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Course: Europe 1300 - 1800 > Unit 7
Lesson 3: 16th century- A miraculous appearance for a queen: Juan de Flandes, Christ Appearing to His Mother
- A wedding and a miracle for the queen of Spain: Juan de Flandes, Marriage at Cana
- The Cantino Planisphere
- Bringing the figure to life, Berruguete at The Met
- Bringing the figure to life, Berruguete at The Met
- Alonso Berruguete, Abraham and Isaac
- Fernando Yáñez de la Almedina, Head of Christ
- The Tower of Belém
- Belém Monstrance
- Alejo Fernández, Virgin of the Navigators
- Sacred geometry in a Renaissance ceiling from Spain
- El Escorial, Spain
- El Greco, Burial of the Count Orgaz
- El Greco, View of Toledo
- El Greco, Adoration of the Shepherds
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Bringing the figure to life, Berruguete at The Met
By Dr. Lauren Kilroy-Ewbank and Dr. Steven Zucker
Introduction
Alonso Berruguete was one of the most important artists of renaissance Spain, excelling at painting and sculpture among other things. Today he is well-known for his sculptures, which testify to his remarkable ability to carve marble, alabaster, or wood. This sculpture is polychromed (painted) wood.
As a young artist he traveled to Italy in 1504, where he came into contact with Michelangelo and engaged with his art while in Rome. He spent most of his time in Florence, painting in the mannerist style (Mannerism is a late renaissance style). After his return to Spain in 1518, he was made the king’s court artist, but primarily turned to sculpture for the remainder of his life. He and his workshop made elaborate retablos (altarpieces), which often took up the entirety of the apse of a church and required carpenters, gilders, painters, and sculptors to create such towering and impressive religious artworks.
While we do not know exactly who is depicted in this sculpture of the saint at The Metropolitan Museum of art, it offers a powerful example of Berruguete’s mannerist tendencies, his skill at carving in wood, and his work on religious retablos. It is most likely a sculpture that once rested on the corner of a retablo, indicated by the uncarved and unpainted back.
Berruguete’s life as an artist also reminds us of the mobility of artists in the sixteenth century. They moved around — to train, to study, and to find work. Today we tend to associate artists with a specific region or modern-day nation, but in the sixteenth century (and earlier) artists were often on the move.
See further learning resources here
Additional resources:
Learn more about making a Spanish polychrome sculpture
Read more about the medieval and renaissance altarpiece
Read more about mannerism
Watch a video made by the National Gallery of Art about Berruguete
Read about the process of creating one of Berruguete’s retablos
C. D. Dickerson III, Mark P. McDonald, eds., Alonso Berruguete: First Sculptor of Renaissance Spain, exh. cat. (New Haven: Yale University Press, 2019)
By Dr. Lauren Kilroy-Ewbank and Dr. Steven Zucker