The Sacred Made Real; Spanish Painting and Sculpture 1600-1700

Bray, Xavier & Alfonso Rodriguez G. De Ceballos & Daphne S. Barbour & Judy Ozone; Eleanora Luciano

ISBN 10: 1857094220 / ISBN 13: 9781857094220

Edité par Yale University Press, 2009

A propos de cet article

In 16th- and 17th-century Spain, sculptors and painters combined their skills to depict, with astonishing realism, the great religious themes. Wooden sculptures of the saints, the Immaculate Conception, or the Passion of Christ were painstakingly carved, gessoed, and intricately painted, even embellished with glass eyes and tears and ivory teeth. Some were shockingly graphic in their depiction of Christ's sufferings; others, beautifully clothed, appeared to bring saints to glorious life. These were objects of divine inspiration to the faithful, whether displayed on altars or processed through the streets on holy days. Featuring new photography, this book reappraises the unique form of Spanish painted wooden sculpture. In addition to examining the sculpturesâ religious roles, it also explores the unique creative relationship of sculptor and painter: Velazquez's teacher and father-in-law Francisco Pacheco, for example, often painted the flesh and drapery of wood carvings by the celebrated sculptor Juan Martinez Montañà s, and taught a generation of students. The skill of painting these hyper-realistic sculptures was an integral part of an artist's training, enhancing his sensitivity to visual impact and physical presenceâ "evident in paintings of the period.

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Détails bibliographiques

• Titre: The Sacred Made Real; Spanish Painting and Sculpture 1600-1700
• Éditeur: Yale University Press
• Date de parution: 2009
• Langue: anglais
• ISBN à 10 chiffres: 1857094220
• ISBN à 13 chiffres: 9781857094220
• Reliure: Hardcover
• État de l'article: New

A propos de ce titre

Synopsis

This book is the first serious study in English to reappraise an art form crucial to the development of Spanish art. In sixteenth and seventeenth century Spain, sculptors such as Juan de Mesa, Juan Martinez Montanes, Alonso Cano and Pedro de Mena worked in a unique relationship with painters, combining their skills to depict, with astonishing realism, the great religious themes. Wooden sculptures of the saints, the Immaculate Conception and the Passion of Christ were painstakingly carved, gessoed and intricately painted, even embellished with glass eyes and tears and ivory teeth. Sometimes shockingly graphic in their depiction of Christ's sufferings, or beautifully clothed, as if brought to life, these were objects of divine inspiration to the faithful, whether on altars, or processed through the streets on holy days. Velazquez's teacher and father-in-law, Francisco Pacheco, often painted the flesh and drapery of wood carvings by the celebrated sculptor Juan Martinez Montanes, and taught a generation of students. The skill of painting these hyperrealistic sculptuires was an integral part of an artist's training, enhancing his sensitivity to visual impact and physical presence - evident in paintings of the period by Francisco Ribalta, Jusepe di Ribera, Velazquez and Zurbaran.

À propos de l'auteur

Xavier Bray is Assistant Curator of Seventeenth and Eighteenth Century Painting at the National Gallery, London. Alfonso Rodriguez G. de Ceballos was formerly Professor at the Universidad Autonoma, Madrid. Daphne Barbour and Judy Ozone are Senior Objects Conservators at the National Gallery of Art, Washington.