October 21 there is inaugurated in National Gallery of London a temporary exhibition that will bring over to the Englishmen and international tourists a type of art not known in that culture, a set of pieces representative of the highest quality obtained by the Spanish sculptors of the golden Century, specializing in polychrome wood. In the sample there group 16 works of the most significant authors of the Castilian and Andalusian schools, like Gregorio Fernández, Martínez Montañes, Juan de Mesa, Alonso Cano and Pedro de Mena proceeding from Valladolid, Seville, Toledo and Granada.

All the pieces answer to a type of piety come from the Counter-Reformation, which found in the Spain sacralizada an expressive river bed much adapted after the massive request of works on the part of Carthusians, Dominicans, Franciscans, Jesuits and penitential brotherhoods. The sculptures will find its counterpoint in another 16 paintings belonging to teachers of the size of Velázquez or Zurbarán, who the same way develop a sacred repertoire, establishing an eloquent juxtaposition of both genres.

In this type of baroque works he emphasizes the hyper-realism of the anatomies, since they were conceived to upset, with a crudeness that it moves away from the prevailing idealization during the previous Renaissance. To highlight this effect, the sculptors resorted to the use of false, like crystal eyes, ivory in the teeth, bull flagstaff in the fingernails and cork and leather in the ulcers.

249 Gregorio Fernandez-Cristo Yacente,1628-MNCSGAccording to the trade union disposition that was prohibiting the sculptors to paint its own works, the skill of the policromía was part of the formation of the painters, giving place frequently to that the sculptures were finished by big teachers, turning out to be associated in many works. It is the case of Gregorio Fernández and Diego Valentín Díaz, Juan Martínez Montañés and Francisco Pacheco or Pedro Roldán and Juan Valdés Leal. In turn, this learning influenced decisively so that many painters were trying the sculptural and realistic effect in its pictures.

Most of these works had never gone out of Spain and it is sure that they will cause authentic impression between the Saxon ones. After the stay in London, the sample will travel to National Gallery of Washington.
More information: http://www.nationalgallery.org.uk/whats-on/exhibitions/the-sacred-made-real

 

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http://domuspucelae.blogspot.com /

for José Miguel Travieso

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Exhibition: THE SACRED REAL MADE | Magazine Atticus

Exhibition: THE SACRED REAL MADE

home-spanish-scupture-c-bannerSACRED REAL FACT (1600-1700), SPANISH RELIGIOUS ART IN THE NATIONAL GALLERY OF LONDON
Today on October 21 there is inaugurated in National Gallery of London a temporary exhibition that will bring over to the Englishmen and international tourists a type of art not known in that culture, a set of pieces representative of the highest quality obtained by the Spanish sculptors of the golden Century, specializing in polychrome wood. In the sample there group 16 works of the most significant authors of the Castilian and Andalusian schools, like Gregorio Fernández, Martínez Montañes, Juan de Mesa, Alonso Cano and Pedro de Mena proceeding from Valladolid, Seville, Toledo and Granada.

All the pieces answer to a type of piety come from the Counter-Reformation, which found in the Spain sacralizada an expressive river bed much adapted after the massive request of works on the part of Carthusians, Dominicans, Franciscans, Jesuits and penitential brotherhoods. The sculptures will find its counterpoint in another 16 paintings belonging to teachers of the size of Velázquez or Zurbarán, who the same way develop a sacred repertoire, establishing an eloquent juxtaposition of both genres.

In this type of baroque works he emphasizes the hyper-realism of the anatomies, since they were conceived to upset, with a crudeness that it moves away from the prevailing idealization during the previous Renaissance. To highlight this effect, the sculptors resorted to the use of false, like crystal eyes, ivory in the teeth, bull flagstaff in the fingernails and cork and leather in the ulcers.

249 Gregorio Fernandez-Cristo Yacente,1628-MNCSGAccording to the trade union disposition that was prohibiting the sculptors to paint its own works, the skill of the policromía was part of the formation of the painters, giving place frequently to that the sculptures were finished by big teachers, turning out to be associated in many works. It is the case of Gregorio Fernández and Diego Valentín Díaz, Juan Martínez Montañés and Francisco Pacheco or Pedro Roldán and Juan Valdés Leal. In turn, this learning influenced decisively so that many painters were trying the sculptural and realistic effect in its pictures.

Most of these works had never gone out of Spain and it is sure that they will cause authentic impression between the Saxon ones. After the stay in London, the sample will travel to National Gallery of Washington.
More information: http://www.nationalgallery.org.uk/whats-on/exhibitions/the-sacred-made-real

 

Text published in

http://domuspucelae.blogspot.com /

for José Miguel Travieso

Bookmark

Filed file: General

Did he like this article? Subscribe to my RSS feed and to obtain more discharges!

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