The god of wood
Spain stepped up its obsession with polychrome wood
in the Baroque period as sculpture paralleled trends in
the painting world with its tireless quest for naturalism.
Often the work was collaborative: the sculptor would
carve the wood, someone else would prepare it with
gesso and then an artist would add the paint.The aim
was to make the work as emotive as possible, a feat
usually achieved by making the sculpture eerily lifelike.
They cost a fortune to produce.The master, known
asel dios de la madera(the god of wood), was Juan
Martínez Montañés, often quoted among the top
sculptors ever produced by Spain. And his masterpiece
was theCristo de la Clemencia(c.1603), on show today
in Seville Cathedral. Gregorio Fernández was another
expert early-Baroque sculptor preoccupied with
bloodied, thorn-crowned impressions of Christ.
José de Ribera
The first Spaniard to fully explore the potential of realism painted priests and paupers.
Francisco de Zurbarán
He painted a sombre side of faith, brilliant in his use ofchiaroscuro.
Bartolomé Esteban Murillo
The most idealistic of the Baroque crew gave religion a rosy polish.
Diego Velázquez
An expressive maestro: ask the Spanish to name their painters and this guy will
probably top the list.
Claudio Coello
The last great painter of Spanish Baroque revealed a school still obsessed with
saints and royals.
The five greats of Baroque Spanish art
122
- Identity: the
building blocks of
2. Literature
and philosophy
3. Art and
architecture
4. Performing
arts
5. Cinema
and fashion
6. Media and
communications
7. Food and drink 8. Living culture:
the details of
