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120:(Charles V, Holy Roman Emperor) was to preside in the cathedral in March 1519. This first documented work by Ordóñez involved collaboration by the Italian assistants in his studio, Monet, and, because of the magnitude and urgency of the work, expert woodcarvers, probably Siloé among them, but the unity of style and the uniform excellence shows that Ordóñez was a strong leader. The upper portion of the choir portrays scenes from the
175:, he worked in the Caracciolo di Vico chapel of the church of Saint John Carbonara. Despite some conflicting traditional attributions of this work, a 1524 letter written by Pietro Summonte certifies beyond possible error that both Spaniards worked on the chapel, and although the letter refers only to the altarpiece, in view of similarities to the architectural organization of the
87:
In 1515 he established a studio in
Barcelona, accompanied by three Italian marble sculptors, who came with him: Simón de Bellalana, Victorio Cogono and Juan Florentino. Even then, we know nothing of his actual work for the next two years. The cathedral chapter commissioned him 7 May 1517 to construct
370:, are of less artistic interest, an exchange of pieces between the two principal tombs made it difficult to distinguish the work of Fancelli from that of Ordóñez until the definitive clarification of attributions by Manuel Gómez Moreno, attributing to Ordóñez the tombs of
237:, raised over an unadorned base; the sculptures were located in the spaces between the columns. Richly adorned, this work shows aspects coinciding with the Caracciolo chapel. Ordoñez composed reliefs representing the profession of faith by
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The tomb of
Cardinal Cisneros, which was left incomplete, is of inferior quality; the recumbent figure of the Cardinal was completed, austere and realistic with the air of a portrait. This tomb, made for the Chapel of the
311:
nearly complete. His work was much superior to that of
Fancelli, whom he no doubt inspired into changing his style when he returned to the side walls of the tomb over which, in a platter, with Saint
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at the corners, are the recumbent forms of the monarchs depicted with idealized faces. Each section of the main body of the tomb is decorated with reliefs; the most notable by Ordóñez are the
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304:, with the intent of returning to Barcelona, but upon the death of his wife he started a new studio in Carrara; he worked feverishly there, but he himself died the following year.
222:. However, during this time he worked on the marble sculpture of the retrochoir of the Barcelona Cathedral; he did not complete this work, which was eventually finished in 1562 by
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191:, very balanced, and a perfect, nearly painterly, technique. This may not be Ordóñez's only work in Naples: he is believed to have designed and executed funerary monuments of
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Upon returning to
Barcelona at the beginning of 1519 he married Catalina Calaf. His stay in Barcelona was not prolonged: in autumn of the same year, he left for
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That is, the placement of the body of Jesus either on a slab (as in this portrayal) or into the arms of his mother immediately after the
Descent from the Cross.
245:) and the moment of her martyrdom, in which the flames, far from consuming her chaste, naked body, turn against the executioners. The representation related to
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Portions of this article are translated from an article in the
Spanish-language Knowledge, which, in turn incorporates material from the
64:, and that he had a sister named Marina in that city. Assuming this is correct, he would have grown up amidst the first flowering of the
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This work on the
Cathedral of Barcelona was executed in two stages. After the stage just described, Ordóñez made a documented visit to
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in April 2008, so we cannot add further content from that encyclopedia (although it can be used as a normal reference).
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of the
Cathedral of Barcelona the marble sheathing and architecture of the circular chapel (later echoed by the
183:) can probably also be attributed to Ordoñez. The altarpiece includes an excellent relief representing the
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are filled by the doctors of the
Spanish Church and the patron saints of the monarchs are replaced by the
156:. All are notable for their quality, and also for the iconographic originality in the presentation to the
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112:; that piece does not survive. The embellishment of the choir was in preparation for a session of the
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and his mother, as well as those of
Archbishop of Seville Alonso de Fonseca and Bishop of Burgos
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394:) are according to Gómez Moreno, mentioned in the inventory of his studio by the Fonsecas.
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Ramon Triadó, Joan (1998). "Segle XVI: de l'humanisme culte a l'humanisme reformat".
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276:. On 1 May 1519, he undertook a contract for work previously contracted to
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Little is known about Ordóñez before the last five years of his life. His
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272:, poorly finished, and the Resurrection in the retrochoir chapel of the
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La Gran Enciclopèdia en català, Tomo 15, 2004, Barcelona, Edicions 62,
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were commissioned to create a group of sculptures representing the
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of with emblems of the liberal arts situated in the niches.
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Granada. Royal Chapel. Tomb of Felipe I and Juana la Loca
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beginning 11 December 1517, during which, together with
187:, with a delicate pyramidal composition reminiscent of
351:, is similar to—but smaller than—the royal tomb; the
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Art de Catalunya, Escultura moderna i contemporània
241:before the judges (showing a strong influence from
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203:in the Church of Saints Severinus and Sosius.
307:He left the tomb of Joanna and Felipe for the
260:Other possible works of his in Spain are the
491:(in Catalan). Barcelona: Edicions L'isard.
472:had allowed this material to be used under
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164:redeemed from Hell by the risen Christ.
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249:is also his, but the images of Saint
72:were working, under the influence of
210:Right side of the retrochoir of the
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382:and Saint John (originally in the
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349:Complutense University of Madrid
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516:16th-century Spanish sculptors
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433:
417:
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1:
526:Spanish Renaissance sculptors
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362:The tombs of the Fonsecas in
138:Christ on the Road to Calvary
100:. A few months later, he and
270:Diocesan Museum of Barcelona
257:date from the 17th century.
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10:
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226:. This was organized as a
114:Order of the Golden Fleece
384:Monastery of Saint Jerome
376:Juan Rodríguez de Fonseca
110:Hospital de la Santa Creu
68:, where such pioneers as
54:indicates that he was an
27:, 6 December 1520) was a
476:. The authorization was
448:Ramon Triadó, Joan p. 34
439:Ramon Triadó, Joan, p.33
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465:Gran Enciclopedia Rialp
309:Royal Chapel of Granada
201:Andrea Bonifacio Cicaro
521:Spanish male sculptors
341:Descent from the Cross
333:Adoration of the Kings
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212:Cathedral of Barcelona
98:Cathedral of Barcelona
84:, who was from Italy.
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274:Cathedral of Valencia
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197:San Domenico Maggiore
185:Adoration of the Magi
76:, who had studied in
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142:Deposition of Christ
124:—the Embarcation of
392:Cathedral of Zamora
368:province of Segovia
337:Agony in the Garden
317:John the Evangelist
255:Raymond of Peñafort
106:Entombment of Jesus
66:Spanish Renaissance
541:Catholic sculptors
216:
130:Sacrifice of Isaac
118:Charles I of Spain
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372:Alonso de Fonseca
321:Archangel Michael
298:Alcalá de Henares
278:Domenico Fancelli
266:Holy Conversation
195:in the Church of
189:Leonardo da Vinci
82:Domenico Fancelli
17:Bartolomé Ordóñez
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380:Virgin and Child
313:John the Apostle
292:and of Cardinal
193:Galeazzo Pandone
181:Guadix Cathedral
150:Four Evangelists
148:—as well as the
102:Juan Petit Monet
70:Andrés de Nájera
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280:: the tombs of
92:and the marble
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288:of Castile in
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247:Saint Severus
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239:Saint Eulalia
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233:crowned by a
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154:Seven Virtues
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134:New Testament
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122:Old Testament
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38:Life and work
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325:Saint Andrew
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243:Michelangelo
224:Pedro Villar
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146:Resurrection
90:choir stalls
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74:Gil de Siloé
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23:, c. 1480 –
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536:1520 deaths
531:1490 births
173:Diego Siloé
158:Virgin Mary
116:over which
32:Renaissance
510:Categories
456:References
323:, and the
253:and Saint
235:balustrade
177:retrochoir
144:, and the
94:retrochoir
34:sculptor.
262:alabaster
251:Olegarius
231:colonnade
132:—and the
353:roundels
339:and the
329:Nativity
315:, Saint
294:Cisneros
282:Philip I
162:prophets
152:and the
128:and the
108:for the
60:born in
478:revoked
335:, the
302:Carrara
290:Granada
268:in the
264:relief
220:Carrara
199:and of
160:of the
96:of the
57:hidalgo
29:Spanish
25:Carrara
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388:Zamora
331:, the
319:, the
286:Joanna
169:Naples
140:, the
80:, and
62:Burgos
21:Burgos
468:. An
398:Notes
228:Doric
78:Italy
493:ISBN
474:GFDL
425:ISBN
364:Coca
284:and
126:Noah
88:the
52:will
386:in
296:in
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366:,
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214:.
136:—
19:(
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