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Download Alonso Berruguete: First Sculptor of Renaissance Spain The first comprehensive account in English of Renaissance Spain’s preeminent sculptor Alonso Berruguete (c. 1488–1561) revolutionized the arts of Renaissance Spain with a dramatic style of sculpture that reflected the decade or more he had spent in Italy while young. Trained as a painter, he traveled to Italy around 1506, where he interacted with Michelangelo and other leading artists. In 1518, he returned to Spain and was appointed court painter to the new king, Charles I. Eventually, he made his way to Valladolid, where he shifted his focus to sculpture, opening a large workshop that produced breathtaking multistory altarpieces (retablos) decorated with sculptures in painted wood. This handsomely illustrated catalogue is the first in English to treat Berruguete’s art and career comprehensively. It follows his career from his beginnings in Castile to his final years in Toledo, where he produced his last great work, the marble tomb of Cardinal Juan de Tavera. Enriching the chronological narrative are discussions of important aspects of Berruguete’s life and practice: his complicated relationship with social status and wealth his activity as a draftsman and use of prints how he worked with his many assistants to create his wood sculptures and his legacy as an artist. 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The first comprehensive account in English of Renaissance Spain’s preeminent sculptor Alonso Berruguete (c. 1488–1561) revolutionized the arts of Renaissance Spain with a dramatic style of sculpture that reflected the decade or more he had spent in Italy while young. Trained as a painter, he traveled to Italy around 1506, where he interacted with Michelangelo and other leading artists. In 1518, he returned to Spain and was appointed court painter to the new king, Charles I. Eventually, he made his way to Valladolid, where he shifted his focus to sculpture, opening a large workshop that produced breathtaking multistory altarpieces (retablos) decorated with sculptures in painted wood. This handsomely illustrated catalogue is the first in English to treat Berruguete’s art and career comprehensively. It follows his career from his beginnings in Castile to his final years in Toledo, where he produced his last great work, the marble tomb of Cardinal Juan de Tavera. Enriching the chronological narrative are discussions of important aspects of Berruguete’s life and practice: his complicated relationship with social status and wealth his activity as a draftsman and use of prints how he worked with his many assistants to create his wood sculptures and his legacy as an artist..
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    ART REVIEW ‘Alonso Berruguete: First Sculptor of Renaissance Spain’ Review: A Taste of Spain Embodying the ideas that flourished in Renaissance Italy, Alonso Berruguete became a sort of Iberian Michelangelo. Alonso Berruguete’s ‘Calvary Group: Crucified Christ Flanked by the Virgin Mary and St. John the retablo mayor of San Benito el Real, top PHOTO: MUSEO NACIONAL DE ESCULTURA, VALLADOLID, SPAIN the Evangelist’ (1526/33) from the retablo mayor of San Benito el Real, Eric Gibson 14 de enero de 2020 Washington We generally associate the word “Renaissance” with art produced in Italy from roughly the 15th through 16th centuries. But the ideas that flowered there spread far and wide —including to Spain, where their greatest exponent was Alonso Berruguete, an electrifying sculptor now the subject of a small show at the National Gallery of Art. Alonso Berruguete: First Sculptor of Renaissance Spain National Gallery of Art Through Feb. 17 Organized by C.D. Dickerson III of the National Gallery, Mark McDonald of the Metropolitan Museum of Art, and Wendy Sepponen of the Meadows Museum at Southern Methodist University, where it travels after closing in Washington, “Alonso Berruguete: First Sculptor of Renaissance Spain” brings together about three dozen works in all media, along with about a dozen more works by other artists for context, including his painter father, Pedro. This is the first National Gallery show exclusively devoted to so-called Golden Age Spanish sculpture, and one’s reaction after taking in its rich polychromy, emotional intensity and ability to engage with the viewer in a way that makes all other European sculpture of the period seem diffident or aloof is to say: More, please.
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