风格和主题

没有明确的知道加利西亚语的艺术训练,但他的自然主义的处理形式和技术强烈联系他佛兰德的绘画风格,尤其是艺术家Rogier van der Weyden.15世纪的早期荷兰绘画的主要艺术风格,并显著的生动的幻觉艺术及其复杂图解,这两个在加利西亚语的作品很明显。

他掌握的形式和构成,以及他的创造力,单他作为西班牙最杰出画家之一。他文体自由刻意在他的许多作品和个性化的人物,这增强了戏剧性的宗教叙事的吸引力而强调他的技术能力。他的大部分工作是涂上了油在面板中,尽管他所做的工作蛋彩画在早期。他曾与Bartolome大师,另一个在西班牙画家,在Ciudad Retablo罗德里戈,宗教艺术的杰作,描绘基督教的历史创建到最后审判日.

他的大部分工作由小板的宗教场景,常常用来包括圣坛雕刻,或retablos。一个明显的例外是萨拉曼卡的天空,位于萨拉曼卡大学,一个巨大的天花板壁画描绘了天文场景和星座。加利西亚语的作品,只有三人签署,Retablo圣Ildefonso,普拉多的《圣母怜子图,处女三部曲的玫瑰。其他作品已被归因于他风格的基础上,或通过历史文献命名他的合同。

讨论的主要作品

Retablo Ciudad罗德里戈(亚利桑那大学艺术博物馆)

面板从这个巨大的祭坛的装饰品,画在1480 - 1500之间,已被归因于费尔南多·加利西亚语和掌握Bartolome的研讨会。原来的方向和尺寸不清楚,可能添加到后安装。它感动和19世纪早期,而荒废。随后从原来的框架和面板分手;23叙事电池板被送到伦敦在1880年代。一些学者声称有超过42故事板,但由于拱点在教堂于1502年重建,空间的大小祭坛的装饰品了辩论。有26面板在克雷斯收集亚利桑那大学艺术博物馆(1957年收购),和学者认为,加利西亚语和Bartolome面板几乎各占一半。

在面板归因于加利西亚语的车间,三是祭坛的台,11从主祭坛的装饰品。它们包括:

• 祭坛的台:圣安德鲁和圣彼得,圣巴塞洛缪和福音传教士圣约翰,圣马克和圣托马斯。
• 装饰画:包皮环切术,向彼得,彼拉多洗手,都灵,基督和撒玛利亚的妇人,拉撒路的提高,痛苦在花园里,基督的背叛,疗愈的讨饭的瞎子,改变水变成酒,最后判断。

尽管加利西亚语没有签署这项工作,从1486年有文档列出了他Ciudad罗德里戈的税率。这除了归因风格使学者认为加利西亚语和他的车间生产中发挥了重要作用的电池板祭坛的装饰品。

背后的详细讨论这些作品和科学奖学金可以在书中找到费尔南多·加利西亚语和他的工作室:Ciudad罗德里戈的装饰画,发表的草地在SMU博物馆。至少两个其他重要,现代研究的加利西亚语这Retablo已经出版。

• 1961年罗伯特·奎因写了费尔南多·加利西亚语和Retablo Cuidad罗德里戈。本文由雷纳托Rosaldo伴随着西班牙语翻译。这项研究说明了单色整页复制品,发表的亚利桑那大学出版社.
• 主要研究装饰画的Ciudad罗德里戈于2008年出版。出版和研究包括研究的起源、风格、历史背景十五的卡斯提尔,版画的角色在祭坛的装饰品的生产。最后一章通过探讨研究红外reflectography和保护以及伦敦的皇家艺术学院的工作室在沃思堡,这让学者分析理论,两种不同的工作坊创建面板;它还担任十五的案例研究卡斯提尔人艺术实践。

Retablo圣Ildefonso(萨莫拉大教堂)

这项工作不是过时,所以学者们提出了不同的日期。这是传统上认为是创作于1456年,当教堂的创始人收到主教职位,但晚日期1467年也被提出。这是最古老的加利西亚语retablos。由两个主要部分安排三个面板,一个五位数(祭坛的台),银行和两个侧guardapolvo(角度的灰尘覆盖)。六个主要面板代表,从左到右和从上到下:耶稣的洗礼,基督在十字架上还是丝毫不懂加略山的,施洗约翰的殉难,幽灵的圣Leocadia圣Ildefonso(圣Ildephonsus从圣母)收到礼服,尊敬的圣Ildefonso文物。祭坛的台所示,从左到右:圣约翰福音传道者,圣尼古拉斯·巴里,圣彼得,神圣的脸,圣杰罗姆,圣詹姆斯。guardapolvo代表夏娃和亚当的教堂和犹太教堂的顶部和寓言。之间的面板显示了红衣主教的盾形纹章。

装饰画是中央研究所最近恢复的恢复在马德里在1966 - 1976之间。晚些时候涂掉就被撤掉了;尽管面板的情况相对较好,绝大部分的两个中间板(基督在十字架上和圣Ildefonso收到礼服)受损。

萨拉曼卡的天空(蓝天曰本丰田de萨拉曼卡)(萨拉曼卡大学)

没有合同证明壁画项目萨拉曼卡的天空是明确费尔南多·加利西亚人。然而,有文档从校长罗德里戈·阿尔瓦雷斯,请求费尔南多·加利西亚人被雇佣去描绘图书馆,因为他已经工作了三部曲的圣母大教堂玫瑰。文件还提到他的名字与图书馆的绘画的金库。天空的萨拉曼卡位于萨拉曼卡大学的图书馆天花板。它反映了最新的天文知识,像一个分歧星盘和描绘星座和行星。

圣母怜子图(La Piedad)(普拉多博物馆马德里)

描述的圣母怜子图来突出在15世纪的结束。加利西亚语的版本是一个相当简单的和整洁的成分。玛丽抱着基督的身体是突出放置在面板的中心与十字架上面。唯一的其他数据小表示未知的捐助者。其中一个是祈祷,“m iserere梅,“祈祷从诗篇神圣的周六。景观与城市场景在后台是显而易见的,可能描绘耶路撒冷。这,就像其他虔敬是一个纯粹的虔诚的形象,意味着宗教沉思。

圣母玫瑰(三联de la用作de la Rosa)(萨拉曼卡博物馆的大教堂)

圣母玫瑰是一个小型祭坛的装饰品和三个面板。它已经恢复和重新包装,所以最初的定位板是未知的。由于其体积小,可能放置在萨拉曼卡大教堂的回廊,可能在一个坟墓。现在三个盾牌在三部曲的包含符号脚下的圣徒(圣母玛利亚的玫瑰丛中,树圣安德鲁,月桂树枝圣克里斯托弗),然而他们已经重新粉刷盖住原来的家族纹章。加利西亚人的签名是在维珍的长袍下清晰可见。

Style and Subject Matter

Nothing definite is known about Gallego’s artistic training, but his naturalistic handling of form and technical style strongly link him to Flemish painting, especially the artist Rogier van der Weyden.Early Netherlandish painting of the 15th century was one of the dominant artistic styles, and was significant for its vivid illusionism and its complex iconography, both of which are evident in Gallego’s work.

His mastery of form and composition, as well as his creativity, single him out as one of Spain’s preeminent painters during this time. He took stylistic liberty in many of his works and painstakingly individualized the figures within them, which enhances dramatic appeal of the religious narrative while emphasizing his technical prowess. Much of his work was painted with oil on panel, although he did work with tempera early on.He worked with Master Bartolomé, another painter in Spain, on the Retablo of Ciudad Rodrigo, a tour de force of religious art, depicting Christian history from the Creation to theLast Judgment.

The majority of his work consists of small panels of religious scenes, often used to comprise altarpieces, or retablos. One notable exception is Sky of Salamanca, located at the University of Salamanca, a vast ceiling mural which depicts astronomical scenes and constellations. Only three of Gallego's works are signed, Retablo of San Ildefonso, the Prado’s Pietà, and Virgin of the Rose triptych. Other works have been attributed to him on the basis of style or through historical documents naming him on contracts.

Discussion of Major Works

Retablo of Ciudad Rodrigo (University of Arizona Museum of Art)

The panels from this massive altarpiece, painted between 1480–1500, have been attributed to the workshops of Fernando Gallego and Master Bartolomé. Its original orientation and dimensions are not known, as it was likely added to after its installation. It was moved and fell into disrepair by the early 19th century. The panels were subsequently removed from their original frames and split up; twenty-three narrative panels were sent to London in the 1880s. Some scholars claim there may have been upwards of forty-two narrative panels, but since the apse in the cathedral was remodeled in 1502, the size of the space the altarpiece filled is up for debate. There are twenty-six panels in the Kress Collection at the University of Arizona Museum of Art (acquired 1957), and scholars believe that the panels were almost equally split between Gallego and Bartolomé.

Among the panels attributed to the workshop of Gallego, three are from the predella, and eleven from the main altarpiece. They include:

• Predella: St. Andrew and St. Peter, St. Bartholomew and St. John the Evangelist, St. Mark and St. Thomas.
• Altarpiece: The Circumcision, The Charge to Peter, Pilate Washing His Hands, Ecce Homo, Christ and the Samaritan Woman, The Raising of Lazarus, The Agony in the Garden, The Betrayal of Christ, The Healing of the Blind Bartimaeus, Changing the Water into Wine, The Last Judgment.

Although Gallego did not sign this work, there is a document from 1486 which lists him on the tax roll for Ciudad Rodrigo.This in addition to the stylistic attribution lead scholars to believe Gallego and his workshop played a significant role in producing the panels for the altarpiece.

A detailed discussion of these pieces and the science behind the scholarship can be found in the book Fernando Gallego and His Workshop: The Altarpiece from Ciudad Rodrigo, published by the Meadows Museum at SMU. At least two other important, modern studies of Gallego and this Retablo have been published.

• In 1961 Robert M. Quinn wrote Fernando Gallego and the Retablo of Cuidad Rodrigo. This text was accompanied by a Spanish translation by Renato Rosaldo. The study, which is illustrated with full page reproductions in monochrome, was published by The University of Arizona Press.
• A major study of the Altarpiece of Ciudad Rodrigo was published in 2008.The publication and study includes research about the provenance, style, historical context of fifteenth-century Castile, and the role that printmaking played in production of the altarpiece. The final chapter discusses studies made through infrared reflectography and undertaken at the Kimbell Art Museum's Conservation Studio in Fort Worth, which allowed scholars to analyze the theory that two different workshops created the panels; it also served as a case study of fifteenth-centuryCastilian artistic practice.

Retablo of San Ildefonso (Cathedral of Zamora)

This work is not dated, so scholars have proposed various dates. It was traditionally considered to have been painted in 1456, when the founder of the chapel received cardinalship, but as late a date as 1467 has also been proposed. This is the oldest of Gallego’s retablos. It consists of two main parts arranged with three panels each, a five-figured banco(predella), and two side guardapolvo (angled dust covers). The six main panels represent, from left to right and top to bottom: Baptism of Jesus, Christ on the Cross at Calvary, Martyrdom of John the Baptist, Apparition of Saint Leocadia, San Ildefonso (Saint Ildephonsus) Receiving the Chasuble from the Virgin, and Veneration of the Relics of San Ildefonso. The predella shows, left to right: Saint John the Evangelist, Saint Nicolas de Bari, Saint Peter, The Holy Face, Saint Jerome, and Saint James. The guardapolvo represent Eve and Adam on the top and allegories of the Church and Synagogue beneath. Between the panels show the coat of arms of the Cardinal.

The altarpiece was most recently restored by the Central Institute of Restoration in Madrid between 1966–1976. Lateroverpainting was removed; and although the panels are in relatively good condition, significant portions of the two middle panels (Christ on the Cross and San Ildefonso Receiving the Chasuble) are damaged.

The Sky of Salamanca (Cielo de Salamanca) (University of Salamanca)

There are no contracts proving that the mural project The Sky of Salamanca is definitively Fernando Gallego’s. However, there is documentation from the rector Rodrigo Alvarez, requesting Fernando Gallego be hired to paint the library, since he had already worked for the cathedral on the Virgin of the Rose triptych. Documents also mention him by name in relation to the painting of the library coffers. Sky of Salamanca is located in the University of Salamanca’s library ceiling. It reflects up-to-date astronomical knowledge, divided like an astrolabe and depicting constellations and planets.

Pietà (La Piedad) (Prado Museum, Madrid)

Depictions of the pietà came to prominence during the end of the 15th century. Gallego’s version is a rather straightforward and uncluttered composition. Mary cradling the body of Christ is prominently placed in the center of the panel with the cross above them. The only other figures are small representations of the unknown donors. One of them is praying, “m iserere mei due,” a prayer from Psalms spoken on Holy Saturday. A landscape with city scene is evident in the background, likely depicting Jerusalem. This, like other pietàs would have been a purely devotional image, meant for religious contemplation.

Virgin of the Rose (Triptych de la Virgen de la Rosa) (Cathedral of Salamanca Museum)

Virgin of the Roses is a small altarpiece with three panels. It has been restored and reframed, so the original orientation of the panels is unknown. Due to its small size, it was likely placed in the cloisters of the Salamanca Cathedral, possibly over a tomb. The three shields on the triptych now contain symbols of the saints beneath them (rose bush for the Virgin Mary, tree for Saint Andrew, laurel branch for Saint Christopher), however they have been repainted to cover over the original familial coats of arms. Gallego’s signature is plainly visible beneath the Virgin’s robes.