Un retablo del ensamblador Cristóbal Romero y el pintor Manuel Rodríguez para el convento de Santo Domingo de Llerena (1644-1648)
In 1644 Alonso Herrero de Chaves and Francisca Galíndez made a will in the city of Llerena. The material tesimony of their legacy was represented in a altarpiece dedicated to San Ildefonso, it was located in Convent of Santo Domingo from the same city. The work of the altarpiece - sculpture and pain...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | Spanish |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Editorial San Esteban
2022
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| In: |
Archivo Dominicano
Year: 2022, Volume: 43, Pages: 167-192 |
| Online Access: |
Volltext (kostenfrei) |
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| 520 | |a In 1644 Alonso Herrero de Chaves and Francisca Galíndez made a will in the city of Llerena. The material tesimony of their legacy was represented in a altarpiece dedicated to San Ildefonso, it was located in Convent of Santo Domingo from the same city. The work of the altarpiece - sculpture and painting - was estrusted to Cristobal Romero (assembler of altarpiece) and Manuel Rodríguez (painter and grilder). This altarpiece represents a style that preceded the salomonic baroque established by Blas of Escobar en Zafra (1657), although it is also a testimony of a city (Llerena) with active workshops during the first half of the seventeenth century. | ||
| 520 | |a En 1644 Alonso Herrero de Chaves y Francisca Galíndez otorgaron testamento en la ciudad de Llerena. El testimonio material de su legado quedó representado en una obra de retablo dedicado a San Ildefonso, éste fue ubicado en el convento de Santo Domingo de la misma ciudad. La obra fue encomendada al ensamblador de retablos Cristóbal Romero, y al pintor y dorador Manuel Rodríguez. La obra representa un estilo decorativo y anticlásico que evolucionó del clasicismo purista precedente y encontró su final con la aparición del barroco salomónico instaurado por Blas de Escobar en Zafra (1657). También se convierte en testimonio de una ciudad (Llerena) con talleres de retablos activos durante la primera mitad del siglo XVII. | ||
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