학술논문
De la pintura Hispano-flamenca al primer Renacimiento en las antiguas diócesis de León y Astorga: El Maestro de Palanquinos y el Maestro de Astorga (c. 1480-1540)
Document Type
Dissertation/Thesis
Author
Source
TDX (Tesis Doctorals en Xarxa)
Subject
Language
Spanish; Castilian
Abstract
El Maestro de Palanquinos y el Maestro de Astorga son dos pintores del área de León y Astorga de finales del siglo XV e inicios del siglo XVI. El primero tiene un estilo mezcla de lo flamenco y la tradición hispana tardo-gótica en un trazo ciertamente particular. El que le sigue mantiene el lenguaje de origen nórdico, aunque con el añadido de la herencia italiana quattrocentista y su gusto por la coherencia espacial. Ambos fueron figuras de una importancia a destacar en ámbito diocesano, de las personalidades más activas, en realidad, del momento. El renacentista conoció al maestro hispano-flamenco y su producción; pudo tener, incluso, una formación al entorno de su obrador. La presente tesis define el carácter de los dos artistas, su catálogo, círculo y colaboradores. Identifica, además, nuevos maestros castellanos.
The Palanquinos and the Astorga Masters are two painters from the León and Astorga area whose work dates back to the turn of the 16th century. The style of the former combines the Flemish with the Hispanic Late Gothic tradition in a really personal trace. The latter keeps a Nordic reminiscent language, while adding an Italian quattrocentista legacy and its interest for the spatial coherence to it. Both were important figures in the diocesan area, one of the most active personalities, in fact, of the moment. The Renaissance man knew the Hispano-Flemish painter and his production; he could even have been trained around his workshop. This thesis defines the character of both artists, their catalogue, circle and collaborators. In addition, it identifies new Castilian masters.
The Palanquinos and the Astorga Masters are two painters from the León and Astorga area whose work dates back to the turn of the 16th century. The style of the former combines the Flemish with the Hispanic Late Gothic tradition in a really personal trace. The latter keeps a Nordic reminiscent language, while adding an Italian quattrocentista legacy and its interest for the spatial coherence to it. Both were important figures in the diocesan area, one of the most active personalities, in fact, of the moment. The Renaissance man knew the Hispano-Flemish painter and his production; he could even have been trained around his workshop. This thesis defines the character of both artists, their catalogue, circle and collaborators. In addition, it identifies new Castilian masters.