Tuesday, March 1, 2011

Very Sore Stomach At 33 Weeks

SPANISH RENAISSANCE SCULPTURE ARCHITECTURE RENACIM

San Sebastian. Altarpiece of San Benito. Painted wood. Alonso Berruguete. National Museum of Sculpture in Valladolid. 1526.

Berruguete Alonso, Adoration of the Magi (1526-1932), Valladolid


SPANISH RENAISSANCE SCULPTURE FEATURES
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pagan The character came to have the Italian Renaissance sculpture, based on the aesthetic foundations of the old not sat well with the demands of our arts. Anything that will provide an exaltation of the human form, to the detriment of the expression, was rejected as contrary to the principles of Christian sculpture. Pets classical principles in sculpture and decorative at the funeral, but not in the works of markedly religious, which is what customers demand and what English are forced to make the artists in our country. What matters, as it did in medieval times, is that the work expresses a religious idea, but not pleasing to the senses. The justification for this religious sculpture in the temples, is a function of teaching and expressive character. It is decorated altars, but the expression of popular devotion and demand of Christian indoctrination. These aesthetic criteria will be reaffirmed after the Council of Trent, when Spain becomes the champion of the Catholic Counter Reformation.

imagery and polychrome sculptures
Formed English workshops for woodcarvers excellent, and even reinforced by the presence of European sculptors who have been out of work for the spread of the iconoclastic ideas of Protestantism, it is logical that for the imaginary medieval material, polychrome wood, is preferred. If stone, marble or alabaster is used, is in proportion very low compared to wood, considered as the ideal vehicle for expressing or encouraging the devotion.
The material used is preferably made of pine. Arranged the material, the sculptor carving the wood block. Finished its work is a "sculpture in white", ie without polychrome. For the polychrome sculpture is rigged, then it PLASTEC fine plaster, concealing the quality of the carving. Over this layer of plaster was applied in the areas of meat and dress in a very fine red clay. On these surfaces applied gold leaf on which, once polished, solid colors are applied by stew (stew action) in the corresponding areas the meat was come to incarnate. The result was a splendid sculpture, unrealistic according to the brightness of the altar, which is to acknowledge the intellectualism of theological representaci6n popular devotion.

This disparity of views about the art of sculpture and Italian Renaissance English interpretation does not lead, however, the maintenance of archaic forms. On the contrary, we are interested not break the medieval tradition, essentially Christian, and incorporate those techniques and iconographic developments that can be assimilated and assumed, so that they can contribute to a better expression of the Christian faith.

EVOLUTION OF THE XVI CENTURY SPANISH SCULPTURE
The beginnings
The presence of Italian artists on English soil and the constant importation of works of that country, is crucial for the dissemination of new aesthetic taste. In the work of spreading the new style have an important place Fancelli Italians (1469-1519) and Pietro Torrigiano. At first we must work as the tomb of Don Diego Hurtado de Mendoza, archbishop of Seville, and the tomb of the Catholic Monarchs in the Royal Chapel of Granada, the second is the well-known work of Saint Jerome, the Museum of Seville, that is a lesson in anatomy. As for the import works should be noted the desire of the barons to source large marble tombs.
The authors identified and in order to further progress towards increasing Renaissance forms must be added names like Bush Basque (Tomb of Tostado, Avila), Philip Vigarny (choir stalls of the Cathedral of Toledo) and Damian Forment (altarpiece de Poblet). Among the authors who prepared the Renaissance sculpture should be pointed out unequivocally Bartolome Ordonez (tomb of Juana la Loca and Philip the Fair, in the cathedral of Granada), author of refined classicism. Diego of Siloam author of the tomb of Cardinal Fonseca.
School of Valladolid and the English Renaissance
full
The two great English Renaissance sculptors working in Valladolid, a city that will relieve in the second third of century XVI before Burgos brilliant workshop. Alonso

Berruguete (1488-1561), son of the painter Peter Berruguete soaked during their stay in Italy the art of Donatello and Michelangelo , but leaving it intensely dramatic predominate over the values \u200b\u200bof harmony and serenity , as expected style, to some extent, the Baroque. Berruguete sees art as an intellectual creation, away from the concept scale hitherto dominated the peninsula, together with his aristocratic sense. His carelessness and technical inaccuracies resulting from this approach, what matters is not that the work is well resolved technically, but is the product of intellectual development that is well designed according to a transcendent idea. Not interested in fine form as apparent, and the sensuality of the classics. Interested in the meaning of the work. His style
is characterized by dynamism, the asymmetry in the faces and anatomies, the flight of the repetition of images, gestures or attitudes, the variety in the study of hands and the accentuation of contraposto, reaching Figure serpentine turns in a helical plane, acquiring a flaming, creating imbalance, consistent with the spiritual turmoil of representation. On the expressive emphasis is placed on the distressing nature of existence in the struggle of the spirit to break through the crust it gripping flesh, hence the excitement, dynamism and drama of his creations. Often, to highlight this drama, uses formulas and intellectual subjective: proportionality hierarchical juxtaposition of images, inverse perspective, formal fanfare, etc. In short, this is a style that deliberately renounces the benefit of formal beauty of spiritual expression. His major works
are the Altarpiece of San Benito , Valladolid Museum, one of whose statues the San Sebastian , achieved great popularity (discussed in class), see also the analysis of the work the following link: http://www.slideshare.net/guest442d81/berruguete-san-sebastian.
The other most notable work is the choir stalls of the Cathedral of Toledo (made half with Felipe Vigarny) and amazing traces of the artist's own technical naturalness. Faced with the colossal forms of Michelangelo, Berruguete carvings are bony figures, gesticulating and nerve.

The other great sculptor who works in Valladolid is French Juan de Juni (1507-1577), but with very different qualities to the former. His work was slow and painstaking, but the results are great for its size and its tragic and turned bright polychrome. His figures are large, theatrical gestures. The compositions, overwhelmed by the lack of space, initiate mannerism. His style is strongly marked by the influence of Michelangelo. Juni
not interested in the representation of physical pain, but of the anguish of spirit. This is reflected in the movement of the figures reconcentrated deep sorrow that is expressed plastically serpentine profile, drawing a helix in space. His images are the result of a careful and elaborate reflection, aided by careful technique, savoring perfect finish and virtuous, in contrast to the careless and quick to make Berruguete.
In their songs show a predilection for the most pathetic, as La Piedad, the dead Christs Saints Burials . They are very emotional images that speak directly to the senses of the viewer, to excite his compassion.

Among his creations we can highlight:
· The Holy Burial did for the church of San Francisco de Valladolid.
· Altarpiece of the Antigua de Valladolid.
• The altarpiece of the Entombment of the Cathedral of Segovia.
• The altarpiece of the Cathedral of Burgo de Osma.
• The Virgin of Sorrows.
• The Piety of the collegiate church of San Antolin, Medina del Campo.

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