{"id":3410,"date":"2020-03-27T13:51:57","date_gmt":"2020-03-27T13:51:57","guid":{"rendered":"https:\/\/cultureaexperience.com\/?p=3410"},"modified":"2020-03-27T13:51:57","modified_gmt":"2020-03-27T13:51:57","slug":"martinez-montanes-maestro-de-maestros","status":"publish","type":"post","link":"https:\/\/cultureaexperience.com\/en\/blog\/martinez-montanes-maestro-de-maestros\/","title":{"rendered":"Mart\u00ednez Monta\u00f1\u00e9s: Master of Masters"},"content":{"rendered":"

Master of Masters<\/h1>\n

The work of Juan Mart\u00ednez Monta\u00f1\u00e9s constitutes a milestone in Spanish sculpture<\/strong> of the Baroque and is timeless model<\/strong> from the Sevillian school.<\/p>\n

At the last exhibition Master of Masters<\/em><\/strong> An exceptional repertoire was offered that testifies to the ambition of the great commissions he undertook, the sublimity of his devotional images, and the novelty of his iconographic models.<\/p>\n

The beauty of this Masters of Masters exhibition lies in the possibility of to be able to appreciate the sculptures firsthand<\/strong>, These works, due to their location in altarpieces or hidden in convents, were not usually observed, much less from so close up.<\/p>\n

 <\/p>\n

\"\"
Mart\u00ednez Monta\u00f1\u00e9s by Vel\u00e1zquez.<\/figcaption><\/figure>\n

<\/h2>\n

Juan Mart\u00ednez Monta\u00f1\u00e9s<\/h1>\n

Juan Mart\u00ednez Monta\u00f1\u00e9s was born in 1568 in Alcal\u00e1 la Real<\/strong>, Ja\u00e9n, being the son of an embroiderer originally from Zaragoza. At twelve years old It begins in Granada.<\/strong> his artistic and arrives in Seville<\/strong> At about 19 years old, he married Ana de Villegas and had 6 children.<\/p>\n

He worked with sculptors such as N\u00fa\u00f1ez Delgado until pass the exam<\/strong> of the profession that accredited him as skilled and sufficient to practice the trade<\/em>. After that, he will work for Seville, Andalusia and America<\/strong>.<\/p>\n

The collaboration<\/strong> from the sculptor with other artists<\/strong> It will be a constant, with Juan de Oviedo, Juan de Mesa, Francisco de Ocampo, and Francisco Pacheco standing out, the latter of whom will polychrome some of his works, consolidating the matte polychromy<\/strong>.<\/p>\n

After becoming a widow in 1613, remarries<\/strong> with Catalina Salcedo, having 7 children.<\/p>\n

In 1620 a new period began intense production<\/strong>, while in Seville the economic decline is evident.<\/p>\n

Around 1630 he created the altarpiece for the Church of San Miguel in Jerez de la Frontera, the works for the convent of Santa Paula in Seville and emblematic works such as San Bruno and La Cieguecita.<\/p>\n

In 1635 in Madrid he modeled the portrait of Philip IV<\/strong> for the equestrian statue by Pietro Tacca located in the Piazza del Oiente, which is why it was called Lysippus of Andalusia<\/em><\/strong>.<\/p>\n

He died at the age of 81 <\/strong>in the plague epidemic of 1649 <\/strong>and was buried in the Church of Mary Magdalene.<\/p>\n

 <\/p>\n

\"\"
Bronze sculpture of Mart\u00ednez Monta\u00f1\u00e9s by Castillo Lastrucci.<\/figcaption><\/figure>\n

 <\/p>\n

Large Commissions<\/h1>\n

Altarpiece of the Monastery of San Isidoro del Campo<\/h2>\n

The first part of the exhibition was dedicated to the Altarpiece of the Monastery of San Isidoro del Campo<\/strong>, In Santiponce, the Hieronymite monks commissioned these works to decorate the altarpiece-sepulcher of their founders. Alonso P\u00e9rez de Guzm\u00e1n<\/strong>, called The Good<\/strong>, and his wife, Do\u00f1a Mar\u00eda Alonso Coronel<\/strong>.<\/p>\n

 <\/p>\n

\"\"
Altarpiece of one of the Churches of San Isidoro del Campo.<\/figcaption><\/figure>\n

 <\/p>\n

Both founders of the House of Medina Sidonia became the most important lineage of the high nobility in Andalusia<\/strong> during the Late Middle Ages. If you want to know more, I invite you to discover the article on our blog about the Monastery of San Isidoro del Campo<\/a>.<\/span><\/p>\n

 <\/p>\n

\"\"
Sculpture by Alonso P\u00e9rez Guzm\u00e1n.<\/figcaption><\/figure>\n

 <\/p>\n

\"\"
Sculpture by Mar\u00eda Alonso Coronel.<\/figcaption><\/figure>\n

<\/h3>\n

Saints John<\/h2>\n

Devotion to Saint Johns was very typical, Saint John the Baptist and Saint John the Evangelist,<\/strong> in the female convents of the Modern Age. This is how the Augustinian nuns of Convent of San Leandro<\/strong> He was commissioned to create an altarpiece dedicated to the life of Saint John the Baptist, the most striking feature of which is the severed head of the Baptist. Saint John the Baptist would be the last prophet and the first martyr. He has also been venerated as a prophet in other religions, such as Islam and Mandaeism.<\/p>\n

 <\/p>\n

\"\"
Saint John the Baptist.<\/figcaption><\/figure>\n

 <\/p>\n

\"\"
Head of Saint John the Baptist.<\/figcaption><\/figure>\n

 <\/p>\n

Highlander It does not always represent the saint in the same way<\/strong> and physiognomy, here he is shown beardless, <\/strong>With a slight contrapposto in the leg that lends a natural quality to the sculpture, she wears a camel-hair tunic and a red brocade cloak: a symbol of her martyrdom. With her right hand, she indicates what is truly important, which is none other than what she holds in her left: upon the book rests the Divine Lamb, the Agnus Dei, symbol of Christ. Her face expresses profound spiritual concentration.<\/p>\n

 <\/p>\n

\"\"
Saint John the Baptist by Mart\u00ednez Monta\u00f1\u00e9s.<\/figcaption><\/figure>\n

 <\/p>\n

 <\/p>\n

Devotional images<\/h1>\n

 <\/p>\n

Saint Christopher with the Child<\/h2>\n

Some of Mart\u00ednez Monta\u00f1\u00e9s' most important devotional images were his Penitent Saint Jerome or this colossal figure of Saint Christopher with the Child <\/strong>which is located in the Church of the Divine Savior.<\/p>\n

 <\/p>\n

\"\"
Saint Christopher with the Child.<\/figcaption><\/figure>\n

 <\/p>\n

With it, he anticipates the aesthetic renewal of 17th-century Sevillian sculpture<\/strong>. Masters from Castile made him incorporate common features such as the energetic body posture of the saint and a virtuoso carving.<\/p>\n

 <\/p>\n

\"\"
Saint Christopher with the Child.<\/figcaption><\/figure>\n

 <\/p>\n

Christopher means: Christ Bearer<\/em><\/strong>. This saint is entrusted with the protection of travelers and transporters. He gained fame as a protector against evil, which is why his image appears in colossal proportions in churches. In Seville, you can find him in the Cathedral or in the Church of the Convent of Santa Paula. If you want to learn more about the history of Saint Christopher, we encourage you to visit the Seville Cathedral with us\u2026<\/p>\n

 <\/p>\n

\"\"
Saint Christopher with the Child.<\/figcaption><\/figure>\n

 <\/p>\n

Saint Dominic of Guzman<\/h2>\n

The size of Saint Dominic of Guzman Penitent<\/strong>, one of its most outstanding creations<\/strong> In its mature stage, it occupied the center of the main altarpiece of the Porta Coeli convent.<\/p>\n

Francisco Pacheco, Vel\u00e1zquez's father-in-law, made his polychromy<\/strong> as well as other works. He established a preference for a matte, rather than glossy, finish, which he considered more realistic, as he argued in his treatise, The Art of Painting. Pacheco was more famous for his writings on art than for the quality of his own works.<\/p>\n

 <\/p>\n

\"\"
Saint Dominic of Guzman<\/figcaption><\/figure>\n

 <\/p>\n

Saint Bruno and the Carthusians<\/h2>\n

One figure who stands out for his powerful sobriety is Saint Bruno<\/strong>. Monta\u00f1\u00e9s made this carving for the Sevillian Charterhouse<\/strong>. A sculpture that speaks of the subject, of his hermit-like character as a path to holiness, and of the ideal Carthusians<\/strong> of silence, solitude and austerity.<\/p>\n

They are beautiful and very well cared for. folds of his habit<\/strong>. In both this work and the previous one, we see that the saints carry the cross of Christ in their hands.<\/p>\n

 <\/p>\n

\"\"
Saint Bruno.<\/figcaption><\/figure>\n

 <\/p>\n

The Altarpiece of the Church of San Miguel<\/h2>\n

 <\/p>\n

The altarpiece of the Church of San Miguel in Jerez de la Frontera was one of the most ambitious projects<\/strong> by the sculptor who made it when he was over 70 years old. On both sides of the altarpiece are the sculptures of Saint Peter<\/strong>, on the left, and Saint Paul<\/strong>, On the right. They are imposing figures with flowing robes and solemn gestures, an example of how the sculptor assimilated Baroque concepts in his maturity.<\/p>\n

 <\/p>\n

\"\"
Saint Peter and Saint Paul.<\/figcaption><\/figure>\n

 <\/p>\n

Saint Paul<\/strong> He has long hair and a softly wavy beard. He stands erect, in contrapposto, reinforced by the oblique line of his cloak. This directs the viewer's gaze to the sword, a symbol of his martyrdom, and to the New Testament. The rich ornamentation of his garments, simulating damask, is particularly striking.<\/p>\n

 <\/p>\n

\"\"
Saint Paul<\/figcaption><\/figure>\n

 <\/p>\n

Saint<\/strong> Peter<\/strong> He stands with a static yet powerful pose, holding the golden key to the gates of Paradise and the Gospels. His hair is curly, with the characteristic mountain-style topknot, and his face is highly expressive. The tunic and mantle envelop the figure in motion. Decorative vegetal motifs are sgraffitoed in gold. The border is adorned with brushstrokes.<\/p>\n

 <\/p>\n

\"\"
Saint Peter<\/figcaption><\/figure>\n

 <\/p>\n

 <\/p>\n

Iconographic contributions<\/h1>\n

The Society of Jesus<\/h2>\n

Among the iconographic contributions to the Sevillian Baroque, the commissions made by [names of artists\/artists] stand out. the Society of Jesus<\/strong>, to celebrate their festivities and recognize their promoters: Saint Ignatius of Loyola and Saint Francis Borgia. Monta\u00f1\u00e9s faithfully interprets the saints, both in their physical appearance and in their profound spirituality.<\/p>\n

 <\/p>\n

\"\"
Saint Ignatius of Loyola.<\/figcaption><\/figure>\n

 <\/p>\n

In it Saint Ignatius of Loyola<\/strong>, The figure, of spectacular stature, was polychromed by Pacheco, who said that "it truly seems alive." He used shadows on the cheekbones and nose, and color on the veins, applying egg white varnish to the eyes to give them realism.<\/p>\n

 <\/p>\n

\"\"
Saint Ignatius of Loyola.<\/figcaption><\/figure>\n

 <\/p>\n

 <\/p>\n

The Immaculate Conception<\/h2>\n

Like other contemporaries, Monta\u00f1\u00e9s dedicated himself to the theme of Childhood and Motherhood with his Virgins, his Child Jesuses and their Immaculate<\/strong>. A mother who blesses and looks upon her faithful with great sweetness in her face.<\/p>\n

 <\/p>\n

\"\"
Virgin of the Ribbon of the Huelva Cathedral.<\/figcaption><\/figure>\n

 <\/p>\n

At the beginning of the 17th century in Seville, devotion to the Immaculate Conception<\/strong> Concepci\u00f3n expressed herself through a repertoire of images that spread rapidly. Preachers and artists collaborated in this dissemination.<\/p>\n

 <\/p>\n

\"\"
The Little Blind Girl.<\/figcaption><\/figure>\n

 <\/p>\n

Monta\u00f1\u00e9s carved Immaculate Conceptions<\/strong> Beginning with the one in the church of El Pedroso, with hands joined in prayer and face turned away, an expression of modesty that avoids direct eye contact. This example would inspire the Immaculate Conceptions in the Sevillian parishes of San Juli\u00e1n, San Andr\u00e9s, and the Convent of Santa Clara, reaching perfection with the Little Blind Girl<\/strong>, according to the model proposed by Pacheco<\/strong>: a woman crowned with stars, clasping her hands and a throne of angels with the moon at her feet.<\/p>\n

 <\/p>\n

\"\"
The Little Blind Girl.<\/figcaption><\/figure>\n

 <\/p>\n

The Little Blind Girl<\/strong> The Immaculate Conception in Seville Cathedral is the most famous. It conforms to this apocalyptic model of the Virgin. It displays unadorned beauty and grace, inspiring devotion and inviting prayer. Her bowed face signifies humility and modesty.<\/p>\n

 <\/p>\n

\"\"
Face of La Cieguecita.<\/figcaption><\/figure>\n

 <\/p>\n

The Crucified<\/h2>\n

The images of crucified<\/strong> are among the artist's best creations<\/strong> for his perfect anatomical knowledge and elegant, spiritualized classicism.<\/p>\n

 <\/p>\n

\"\"
Crucified figures of the master.<\/figcaption><\/figure>\n

 <\/p>\n

Christ of the Forsaken<\/strong><\/h3>\n

This sculpture belongs to the Convent of Santo \u00c1ngel in Seville. It depicts a dead Christ, with three nails, which aligns it with the works of Juan de Mesa, his most accomplished disciple. The face features the characteristic forked beard, delicately carved, as are the locks of hair, a technique also employed by Juan de Mesa.<\/p>\n

 <\/p>\n

\"\"
The Christ of the Forsaken.<\/figcaption><\/figure>\n

 <\/p>\n

The Christ of Clemency<\/h3>\n

The canon Mateo V\u00e1zquez de Leca<\/strong> He commissioned him to create a crucifix for his private oratory, and it became one of his most emblematic works: the Christ of Clemency.<\/p>\n

I had to present to Living Christ<\/strong>, Before expiring, with his head bowed towards the faithful, he invited them to prayer.<\/p>\n

 <\/p>\n

\"\"
Christ of Clemency.<\/figcaption><\/figure>\n

 <\/p>\n

It stands out for the harmony of its proportions<\/strong>, the expressive balance and conveys great serenity.<\/p>\n

It surprises because of its intense naturalism,<\/strong> enhanced by the matte and light polychromy of Pacheco<\/strong>, becoming a key work in the production of both.<\/p>\n

 <\/p>\n

\"\"
Christ of Clemency.<\/figcaption><\/figure>\n

 <\/p>\n

 <\/p>\n

A great art exhibit<\/h1>\n

With this brief overview<\/strong>, I hope I have given you an idea of what a wonderful exhibition it has been Master of Masters<\/strong><\/em> From the Museum of Fine Arts of Seville. I look forward to seeing you on our social media: Facebook<\/em>, Instagram<\/em>, on our blog Culturea Experience<\/em> as well as in future guided tours in the city of Seville and province.<\/p>","protected":false},"excerpt":{"rendered":"

Master of Masters: The work of Juan Mart\u00ednez Monta\u00f1\u00e9s constitutes a milestone in Spanish Baroque sculpture and is an enduring model of the Sevillian school. The recent Master of Masters exhibition offered an exceptional selection that testifies to the ambition of the major commissions he undertook, the sublimity of his devotional images, and [\u2026]<\/p>","protected":false},"author":1,"featured_media":3425,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_joinchat":[],"footnotes":""},"categories":[158,203,45],"tags":[250,194,65],"class_list":["post-3410","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arte","category-tour-de-arte","category-cultura","tag-arte-barroco","tag-museo-de-bellas-artes","tag-sevilla"],"yoast_head":"\nMart\u00ednez Monta\u00f1\u00e9s: Maestro de Maestros | Culturea Experience<\/title>\n<meta name=\"description\" content=\"Una breve rese\u00f1a de lo que ha sido la exposici\u00f3n de escultura Maestro de Maestros en honor al escultor barroco Mart\u00ednez Monta\u00f1\u00e9s en el Museo de Bellas Artes\" 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