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Antonio Vázquez (Ávila?, circa 1485 – ?, post-1563)
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Beschreibung
Antonio Vázquez (Ávila?, circa 1485 – ?, post-1563)
"Saint Sebastian and Saint Roch"
Oil on panel. Circa 1540 - 1545. 95.5 x 69 cm.
Certificate by Isabel Mateo attached, en el que la profesora explica que “la atribución de esta talla a Antonio Vázquez viene sustentada porque en ella se repiten las características del pintor en otras obras suyas documentadas: indumentarias, paisaje, modelos y <<oreja>>, abriéndose paso de frente entre el cabello.” Más concretamente, sigue Mateo, “un precedente de esta tabla lo hallamos en dos tablas de Antonio Vázquez, representando a San Roque y San Sebastián, en el Wellcome Institute for History of Medicine, de Londres (fig. 2)". Asimismo, “el tratamiento del cabello del San Sebastián lo repite Antonio Vázquez en la cabeza del Niño Jesús, y del rey mago, en la Epifanía del desmembrado retablo de la iglesia de Valdenebros de los Valles (Valladolid) (fig. 5), y en el San José de la Presentación del Niño en el Templo, del Museo Nacional de Escultura, de Valladolid (figs. 6-7). El rostro de San José recuerda el de San Roque, de la tabla [que nos ocupa], y los del Niño y la Virgen, al de San Sebastián”. “Queremos relacionar con el rostro del San Roque (fig. 1), el expresivo rostro de dolor, en labios y dibujo de ojos, de la Virgen de la Crucifixión (fig. 13), que se encuentra en el Museo Nacional de Escultura, de Valladolid.” Para más información, consultar el certificado que se adjunta.
Antonio Vázquez was a prolific painter, highly sought after, and with a easily identifiable style. As indicated by the art historian, Dr. Javier Baladrón, in his blog "Arte en Valladolid," "There is no doubt that Antonio Vázquez was, in addition to being a good painter [...], a very important member of the guild of Valladolid painters in the first half of the 16th century." His longevity—he is known to have lived at least 80 years—and his good reception by his contemporaries explain his creative abundance, which continues to surprise us today, as "in recent years there have been new, and almost continuous, discoveries of new works attributed to" the painter. In fact, Baladrón continues, this great creativity confirms the existence of an "important workshop, flourishing and active, in which his brother-in-law Gregorio de Ribera and his son Jerónimo Vázquez would have assisted him."
As reported in his biography by the Royal Academy of History, "despite having painted many pictures, only two are documented: his collaboration on the altarpiece of Pozuelo de la Orden (Valladolid), now in San Isidoro de León (1528-1531), in which he worked alongside Lorenzo de Ávila and Andrés de Melgar, and the altarpiece of Isabel Hernández de Alderete in the church of Simancas (Valladolid) (1536)."
Regarding his style, there is no significant evolution throughout his long career, always maintaining a "style suitable for creating devotional paintings for the Castilian public of the 16th century, without major conceptual concerns," as stated in his biography. With characteristics of late Gothic and High Renaissance, "he combines the realism of Pedro Berruguete and the idealism of Juan de Borgoña" points out Dr. Baladrón.
His sweet, balanced, and easily recognisable figures stand out, as well as his simplicity and narrative clarity, serene and Flemish-inspired landscapes, and vibrant colours. In conclusion, Baladrón states that "the primitive character and the naive sense of his compositions give his works a special charm, a delicacy and meticulousness that are highly characteristic of the painter," making him "undoubtedly the most active painter in Valladolid in the second quarter of the 16th century."
Reference bibliography:
- Baladrón, Javier. (4th October 2015). “El pintor Antonio Vázquez (ca.1485-1563), el astro de la pintura vallisoletana de la primera mitad del siglo XVI”. “Arte en Valladolid”. https://artevalladolid.blogspot.com/2015/10/antonio-vazquez-el-astro-de-la-pintura.html
- Parrado del Olmo, Jesús María. (s.f.). “Antonio Vázquez”. Real Academia de la Historia. https://dbe.rah.es/biografias/39204/antonio-vazquez
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Antonio Vázquez (Ávila?, circa 1485 – ?, post-1563)
"Saint Sebastian and Saint Roch"
Oil on panel. Circa 1540 - 1545. 95.5 x 69 cm.
Certificate by Isabel Mateo attached, en el que la profesora explica que “la atribución de esta talla a Antonio Vázquez viene sustentada porque en ella se repiten las características del pintor en otras obras suyas documentadas: indumentarias, paisaje, modelos y <<oreja>>, abriéndose paso de frente entre el cabello.” Más concretamente, sigue Mateo, “un precedente de esta tabla lo hallamos en dos tablas de Antonio Vázquez, representando a San Roque y San Sebastián, en el Wellcome Institute for History of Medicine, de Londres (fig. 2)". Asimismo, “el tratamiento del cabello del San Sebastián lo repite Antonio Vázquez en la cabeza del Niño Jesús, y del rey mago, en la Epifanía del desmembrado retablo de la iglesia de Valdenebros de los Valles (Valladolid) (fig. 5), y en el San José de la Presentación del Niño en el Templo, del Museo Nacional de Escultura, de Valladolid (figs. 6-7). El rostro de San José recuerda el de San Roque, de la tabla [que nos ocupa], y los del Niño y la Virgen, al de San Sebastián”. “Queremos relacionar con el rostro del San Roque (fig. 1), el expresivo rostro de dolor, en labios y dibujo de ojos, de la Virgen de la Crucifixión (fig. 13), que se encuentra en el Museo Nacional de Escultura, de Valladolid.” Para más información, consultar el certificado que se adjunta.
Antonio Vázquez was a prolific painter, highly sought after, and with a easily identifiable style. As indicated by the art historian, Dr. Javier Baladrón, in his blog "Arte en Valladolid," "There is no doubt that Antonio Vázquez was, in addition to being a good painter [...], a very important member of the guild of Valladolid painters in the first half of the 16th century." His longevity—he is known to have lived at least 80 years—and his good reception by his contemporaries explain his creative abundance, which continues to surprise us today, as "in recent years there have been new, and almost continuous, discoveries of new works attributed to" the painter. In fact, Baladrón continues, this great creativity confirms the existence of an "important workshop, flourishing and active, in which his brother-in-law Gregorio de Ribera and his son Jerónimo Vázquez would have assisted him."
As reported in his biography by the Royal Academy of History, "despite having painted many pictures, only two are documented: his collaboration on the altarpiece of Pozuelo de la Orden (Valladolid), now in San Isidoro de León (1528-1531), in which he worked alongside Lorenzo de Ávila and Andrés de Melgar, and the altarpiece of Isabel Hernández de Alderete in the church of Simancas (Valladolid) (1536)."
Regarding his style, there is no significant evolution throughout his long career, always maintaining a "style suitable for creating devotional paintings for the Castilian public of the 16th century, without major conceptual concerns," as stated in his biography. With characteristics of late Gothic and High Renaissance, "he combines the realism of Pedro Berruguete and the idealism of Juan de Borgoña" points out Dr. Baladrón.
His sweet, balanced, and easily recognisable figures stand out, as well as his simplicity and narrative clarity, serene and Flemish-inspired landscapes, and vibrant colours. In conclusion, Baladrón states that "the primitive character and the naive sense of his compositions give his works a special charm, a delicacy and meticulousness that are highly characteristic of the painter," making him "undoubtedly the most active painter in Valladolid in the second quarter of the 16th century."
Reference bibliography:
- Baladrón, Javier. (4th October 2015). “El pintor Antonio Vázquez (ca.1485-1563), el astro de la pintura vallisoletana de la primera mitad del siglo XVI”. “Arte en Valladolid”. https://artevalladolid.blogspot.com/2015/10/antonio-vazquez-el-astro-de-la-pintura.html
- Parrado del Olmo, Jesús María. (s.f.). “Antonio Vázquez”. Real Academia de la Historia. https://dbe.rah.es/biografias/39204/antonio-vazquez
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