(This museum quality archival giclee on canvas is printed ...)
This museum quality archival giclee on canvas is printed using state-of-the-art digital technology. Printed on artist-grade canvas each item is hand-inspected for quality assurance and then coated with a protective sealant that provides UV and scratch protection. Each item is then hand-stretched around solid pine stretcher bars for a clean and read-to-hang finish. Depending on the size ordered the piece will then be affixed with either a Saw-Tooth hanger or a traditional hanging hook and wire in the case of larger items. this canvas has what we call a gallery wrap. In other words the sides are mirrored images of the face of the canvas. It is a contemporary gallery look that helps to accentuate the design.
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(The combined collections of the Museum Boijmans Van Beuni...)
The combined collections of the Museum Boijmans Van Beuningen, the Rijksmuseum, the Teylers Museum and the Rijksprentenkabinet in Leiden together contain over 40 drawings by Spanish master artists. The drawings cover more than four centuries of work and reveal the development of the Spanish art of drawing. Among these works on paper are masterworks from the Spanish Golden Age, including Jusepe de Ribera, Bartoloma Murillo and the famous School of Madrid. The collections also contain unique works by the sculptors Alonso Berruguete and Pedro de Meia, of whom very little is known. Of particular interest herein are drawings from the 19th century, most of them by Francisco de Goya. The majority of works included in this publication are unknown, proving particularly resourceful to the scholar of Spanish art history as well as to avid fans of works on paper. This publication is the first to document this particular collection.
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(Every oil painting of ours is 100% hand painted one brush...)
Every oil painting of ours is 100% hand painted one brushstroke at a time by one of our experienced artists. We have highly skilled and experienced artists who are able to beautifully reproduce any genre of oil painting. Our artists do not use printers to assist in the painting process. Since the oil paintings are completely hand-painted and not machine generated on an assembly line and because different computer screens may have different depictions of colors, there is always a slight variation between the reproduction and the original work of art. As such, each painting cannot be considered as an exact replica of the original painting, however, we can guarantee that our artists will work carefully and pay special attention to the features and details of each oil painting to make the reproduction as close to the original as possible. What we offer is a genuine hand-painted oil painting by an artist on canvas, painted one brushstroke at a time, the same way the masters have painted for centuries.
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(AZCARATE, J. M.: ALONSO BERRUGUETE. CUATRO ENSAYOS. SALAM...)
AZCARATE, J. M.: ALONSO BERRUGUETE. CUATRO ENSAYOS. SALAMANCA, 1988, 95 p. color laminas.Encuadernacion original. Nuevo.
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Alonso Berruguete was born in 1488 in Paredes de Navas, Valladolid, the son of Pedro Berruguete, Spain's first major Early Renaissance painter. Pedro was trained in Italy, and it is understandable that he would want his son to have an Italian formation.
Berruguete's original purpose was to train as a painter, but he had the opportunity to study sculpture under Michelangelo, whom he is said to have assisted in the execution of some works.
Alonso was in Florence from about 1504, the year of his father's death, until about 1517. He also spent time in Rome during this period.
Berruguete received minor commissions, such as the completion of paintings and sculptures left unfinished by other artists.
On his return to Spain, Berruguete executed an alabaster relief, the Resurrection, for Valencia Cathedral (ca. 1517), which compares favorably with early works by Michelangelo. It is Hellenistic in its anatomical beauty, multiple diagonals, and range of relief projection. The figure of Christ is the climactic center of interest: a vertical, stabilizing force amid a tumult of diagonals described in the agitated movements of the startled Roman soldiers.
In 1518 Emperor Charles V named Berruguete court painter. When illness prevented Berruguete from sailing to Germany with Charles V in 1520, the Emperor took it personally and turned a deaf ear to Berruguete's subsequent petitions for commissions. He then returned to his native village until 1523, when Charles V named him a scribe of the criminal section of the Chancery in Valladolid.
This gave Berruguete social status, an income, and work he could deputize. Henceforth, he set himself to amass riches and advance socially. He established a studio in Valladolid, hired a number of apprentices, and priced his works above those of all other artists. It was a time of great wealth in Spain; Berruguete had seen sumptuous riches in Italy and was determined to so live that his compatriots would accord him the reverence and acclaim enjoyed by Italian artists.
Berruguete discovered his own style in the mid-1520s. It provoked impassioned discussion, since expression was more important to him than formal considerations. His figures are like exposed nerves: writhing, throbbing, burning, keening, wailing, cursing. The emaciated anatomy is dislocated; the stance is unstable, in defiance of the logic of gravity; and the tortured draperies seem glued to the forms. His art is a projection of his state of mind, which he forces the spectator to share by the stridency of the convulsed forms, the relentless brilliance of color, and the feverish rhythms on a monumental scale.
Berruguete worked mostly in polychromed wood but also in marble, alabaster, stone, and unpainted wood (for choir stalls). It has been said that his genius lay less in sculpture and painting than in a rhetoric that was an eloquent fusion of both arts. Certainly he often painted the lights and shadows for his sculptures with complete indifference to the actual light in which they would be viewed, and sometimes he used his brush to depict cloth coverings which were not carved.
Berruguete's tremendous altarpieces filled the entire apse of the church and were subdivided by architectural elements lavishly decorated and acting as frames for the individual figures and the relief panels. This huge, exotically ornate framework was like a setting for an opera, and Berruguete used it to establish the notes of restlessness and imbalance which his sculptural actors clarified and augmented. He created a single spectacle of extravagant ornament, drama, and personages. The synthesis he intended depends on the total work; yet seeing the altarpiece of S. Benito (1527-1532; now in Valladolid Museum) in fragments, one can know intimately the awesome emotion of Abraham and Isaac in extremis or the exquisite poignancy of the suffering youthful St. Sebastian. In the almost complete altarpiece for the monastery of La Mejorada, Olmedo (1526; now in Valladolid), one can compare the synthesis and the isolated agony.
The consensus of opinion is that Berruguete carved and painted all his polychromed-wood figurative sculpture but relied heavily on assistants to execute such works as the alabaster Transfiguration in Toledo Cathedral (1543-1548) and his last work, the marble funeral monument of Cardinal Juan de Tavera in the Hospital of St. John, Toledo (1557-1561). Indeed, when Cardinal Tavera commissioned the choir stalls of unpainted wood in Toledo Cathedral (1539-1543), he urged Berruguete to execute them not by his own hand but rather "by good apprentices. " This fact does not settle the matter; each authority must decide for himself when it is the hand of the master and when not.
In 1528 Berruguete built himself a palace in Valladolid, opposite the monastery of S. Benito, for which he created his greatest altarpiece. He succeeded so well in his ambitions that in 1542 he sold the Emperor's benefice for 4, 000 ducats. Two years before he died, he became a squire when the regent of Portugal, Princess Juana, gave him the village of Ventosa with its 120 inhabitants.
(The combined collections of the Museum Boijmans Van Beuni...)
(Every oil painting of ours is 100% hand painted one brush...)
(This museum quality archival giclee on canvas is printed ...)
(AZCARATE, J. M.: ALONSO BERRUGUETE. CUATRO ENSAYOS. SALAM...)
