Spanish Baroque Architecture: A Regionalist Style
Introduction
The Baroque in Spain is a distinctive regionalist style, diverging from universal Baroque patterns. We can identify distinct Baroque expressions in Castile, Andalusia, and Galicia, each region boasting a unique personality. The first half of the 17th century marks the dawn of Spanish Baroque architecture, heavily influenced by Juan de Herrera and his masterpiece, El Escorial. The ideals of the Counter-Reformation facilitated the continuation of this architectural model.
The Original Baroque (First Half of the 17th Century)
Juan Gómez de Mora (1586-1648)
The Convento de la Encarnación in Madrid exemplifies the purity and sobriety associated with El Escorial. Despite its austere lines, elements like the elongated facade and sharp gable hint at the emerging Baroque aesthetic.
Francisco Bautista (1594-1679)
As Herrera’s influence waned, Bautista introduced new forms and ornamentation aligning with the Baroque style. His architecture, majestic in both facade and interiors, favored giant orders, chiaroscuro, and spatial modeling. The Catedral de San Isidro reflects traditional Counter-Reformation church features. An innovative element was the linking of various openings in facades and interiors with chains.
Alonso Carbonell (? -1660)
Carbonell is another significant figure, known for the Palacio del Buen Retiro, its Salón de Baile (Casón), and the Ermita de San Antonio.
The Baroque in the Second Half of the 17th Century
Alonso Cano (1601-1667)
A renowned sculptor and painter, Cano also revolutionized Spanish architecture. He experimented with abstract, angular forms, as seen in the Arco de la Puerta de Guadalajara in Madrid. His most significant architectural work is the Granada Cathedral, where he contrasted a grand interior altarpiece with a hermetic facade.
The 18th-Century Baroque
The Churriguera Family
The Churriguera family became synonymous with Spanish Baroque. José Benito de Churriguera, the leading figure, created the characteristically bright Castilian Baroque altarpiece, exemplified by the altarpiece of San Esteban de Salamanca with its giant spiral columns. His brother, Joaquín de Churriguera, designed the Colegio de Calatrava in Salamanca, while Alberto de Churriguera created the Plaza Mayor of Salamanca.
Pedro de Ribera (1683-1742)
Ribera embraced and amplified Churrigueresque ornamentation. He possessed a strong sense of space and structure, evident in the facade of the Hospicio de Madrid (now the Museo Municipal).
Narciso Tomé (1690-1742)
Tomé created the Transparente de la Catedral de Toledo, an altarpiece representing the Holy Communion. This work seamlessly integrates architecture, painting, and sculpture, showcasing dynamic lighting and a blend of materials like marble, alabaster, and bronze.
Fernando de Casas Novoa
Novoa’s masterpiece is the Obradoiro Facade of the Catedral de Santiago de Compostela. The facade unfolds in successive planes, creating a dynamic interplay of architectural and sculptural elements.
Leonardo de Figueroa
Figueroa was a key figure in Andalusian Baroque, with notable works like the Colegio-Seminario de San Telmo and the Iglesia de San Luis in Seville.
Baroque Sculpture in Spain
Spanish Baroque sculpture predominantly featured polychromed wood carvings of religious figures. Altarpieces, with their free-standing figures and bas-reliefs, were prominent. Mythological and secular themes were rare, mainly confined to courtly sculpture.
Characteristics of Baroque Sculpture
- Sense of movement and energy
- Tension and dynamism
- Asymmetrical composition with diagonal emphasis and foreshortening
- Strong contrasts of light and shadow
- Naturalism and individualized figures
- Expression of inner feelings and passions
Baroque Sculpture: Castilian School
Centered in Valladolid and Madrid, this school emphasized realism, pathos, and dramatic expression. Gregorio Fernández (1576-1639) was a leading figure, known for his expressive figures and masterful altarpieces.
Baroque Sculpture: Andalusian School
This school, prevalent in Seville, Granada, and Malaga, favored idealized realism and serene beauty. Juan Martínez Montañés (1568-1649) was a key figure, known for his well-modeled figures and iconic representations of Christ and the Immaculate Conception. Juan de Mesa (1583-1627), a student of Montañés, specialized in processional figures, notably the Jesús del Gran Poder. Alonso Cano (1601-1667) contributed to both sculpture and architecture, creating idealized yet emotionally resonant figures. Pedro de Mena (1628-1688), a collaborator of Cano, was known for his virtuosity and focus on expressive heads and hands.
Conclusion
Spanish Baroque architecture and sculpture represent a unique and vibrant chapter in art history. The regional variations, the emphasis on religious themes, and the dramatic expressiveness of the figures contribute to the enduring legacy of this period.