Bartolomé Ordóñez: Difference between revisions
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'''Bartolomé Ordóñez''' (c. 1480 – 6 December 1520) was a [[Spanish]] [[Renaissance]] sculptor. |
'''Bartolomé Ordóñez''' (c. 1480 – 6 December 1520) was a [[Spanish]] [[Renaissance]] sculptor. |
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==Life== |
==Life and work== |
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Little is known about Ordóñez before the last five years of his life. His [[will (law)|will]] indicates that he was an ''[[hidalgo (Spanish nobility)|hidalgo]]'' born in [[Burgos]], and that he had a sister named Marina in that city. Assuming this is correct, he would have grown up amidst the first flowering of the [[Spanish Renaissance]], where such pioneers as [[Andrés de Nájera]] were working, under the influence of [[Gil de Siloé]], who had studied in [[Italy]], and [[Domenico Fancelli]], who was from Italy.<ref>La Gran Enciclopèdia en català, Tomo 15, 2004, Barcelona, Edicions 62, ISBN 84-297-5443-1</ref> |
Little is known about Ordóñez before the last five years of his life. His [[will (law)|will]] indicates that he was an ''[[hidalgo (Spanish nobility)|hidalgo]]'' born in [[Burgos]], and that he had a sister named Marina in that city. Assuming this is correct, he would have grown up amidst the first flowering of the [[Spanish Renaissance]], where such pioneers as [[Andrés de Nájera]] were working, under the influence of [[Gil de Siloé]], who had studied in [[Italy]], and [[Domenico Fancelli]], who was from Italy.<ref>La Gran Enciclopèdia en català, Tomo 15, 2004, Barcelona, Edicions 62, ISBN 84-297-5443-1</ref> |
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In 1515 he established a studio in Barcelona, accompanied by three Italian marble sculptors, who came with him: Simón de Bellalana, Victorio Cogono and Juan Florentino. Even then, we know nothing of his actual work for the next two years. The cathedral chapter commissioned him 7 May 1517 to construct the [[choir stalls]] and the marble [[retrochoir]] of the [[Cathedral of Barcelona]]. A few months later, he and [[Juan Petit Monet]] were commissioned to create a group of sculptures representing the [[Entombment of Jesus]] for the [[Hospital de la Santa Creu de Barcelona|Hospital de la Santa Creu]]; that piece does not survive. The embellishment of the choir was in preparation for a session of the [[Order of the Golden Fleece]] over which [[Charles I of Spain]] (Charles V, Holy Roman Emperor) was to preside in the cathedral in March 1519. This first documented work by Ordóñez involved collaboration by the Italian assistants in his studio, Monet, and, because of the magnitude and urgency of the work, expert woodcarvers, probably Siloé among ther, but the unity of style and the uniform excellence shows that Ordóñez was a strong leader.<ref>Ramon Triadó, Joan, p.33</ref> |
In 1515 he established a studio in Barcelona, accompanied by three Italian marble sculptors, who came with him: Simón de Bellalana, Victorio Cogono and Juan Florentino. Even then, we know nothing of his actual work for the next two years. The cathedral chapter commissioned him 7 May 1517 to construct the [[choir stalls]] and the marble [[retrochoir]] of the [[Cathedral of Barcelona]]. A few months later, he and [[Juan Petit Monet]] were commissioned to create a group of sculptures representing the [[Entombment of Jesus]] for the [[Hospital de la Santa Creu de Barcelona|Hospital de la Santa Creu]]; that piece does not survive. The embellishment of the choir was in preparation for a session of the [[Order of the Golden Fleece]] over which [[Charles I of Spain]] (Charles V, Holy Roman Emperor) was to preside in the cathedral in March 1519. This first documented work by Ordóñez involved collaboration by the Italian assistants in his studio, Monet, and, because of the magnitude and urgency of the work, expert woodcarvers, probably Siloé among ther, but the unity of style and the uniform excellence shows that Ordóñez was a strong leader.<ref>Ramon Triadó, Joan, p.33</ref> The upper portion of the choir portrays scenes from the [[Old Testament]]—the Embarcation of [[Noah]] and the [[Sacrifice of Isaac]]—and the [[New Testament]]—[[Way of the Cross|Christ on the Road to Calvary]], the [[Descent from the Cross|Deposition of Christ]],<ref group=note>That is, the placement of the body of Jesus either on a slab (as in this portrayal) or into the arms of his mother immediately after the Descent from the Cross.</ref> and the [[Resurrection of Christ|Resurrection]]—as well as the [[Four Evangelists]] and the [[Seven Virtues]]. All are notable for their quality, and also for the iconographic originality in the presentation to the [[Virgin Mary]] of the [[prophet]]s redeemed from Hell by the risen Christ. |
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==Notes== |
==Notes== |
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== Notas == |
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Revision as of 02:39, 8 April 2010
Bartolomé Ordóñez (c. 1480 – 6 December 1520) was a Spanish Renaissance sculptor.
Life and work
Little is known about Ordóñez before the last five years of his life. His will indicates that he was an hidalgo born in Burgos, and that he had a sister named Marina in that city. Assuming this is correct, he would have grown up amidst the first flowering of the Spanish Renaissance, where such pioneers as Andrés de Nájera were working, under the influence of Gil de Siloé, who had studied in Italy, and Domenico Fancelli, who was from Italy.[1]
In 1515 he established a studio in Barcelona, accompanied by three Italian marble sculptors, who came with him: Simón de Bellalana, Victorio Cogono and Juan Florentino. Even then, we know nothing of his actual work for the next two years. The cathedral chapter commissioned him 7 May 1517 to construct the choir stalls and the marble retrochoir of the Cathedral of Barcelona. A few months later, he and Juan Petit Monet were commissioned to create a group of sculptures representing the Entombment of Jesus for the Hospital de la Santa Creu; that piece does not survive. The embellishment of the choir was in preparation for a session of the Order of the Golden Fleece over which Charles I of Spain (Charles V, Holy Roman Emperor) was to preside in the cathedral in March 1519. This first documented work by Ordóñez involved collaboration by the Italian assistants in his studio, Monet, and, because of the magnitude and urgency of the work, expert woodcarvers, probably Siloé among ther, but the unity of style and the uniform excellence shows that Ordóñez was a strong leader.[2] The upper portion of the choir portrays scenes from the Old Testament—the Embarcation of Noah and the Sacrifice of Isaac—and the New Testament—Christ on the Road to Calvary, the Deposition of Christ,[note 1] and the Resurrection—as well as the Four Evangelists and the Seven Virtues. All are notable for their quality, and also for the iconographic originality in the presentation to the Virgin Mary of the prophets redeemed from Hell by the risen Christ.
Notes
Notas
- ^ That is, the placement of the body of Jesus either on a slab (as in this portrayal) or into the arms of his mother immediately after the Descent from the Cross.
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 authorization had allowed this material to be used under GFDL. The authorization was revoked in April 2008, so we cannot add further content from that encyclopedia (although it can be used as a normal reference).
- Ramon Triadó, Joan (1998). "Segle XVI: de l'humanisme culte a l'humanisme reformat". Art de Catalunya, Escultura moderna i contemporània (in Catalan). Barcelona: Edicions L'isard. ISBN 8489931038.