45

拍品詳情

古典雕塑及工藝品

|
倫敦

Circle of Juan de Anchieta (1462-1523)
Spanish, 16th century

CHRIST AT THE COLUMN
wood, with later polychromy and gilding
figure: 171cm., 67 3/8 in.
overall including column: 188cm., 74in. 
參閱狀況報告 參閱狀況報告

相關資料

The Spanish mannerist sculptor Juan de Anchieta, often hailed as one of the most important promoters of Roman Mannerism, or Romanism, in Spain, was active throughout Northern Spain from 1551 until his death in 1588. He contributed to and produced a number of important altars for parish churches and cathedrals, of which some survive in their original settings, including reliefs on the altarpiece of the Church of Santa Clara in Briviesca and the church of El Salvador in Simancas, which has only in recent years been attributed to the sculptor (op. cit. pp. 90-95).

Originally from the Basque country, Juan de Anchieta travelled to Valladolid in 1551 to be apprenticed as a sculptor. While in Valladolid, he familiarised himself with works by lauded Spanish Renaissance sculptors Alonso Berruguete and Juan de Juni. Having completed his apprenticeship in 1557, Juan de Anchieta was immediately hired by Gaspar Becerra to work as an assistant on the altarpiece of the Cathedral of Astorga. Becerra, who had just returned from a ten year tenure in Rome, was perhaps of most decisive influence on Anchieta’s artistic style. Having returned from Rome, where Becerra worked with Giorgio Vasari, and was influenced by the work of Michelangelo, his collaboration with Anchieta on the altarpiece in Astorga shows clearly the first establishments of a Spanish Romanism, where the characteristics associated with the Mannerism of the Italian school were translated to a distinctly Spanish interpretation in wood. The opulent, heavy folds of drapery, frowning, square faces, impressively muscled bodies and complicated poses are all Michelangelesque features which first appeared in this collaborative work, and to which Juan de Anchieta would return repeatedly over his career, which would take him across the entirety of Northern Spain.

The present, impressive statue of the Bound Christ, is imbued with Mannerist innovations which Anchieta brought to Northern Spain. Compare with Anchieta's St Jerome, as well as the Corpus from the Retablo mayor de Simancas for the elongated muscular torso (Vassallo, op. cit., figs. 10 and 212).

RELATED LITERATURE
L. Vasallo Toranzo, Juan de Anchieta: Aprendiz y oficial de escultura en Castilla (1551 – 1571), Valladolid, 2012, figs. 10 and 212

古典雕塑及工藝品

|
倫敦