- Departamento de Historia del Arte
Facultad de Filosofía y Letras
UNIVERSIDAD DE VALLADOLID
Pza. Campus Universitario s. n.
47011 Valladolid (Spain) - +34983423000, ext 6611
Fernando Gutiérrez Baños
Universidad de Valladolid, Historia del Arte, Faculty Member
- Medieval Studies, Medieval illuminated manuscripts, Gothic Art, Medieval Wall Paintings, Gothic wall painting, Art History, and 10 moreMedieval Art, Medieval Visual Culture, Historia del Arte, Medieval Iconography, Gothic Painting, Late Gothic Painting, Wall painting, International Gothic Style, Gherardo Starnina, and Linear Gothic Styleedit
This article explores the history and early iconography of the doctrine of the Immaculate Conception with particular reference to the subject as found in the thirteenth-century wall paintings of the chapel of San Martín in the Old... more
This article explores the history and early iconography of the doctrine of the Immaculate Conception with particular reference to the subject as found in the thirteenth-century wall paintings of the chapel of San Martín in the Old Cathedral of Salamanca. It moves beyond this case study and looks at the theology, liturgy, iconography and changing approaches to the theme over time and space and suggests that it was a subject that worked on multiple levels and encompassed far more than has hitherto been believed. The role of the Crown of Castile during the initial stages of the development of this subject deserves special attention, as it received, adapted and created images to express both immaculist and maculist beliefs. Text is being published in two parts in two successive issues of Iconographica. The first part focuses on the history of the doctrine and its earliest representations and claims that the wall paintings in Salamanca are an outstanding example of one of the first formulas developed to express it, here called the Annunciation-type for the Meeting at the Golden Gate.
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Resumen: El desarrollo temprano del retablo dio lugar a diferentes soluciones. Una de ellas, centrada en las imágenes de culto que solían disponerse sobre los altares, consistió en albergar estas imágenes dentro de un baldaquino dotado de... more
Resumen: El desarrollo temprano del retablo dio lugar a diferentes soluciones. Una de ellas, centrada en las imágenes de culto que solían disponerse sobre los altares, consistió en albergar estas imágenes dentro de un baldaquino dotado de alas abatibles que permitían ocultarlas o mostrarlas según las necesidades litúrgicas. Se conoce a estos dispositivos como "retablos-tabernáculo", los cuales contaron con difusión por todo el Occidente medieval. Este artículo indaga el desarrollo de estos retablos en Castilla, con especial atención a sus orígenes, evolución y rasgos propios con respecto a otros territorios. Palabras clave: retablo; escultura gótica; pintura gótica. Abstract: The early development of the altarpiece gave rise to different solutions. One of them, focusing on the cult images that were usually on display on the altars, consisted in housing these images in a baldachin with movable wings that made possible either concealing them or showing them in accordance with the liturgical requirements. These devices are the so-called 'tabernacle-altarpieces', widespread throughout the Medieval West. This article explores the development of these altarpieces in Castile paying attention to their origins, evolution and specific features with regard to other territories.
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The chapel of St Martin of the Old Cathedral of Salamanca houses one the most important ensembles of wall paintings of Medieval Spain, spanning from the mid-13th to the mid-14th centuries. Beyond focusing specifically on every mural, the... more
The chapel of St Martin of the Old Cathedral of Salamanca houses one the most important ensembles of wall paintings of Medieval Spain, spanning from the mid-13th to the mid-14th centuries. Beyond focusing specifically on every mural, the purpose of this article is understanding the chapel as a whole as a funerary space, probably founded in the mid-13th century by bishop Pedro Pérez, and the murals in connection with this.
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Entry from the exhibition catalogue 'Eucharistia', the 2014 edition of Las Edades del Hombre, which took place in Aranda de Duero. In this instance, one of the sculptures from the tomb of king Juan II and his wife Isabel de Portugal in... more
Entry from the exhibition catalogue 'Eucharistia', the 2014 edition of Las Edades del Hombre, which took place in Aranda de Duero.
In this instance, one of the sculptures from the tomb of king Juan II and his wife Isabel de Portugal in the Carthusian monastery of Miraflores, in the vicinity of Burgos (a masterwork of Late Gothic sculpture by master Gil de Siloe), is analysed.
In this instance, one of the sculptures from the tomb of king Juan II and his wife Isabel de Portugal in the Carthusian monastery of Miraflores, in the vicinity of Burgos (a masterwork of Late Gothic sculpture by master Gil de Siloe), is analysed.
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Entry from the exhibition catalogue 'Reconciliare', the Las Edades del Hombre 2017 edition in Cuéllar (Segovia). It contains the study of the early 15th century Mudéjar pantheon of the presbitery of the church of San Esteban in Cuéllar.
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The Clarissan Convents of Salamanca and Toro, founded in the 13th century, have preserved the Medieval wall paintings that once decorated their choirs. This contribution discusses these ensembles in the context of other European painted... more
The Clarissan Convents of Salamanca and Toro, founded in the 13th century, have preserved the Medieval wall paintings that once decorated their choirs. This contribution discusses these ensembles in the context of other European painted monastic choirs and female enclosures.
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Research Interests: Art History, Medieval History, Medieval Studies, Visual Culture, Monastic Studies, and 23 moreCulture, Early Medieval Archaeology, Medieval Church History, Early Medieval History, Medieval Archaeology, History of Art, Church History, Monasticism, Medieval Art, Spain (History), History of Monasticism, Cathedrals (Medieval Studies), Archaeology of Medieval Monasteries, Medieval Spain, Spain, Medieval Art History, Historia del Arte, Medieval History of Spain, Medieval Monasticism, Early Medieval Monasticism, Benedictine Monasticism, History of Art and Architecture, and História da arte
It has become a commonplace stating that in the former Crown of Castile, quite different from the former Crown of Aragon, records about artistic practices in the Low Middle Ages are scarce in number and limited in content, especially... more
It has become a commonplace stating that in the former Crown of Castile, quite different from the former Crown of Aragon, records about artistic practices in the Low Middle Ages are scarce in number and limited in content, especially before the 15th century. This contribution explores how far this is real concerning painting and painters (and, if it is real, what are the causes). First of all, the different types of written sources (documentary, epigraphic and literary sources) will be analyzed. Then, the word ‘pintor’ itself will be discussed, as its meaning is not always coincident with its modern meaning. As from written sources we can obtain mainly a list of names of ‘painters’, we will consider what kind of useful information they provide. A few relevant documents (contracts, letters of payment, accounts…) will allow us to approach the way painters used to work. Last, focus will lay on interchanges with other territories revealed by written sources as a key force in the development of Gothic painting in Castile.
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In 2013 the entrepreneur José Luis Várez Fisa (1928–2014) donated to the Museo del Prado several outstanding works of art dating from the Medieval and Early Renaissance periods, including a richly painted Castilian Gothic alfarje, or flat... more
In 2013 the entrepreneur José Luis Várez Fisa (1928–2014) donated to the Museo del Prado several outstanding works of art dating from the Medieval and Early Renaissance periods, including a richly painted Castilian Gothic alfarje, or flat wooden ceiling, from his private collection. The alfarje was said to have come from the demolished church of Santa Marina in Valencia de Don Juan (León). In this article, detailed research into the origins of the roof and its structural features leads to the conclusion that it is in fact a product of the antiquarian market, made from genuine painted beams dating from various periods and hailing from different locations, to satisfy the interest of twentieth-century art collectors in such works.
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This paper analyses the Medieval wooden sculptures representing the Crucified Christ from the province of Palencia (Spain) that are nowadays used in religious parades and other liturgical functions during the Holy Week. These works,... more
This paper analyses the Medieval wooden sculptures representing the Crucified Christ from the province of Palencia (Spain) that are nowadays used in religious parades and other liturgical functions during the Holy Week. These works, ranging from the 13th to the 15th centuries, were never intended for this purpose, but later devotion made them suitable for it. On the one hand, this facilitated their preservation, but, on the other hand, this obscures their study, as quite often they are heavily overworked. These issues, together with their original features, are discussed in this paper, originally presented to an international conference held in Murcia in 2007. NOTICE: this offprint includes the pictures of all the sculptures discussed, which were not included in the proceedings volume.
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Resumen: El convento de Santa Clara de Toro (Zamora) fue fundado a mediados del siglo XIII. Tras su destrucción durante las luchas intestinas que distinguieron a Castilla a finales de esta centuria, su fábrica fue reconstruida, de manera... more
Resumen: El convento de Santa Clara de Toro (Zamora) fue fundado a mediados del siglo XIII. Tras su destrucción durante las luchas intestinas que distinguieron a Castilla a finales de esta centuria, su fábrica fue reconstruida, de manera que fue habitado de nuevo por las monjas clarisas, quienes aún lo ocupan. Su arquitectura corresponde, fundamentalmente, a la reconstrucción llevada a cabo a principios del siglo XIV, pero se encuentra oculta por las obras efectuadas entre los siglos XVI y XVIII que le confieren una apariencia barroca. En el coro de esta estructura medieval enmascarada se descubrió, en la década de 1950, un conjunto de pinturas murales de mediados del siglo XIV, uno de los conjuntos más importantes de su clase jamás recuperados en Castilla, pero, de inmediato, estas pinturas murales fueron arrancadas y vendidas. Tras una serie de circunstancias, regresaron a Toro para ser instaladas en otro edificio, la iglesia de San Sebastián de los Caballeros, convertida en museo. Como consecuencia de todas estas vicisitudes, se perdió para siempre la disposición y el sentido originarios de estas pinturas murales. La reconstrucción virtual tridimensional (3D), basada en unos rigurosos análisis y crítica de las fuentes históricas y en un examen minucioso del espacio donde una vez se dispusieron las pinturas murales, asistido por el registro fotogramétrico, nos permite retornarlas a su contexto original mediante el uso de técnicas de renderización, recuperando, de esta manera, uno de los espacios de devoción femenina más estimulantes del siglo XIV castellano. Abstract: The Convent of Santa Clara in Toro (Zamora) was founded in the mid-13 th century. After destruction during the Castilian civil struggles of the last years of this century, its fabric was rebuilt and it was inhabited again by the Clarissan nuns, who still occupy it. Its architecture corresponds for the most part to its early-14 th century rebuilding, even though it is concealed by works carried out from the 16 th to the 18 th centuries, so that it is apparently a Baroque complex. In the 1950s, in the choir of this Medieval hidden structure, a set of wall paintings of the mid-14 th century was brought to light (one of the most important set of wall paintings of the early Gothic period ever found in Castile), but they were immediately detached from the walls and sold. It was only after a combination of circumstances that they came back to Toro to be installed in another building, the church of San Sebastián de los Caballeros, transformed into a museum. As a consequence of all these operations, the arrangement and sense of these wall paintings was lost. The virtual three-dimensional (3D) reconstruction, based on a deep analysis and criticism of historical sources and on a close inspection and photogrammetric recording of the original room once occupied by the wall paintings, enables us to place them back in their original context through the use of rendering techniques, so recovering one of the most exciting spaces of female devotion of the Castilian 14 th century.
The daughter of Alfonso X “The Wise”, King of Castile, the Infanta Leonor died in 1275 while accompanying her father to a meeting of great importance with Pope Gregory X. Alfonso X ordered that she should be buried at the Real Monasterio... more
The daughter of Alfonso X “The Wise”, King of Castile, the Infanta Leonor died in 1275 while accompanying her
father to a meeting of great importance with Pope Gregory X. Alfonso X ordered that she should be buried at
the Real Monasterio de Santo Domingo in Caleruega, Burgos, which he had recently founded in honour of the
birthplace of St Dominic, the founder of the Dominican order. In stipulating her burial there, he established a link
between his familial and political aspirations and the prestige of the saint and the order. Though little of the tomb
has survived to this day, the remains are nevertheless an important example of the art of the Alfonsine era. This
article analyses the tomb in the context of the courtly and funerary art of the period, and highlights the way in
which it expresses a fondness for an aesthetic based upon textiles, heraldry and the Andalusian tradition, which
is highly unique in terms of European courtly art of the thirteenth century.
father to a meeting of great importance with Pope Gregory X. Alfonso X ordered that she should be buried at
the Real Monasterio de Santo Domingo in Caleruega, Burgos, which he had recently founded in honour of the
birthplace of St Dominic, the founder of the Dominican order. In stipulating her burial there, he established a link
between his familial and political aspirations and the prestige of the saint and the order. Though little of the tomb
has survived to this day, the remains are nevertheless an important example of the art of the Alfonsine era. This
article analyses the tomb in the context of the courtly and funerary art of the period, and highlights the way in
which it expresses a fondness for an aesthetic based upon textiles, heraldry and the Andalusian tradition, which
is highly unique in terms of European courtly art of the thirteenth century.
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In the 14th and 15th centuries, the choir of the convent of Poor Clares of Salamanca was decorated with several cycles of wall paintings expressing the devotional interests of the nuns. In this paper, focus is set on the one depicting the... more
In the 14th and 15th centuries, the choir of the convent of Poor Clares of Salamanca was decorated with several cycles of wall paintings expressing the devotional interests of the nuns. In this paper, focus is set on the one depicting the story of St Sebastian, painted in the early 15th century. It is interesting because it displays a full cycle of his life, with some astonishing scenes, as for example the one concerning his death, where he is beheaded instead of beaten. In search of an explanation the cycle is compared with the ones so popular in Provence and adjoining Italy in the 15th and 16th centuries.
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Biblioteca de la Universidad Complutense de Madrid, Base de datos de artículos de revistas, ...
The Medieval royal palace of Tordesillas that later became the convent of Santa Clara is one of the most outstanding and controversial examples of 'Mudéjar' architecture. Traditionally regarded as a work of kings Alfonso XI and Peter I,... more
The Medieval royal palace of Tordesillas that later became the convent of Santa Clara is one of the most outstanding and controversial examples of 'Mudéjar' architecture. Traditionally regarded as a work of kings Alfonso XI and Peter I, recent research has challenged the role of Alfonso XI. This article presents evidence regarding the relationship of Leonor de Guzmán, mistress of Alfonso XI, with the royal palace of Tordesillas, so proposing a new approach to the traditional point of view, based also upon the analysis of 'Mudéjar' and Gothic wall paintings.
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In 2009 Christie’s of London brought to light the contract for the tomb of doña Mayor Guillén de Guzmán († c. 1263), former mistress of king Alfonso X the Wise. The contract comes from the convent of Poor Clares of Alcocer (Guadalajara),... more
In 2009 Christie’s of London brought to light the contract for the tomb of doña Mayor Guillén de Guzmán († c. 1263), former mistress of king Alfonso X the Wise. The contract comes from the convent of Poor Clares of Alcocer (Guadalajara), where the tomb itself stood until it was completely destroyed in 1936 at the beginning of the Spanish Civil War. Contracts of this period are extremely rare. The document, dated in Burgos in 1276, provides a full description of the work to be done. This allows us to compare it with other contemporary tombs, underlining the highly innovative features of doña Mayor’s tomb. On the other hand, the document gives us access to the personality of the artist responsible for this work: a certain up to this date unknown Juan González, who introduces himself as el pintor de las imágenes de Burgos (i.e., ‘the painter of images of Burgos’). In this article focus is also placed on the meaning of this somewhat equivocal expression (the commission is mainly a sculptural one) and on the professional status of sculpture in Castile in the 13th century.
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This brief study was published in the exhibition catalogue 'Teresa de Jesús, maestra de oración' (Ávila and Alba de Tormes, 2015). It deals with a sumptuous early 17th century reliquary preserved in the Carmelite convent of Calahorra (La... more
This brief study was published in the exhibition catalogue 'Teresa de Jesús, maestra de oración' (Ávila and Alba de Tormes, 2015). It deals with a sumptuous early 17th century reliquary preserved in the Carmelite convent of Calahorra (La Rioja). This reliquary encloses one of the few authorised copies of the controversial relic of Veronica's veil, venerated since the Middle Ages in the Vatican, ordered by pope Paul V in 1617 and executed by canon Pietro Strozzi. Other copies of this group are now in Bologna, Vienna, Chiusa Sclafani and Madrid.
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This article offers a general survey of wall paintings created to serve as decoration for tombs during the 13th and 14th centuries in the territory of the present-day region of Castile and Leon (which was the core of the Kingdom of... more
This article offers a general survey of wall paintings created to serve as decoration for tombs during the 13th and 14th centuries in the territory of the present-day region of Castile and Leon (which was the core of the Kingdom of Castile in the Middle Ages ). Topography, typology and, specially, iconography are analysed. Interest is focused on the sepulchres in the Old Cathedral of Salamanca, underlining their distinctive features and their innovative programs.
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The so-called ‘tablas de San Millán’ are a pair of Castilian paintings of the linear Gothic style dated c. 1390. They are nowadays preserved in Logroño, in the Museo de La Rioja, but until the 1930s they were assembled in the high... more
The so-called ‘tablas de San Millán’ are a pair of Castilian paintings of the linear Gothic style dated c. 1390. They are nowadays preserved in Logroño, in the Museo de La Rioja, but until the 1930s they were assembled in the high altarpiece of Suso church, the old church of the famous Benedictine abbey of San Millán de la Cogolla. This article explores their original arrangement, their ultimate provenance and the context of their production. But, above all, special attention is paid to their iconographic display: the cycle of St Millán (the patron-saint of the abbey, whose relics were venerated there), based on Gonzalo de Berceo’s work, is discussed on the background of his hagiography and former cycles to underline how this cycle was intended to promote his sanctuary by offering a visual guide of places to be visited and experienced.
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This article explores the paintings produced in the Crown of Castile between c. 1390 and c. 1420, the epoch when Infante Fernando de Antequera (130-1416) flourished. He was son of King John I of Castile and he was to become King of Aragon... more
This article explores the paintings produced in the Crown of Castile between c. 1390 and c. 1420, the epoch when Infante Fernando de Antequera (130-1416) flourished. He was son of King John I of Castile and he was to become King of Aragon as a consequence of the so-called ‘Compromiso de Caspe’ (1412). This short period was a critical one for Castilian painting. It experienced then radical changes which moved it quickly from a Linear Gothic style out of date in the European context into an International Gothic style aware of the contributions of Italian and Northern painting. Three major areas lead by then the development of Castilian painting (attention is paid to them all): 1) Andalusia, a pioneering centre in the reception of Italian influence (special interest is focused on the mural of Nuestra Señora de la Antigua of the cathedral of Seville); 2) New Castile, where the city of Toledo was ready to receive the first formulations of International Gothic style through Valencian painting (interest is given to the role and work of Gherardo Starnina); 3) Old Castile, the most traditional and sometimes even archaic region, subject to diverse influences.
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""In 1999 a set of wall paintings from the 13th and 14th centuries was brought to light in the south transept of the Old Cathedral of Salamanca, so underlining the leading role of this city in the development of Gothic painting. Some of... more
""In 1999 a set of wall paintings from the 13th and 14th centuries was brought to light in the south transept of the Old Cathedral of Salamanca, so underlining the leading role of this city in the development of Gothic painting.
Some of them decorated the tomb of Dean Alfonso Vidal (d. 1288 or 1289), a prominent member of the cathedral chapter. Alfonso Vidal chose for his burial place a proper depiction of the 'Last Judgement' which includes an astonishing image of a bleeding Virgin, intended to express the role of Mary in the task of Redemption.""
Some of them decorated the tomb of Dean Alfonso Vidal (d. 1288 or 1289), a prominent member of the cathedral chapter. Alfonso Vidal chose for his burial place a proper depiction of the 'Last Judgement' which includes an astonishing image of a bleeding Virgin, intended to express the role of Mary in the task of Redemption.""
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I JORNADAS ARS MEDIAEVALIS: ARTE Y CULTURA VISUAL EN LA EDAD MEDIA MURCIA, 4 Y 5 DE MAYO DE 2016 Organizan: Red nacional de excelencia Ars mediaevalis Grupo de Excelencia de la Región de Murcia Estudios Visuales Grupo TEMPLA
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Registration now open for those wishing to attend the international symposium on early altarpieces that will take place in Valladolid eraly in June. Details, including the full programme, in the attached file.
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Almost every Medieval church had one or more sculptures of saints, many of which were placed on altars, in wall niches or in so-called tabernacle-altarpieces. This last category refers to three-dimensional, canopied structures,... more
Almost every Medieval church had one or more sculptures of saints, many of which were placed on altars, in wall niches or in so-called tabernacle-altarpieces. This last category refers to three-dimensional, canopied structures, embellished with bright colours and equipped with movable wings that housed cult images of the Virgin and Child or saints. This early type of altarpiece became widespread in Europe between c.1150 and 1400. Nowadays, examples are scarce and often fragmented, overpainted and reconstructed. Most of them come from the geographical periphery of Europe and almost all of them are now without their original context, as they hang on museum walls or in churches as isolated relics. The purpose of this international symposium is to explore and discuss early tabernacle-altarpieces in different regions of Europe: their provenance, patronage, function, and role in popular piety. We invite speakers to submit proposals for 15-minute papers to be presented during the symposium. Proposals should go beyond case studies and look at such topics as the use and re-use of tabernacle-altarpieces, media involved in their creation, regional differences, etc.
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In this paper, presented to an international conference held in Valladolid in 1999 on the occasion of the fourth centenary of the endowment to Valladolid of the title of 'city', a well-known late 13th century monumental gate, usually... more
In this paper, presented to an international conference held in Valladolid in 1999 on the occasion of the fourth centenary of the endowment to Valladolid of the title of 'city', a well-known late 13th century monumental gate, usually known as 'palacio de doña María de Molina', is discussed on the basis of textual sources and its placement with respect to the city and its successive precincts. My argument is that this gate lead from the interior of the city to the royal palaces known as ‘palacios de la Magdalena’, created by king Sancho IV (r. 1284-95), husband of María de Molina. This gate, built in the fashion of great Almohad gates, had a propagandistic and metonymic value.
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The convent of Santa Clara of Toro (Zamora), founded in the mid-13th century and restored in the early 14th century, housed in its choir one of the richest ensembles of Medieval wall paintings ever recorded in Castile and León or even in... more
The convent of Santa Clara of Toro (Zamora), founded in the mid-13th century and restored in the early 14th century, housed in its choir one of the richest ensembles of Medieval wall paintings ever recorded in Castile and León or even in Spain. However, these wall paintings were detached in 1962 and, after different disgusting circumstances, are now exhibited in another building of the very same city of Toro. The aim of this contribution is demonstrating how virtual rendering techniques can restore the wall paintings to its original location providing a vivid impression of its appearance by the time they were created. Essential for this is not only an accurate art historical analysis of both the building and the wall paintings, but also the use of photogrammetry to generate reliable 3D models.
This text was published in the proceedings of ARQUEOLÓGICA 2.0: 8th International Congress on Archaeology, Computer Graphics, Cultural Heritage and Innovation, held in Valencia in 2016. A more complete versión of this text is expected to appear in the next issue of VAR (Virtual Arcaheology Review)
This text was published in the proceedings of ARQUEOLÓGICA 2.0: 8th International Congress on Archaeology, Computer Graphics, Cultural Heritage and Innovation, held in Valencia in 2016. A more complete versión of this text is expected to appear in the next issue of VAR (Virtual Arcaheology Review)
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El boletín se pueden consultar y DESCARGAR GRATUITAMENTE en/ Back issues of the Boletín can be read and FREE DOWNLOADED from: https://www.museodelprado.es/aprende/boletin/historico
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Ver y Crear. Obradores y Mercados Pictóricos en la España Gótica es el resultado del esfuerzo del proyecto de investigación I+D+i "La Formación del Pintor y la Práctica de la Pintura en los Reinos Hispanos" (HAR2012-32720) por hacer... more
Ver y Crear. Obradores y Mercados Pictóricos en la España Gótica es el resultado del esfuerzo del proyecto de investigación I+D+i "La Formación del Pintor y la Práctica de la Pintura en los Reinos Hispanos" (HAR2012-32720) por hacer converger de forma multidisciplinar y poliédrica los estudios materiales, de imagen e histórico-artísticos de la obra de arte, en una visión integradora que enhebre el conocimiento de la práctica de la pintura, la formación artística y la transmisión del conocimiento, el papel de las transferencias entre artesanías o el uso, la visión y la valoración del arte gótico.