Sevillian school of sculpture
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The Sevillian school of sculpture—the tradition of Christian religious sculpture in Seville, Andalusia, Spain—began in the 13th century, formed a clear tradition of its own in the 16th century, and continues into the present. The sculptures are generally worked in wood in a technique known as encarnación.
The conquest of Seville by Ferdinand III of Castile
During the
Important works in the following century included the crucified Saint Peter in
15th century: Dutch and Burgundian influence
The late 15th century brought significant developments for sculpture in Seville. The influence of the early 15th century
16th century: Prosperity
With a monopoly on Spanish trade with the
Prior to this massive influx of sculptors captained by the elder Vázquez, Seville had, perhaps, primarily drawn in sculptors and influences from elsewhere. From this point, there is an unquestionable continuous tradition of sculpture specific to Seville. Furthermore, the younger Vázquez would go on to create the main altarpiece of the
Martínez Montañés
In the final quarter of the 16th century,
Evolution in the 17th century
The next generation sculptors who continued the Baroque tradition in Seville after Martínez Montañés and Cano included the Cordoban brothers Francisco Dionisio de Ribas and Felipe de Ribas (though the latter did not outlive Martínez Montañés).
In the middle third of the 17th century, the Fleming Joseph Aerts settled in Seville and Castilianized his name to José de Arce. In his native land, he had been influenced by François Duquesnoy, who, in turn, was influenced by the Baroque style of Gian Lorenzo Bernini. José de Arce introduced these new influences to Andalusia, renewing the regional and local aesthetic with a new impetus toward clarity, dynamism, and chiaroscuro.
Pedro Roldán headed an important family studio that also included his daughter Luisa Roldán ("La Roldana") and his grandson Pedro Duque y Cornejo, one of the greatest Sevillian sculptors of the 18th century. They produced numerous excellent and virtuosic Baroque altarpieces, figures, choirs stalls, etc.
Later developments
In the last decades of the 17th century, the work of Francisco Ruiz Gijón shows an acutely realistic Baroque style. Benito de Hita y Castillo and José Montes de Oca (the last with an aesthetic strongly influenced by Martínez Montañés) complete the era of Baroque sculpture in the 18th century.
Cristóbal Ramos, Juan and Gabriel Astorga, and Blas Molner were the leading Sevillian sculptors of the 19th century. All four worked almost exclusively as religious sculptors, providing sculptures for places of worship in Andalusia. Antonio Susillo continued the tradition into the 20th century, followed by his student Joaquín Bilbao. Later notable figures of the school of Seville are Enrique Pérez Comendador, Juan Luis Vassallo and Antonio Cano Correa.
Principal figures of the Sevillian school of sculpture
Antecedents
- Lorenzo Mercadante de Bretaña(active in the second half of the 15th century)
- Pedro Millán (active 1487–1507)
- Pietro Torrigiano (1472-1522)
- Isidro de Villoldo
Creation of the school
- Juan Bautista Vázquez the Elder (1510-1588)
- Juan de Oviedo the Elder (1536-1592)
- Juan Bautista Vázquez the Younger
- Jerónimo Hernández (1540-1586)
- Miguel de Adán (1532-1610)
- Gaspar del Águila (1530-1602)
- Gaspar Núñez Delgado
- Andrés de Ocampo (1555-1625)
- Juan de Oviedo the Younger (1565-1625)
Splendid era
- Juan Martínez Montañés (1568-1649)
- Francisco de Ocampo y Felguera (1579-1639)
- Juan de Mesa (1583-1627)
- José Aertz, Castilianized as José de Arce (1600-1666)
- Pedro Roldán (1624-1699)
- María Luisa Roldán, "La Roldana", (1652-1706)
Later stages
- Francisco Ruiz Gijón (1653-?)
- José Montes de Oca (1668-1754)
- Pedro Duque y Cornejo (1677-1757), grandson of Pedro Roldán
- Benito de Hita y Castillo (1714-1784)
- Cristóbal Ramos
- Los Astorga (Juan and Gabriel)
- Blas Molner
- Antonio Susillo (1857-1896)
- Joaquín Bilbao (1864-1934)
- Enrique Pérez Comendador
- Juan Luis Vassallo (1908-1986)
- Antonio Cano Correa (1909- )
- Carmen Jiménez Serrano(1920–2016)
References
- Portions of this article are translated from an article in the Spanish-language Wikipedia, which, in turn incorporates material from the Gran Enciclopedia Rialp. An GFDL. The authorization was revokedin April 2008, so we cannot add further content from that encyclopedia (although it can be used as a normal reference).
- J. HERNÁNDEZ DÍAZ. Escuela Sevillana de Escultura
- D. ANGULO IÑIGUEZ y OTROS, La escultura en Andalucía, III, Sevilla, undated.
- S. ALCOLEA, Escultura española, Barcelona 1969.
- A. DURÁN - Joan Ainaud de Lasarte, Escultura gótica, en Ars, VIII, 1956.
- J. M. DE AZCÁRATE, Escultura del siglo XVI, en Ars, XIII, 1958.
- M. E. GÓMEZ-MORENO, Escultura del siglo XVII, en Ars, XVI, 1963.
- F. J. SÁNCHEZ CANTÓN, Escultura y pintura del siglo XVIII, en Ars, XVII, 1965.
- Juan Antonio Gaya Nuño, Arte del siglo XIX, en Ars, XIX, 1966.
- MARQUÉS DE LOZOYA, Historia del arte hispánico, Barcelona 1931-49.
- M. E. GÓMEZ-MORENO, La gran época de la escultura española, Barcelona 1964.
- ÍD, Breve historia de la escultura española, Madrid 1951.
- J. HERNÁNDEZ DÍAZ, Iconografía medieval de la Madre de Dios en el antiguo reino de Sevilla, 1971.
- ÍD, Iconografía hispalense de la Virgen Madre en la escultura del Renacimiento, 1947.
- ÍD, Imaginería hispalense del Bajo Renacimiento, 1951.
- VARIOS, Catálogo arqueológico y artístico de la provincia de Sevilla, Madrid 1943-55.
- J. JIMÉNEZ PLACER y F. SUÁREZ DE LEZO, Historia del arte español, Barcelona 1955.
- B. DE PANTORBA, Imagineros españoles, Madrid 1952.