Cristos yacentes of Gregorio Fernández
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A01=Ilenia Colon Mendoza
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Author_Ilenia Colon Mendoza
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Category1=Non-Fiction
Category=AB
Catholic iconography
christ
Christ Child
Convento De
COP=United Kingdom
Counter-Reformation art
Counter-Reformation Spain
cruz
De Juni
dead
Dead Christ
Delivery_Pre-order
Descalzas Reales
Devotional Image
devotional practices history
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=2
eq_nobargain
eq_non-fiction
Erich Lessing
Eucharistic Wafer
Forty Hours
Forty Hours Devotion
Half Open Eyes
holy
Holy Sepulchre
Holy Week
Holy Week Procession
juan
Language_English
liturgical art analysis
Liturgical Reenactments
Luis De Granada
PA=Temporarily unavailable
Patrimonio Nacional
Philip III
polychrome
Polychrome Wood
Price_€100 and above
processions
PS=Active
religious patronage Spain
Sacro Monte
Sancti Spiritus
Santa Maria Delle Grazie
sculpture
sepulchre
seventeenth-century Spanish sacred sculpture
softlaunch
Spanish Baroque sculpture
week
Product details
- ISBN 9781409430681
- Weight: 710g
- Dimensions: 174 x 246mm
- Publication Date: 08 May 2015
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
- Language: English
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Analyzing seventeenth-century images of the dead Christ produced by Gregorio Fernández, author Ilenia Colón Mendoza investigates how and why the artist and his patrons manipulated these images in connection with the religious literature of the time to produce striking images that moved the faithful to devotion. In so doing, she contributes new findings to the topic of Spanish sacred sculpture. The author re-examines these sculptures not only in the context of a larger sculptural group but also as independent sculptures that were intended as powerful aids to contemplation and devotion as was prescribed by the writings of San Juan de la Cruz and Luis de Granada. Combining study of the sculptural works with that of liturgical sources, she reveals the connection between the written word and the sculpted work of art. Through this interdisciplinary approach, the author links Fernández's sculptural program with the strategic objectives of major patrons of the period, such as the Duke of Lerma and King Philip III of Spain, both fervent defenders of the Catholic faith.
Ilenia Colón Mendoza is Assistant Professor of Art History at the School of Visual Arts and Design of the University of Central Florida, USA.
