Plateresque: Difference between revisions
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'''Plateresque''', meaning "in the manner of a silversmith" - ''Plata'' meaning [[silver]] in [[Spanish language|Spanish]], was an [[Art|artistic]] movement, especially [[Architecture|architectural]], traditionally held to be exclusive to [[Spanish Empire|Spain and its territories]], which appeared between the last [[Gothic]] and [[Renaissance]] in the late 15th century, spread over the next two centuries. It is a modification of Gothic space and an eclectic blend of [[Mudéjar]], [[Flamboyant]] gothic and [[Lombard]] decorative components, and first-Renaissance elements of [[Tuscany|Tuscan]] origin.<ref name="bozal">Bozal, Valeriano; ''Art history in Spain: From the origins to the Enlightenment'', pg 157 and 165. Ed Akal (1978). ISBN 978-84-7090-025-9.</ref> Examples are the inclusion of shields and pinnacles, the facades divided into three (while the Renaissance are divided into two) and the columns of the Renaissance tradition. It reached its peak during the reign of [[Charles V, Holy Roman Emperor]],<ref name="arellano">Arellano, Fernando; ''The Hispanic American Art'', pg 13-14. Ed. Universidad Católica Andrés ([[1988]]). ISBN 978-980-244-017-7.</ref> especially in [[Salamanca]], but also flourished significantly in other cities of the [[Iberian Peninsula]] as [[León, León|León]] and [[Burgos]] and the territory of New Spain is now [[Mexico]].<ref name="arellano" /><ref name="bozal" /> Considered to current times Renaissance style and to others Own style, sometimes receives the names of Protorenaissance<ref name="arias" /><ref name="marias">Marías, Fernando; ''The 16th century: Gothic and Renaissance'', p. 24. Ed. Silex Ediciones ([[2002]]). ISBN 978-84-7737-037-6.</ref> or First Renaissance as a refusal to consider a style in itself.<ref name="alonso" /> |
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'''Plateresque''', meaning "in the manner of a silversmith" - ''Plata'' meaning [[silver]] in [[Spanish language|Spanish]], refers to the 15th and 16th century [[Spanish Baroque architecture]] and [[art]] form in [[Spain]] and later its colonies, characterized by an extremely lavish, meticulously refined style of [[Spanish architecture]] ornamentation. |
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The style is characterized by a prolific decorative facades covered with vegetal, chandeliers, [[festoon]]s, fantastic creatures and all sorts of configurations.<ref name="arellano" /> The spatial configuration, however, was more clearly a landmark Gothic. This fixation on specific parts, without structural changes on the Gothic and just space, make it often classified as a variation and not style.<ref name="bendala">Bendala Galán, Manuel; ''Manual of the Spanish art'', p. 416. Ed. Silex Ediciones ([[2003]]). ISBN 978-84-7737-099-4.</ref> In [[New Spain]] the Plateresque acquired its own configuration, clinging tightly to its Mudéjar heritage and blending with Native American influences.<ref name="arellano" /> It can also speak of a Plateresque Style in the first decades of the 16th century in southern France and Portugal.<ref name="bendala" /> |
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In the 19th century with the rise of [[Historicism (art)|historicism]], the Plateresque architecture revived under the name of [[Monterrey Style]].<ref name="bendala">Bendala Galán, Manuel; ''Manual of the Spanish Art'', p. 739. Ed. Silex Ediciones ([[2003]]). ISBN 978-84-7737-099-4.</ref> |
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== Etymology == |
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The Plateresque name refers to the silversmith trade. [[Diego Ortiz de Zúñiga]] used it for first time, applying it to the Royal Chapel of the [[Cathedral of Seville]] in the 17th century.<ref name="bozal" /><ref name="arellano" /> |
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== Problems of geographical area and consideration as Style == |
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Traditionally been considered a style exclusively Spanish, meaning the Spanish territories that were held by the [[Crown of Spain|Crown]] between the 15th and 17th centuries. But the mid-20th century this geographical dimension was questioned under the arguments of several authors, especially [[Camón Aznar]] (1945) and [[Rosenthal]] (1958), who defining Plateresque generically as an unitary amalgam of elements found (Gothic, Muslim, Renaissance), the first does not consider a style to include in the Renaissance, and warns the second its association with certain buildings in other European countries, mainly France and Portugal, but also in [[Germany]] and others.<ref name="arias">Arias de Cossío, Ana María; ''The Art of the Spanish Renaissance'', pp 90-91. Ed. Encuentro (2009). ISBN 978-84-7490-909-8.</ref><ref name="alonso">Alonso Ruiz, Begoña; ''Late Gothic architecture in Castile: los Rasines'', p. 23. Ed. University of Cantabria (2003). ISBN 978-84-8102-304-6.</ref><ref>Nieto Alcaide, Víctor Manuel; Morales, Alfredo José; Checa Cremades, Fernando; ''Renaissance architecture in Spain, 1488-1599'', p. 60. Ed. Cátedra ([[1989]]). ISBN 978-84-376-0830-3.</ref> |
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This problem highlights the inappropriateness of the name Plateresque and documentation as style bowing to consider a period of confusion and transition between styles, characterized by decorative profusion by failing to architects to develop new structural and spatial trends. Sometimes even this is reduced to even try the Plateresque as replacing the Gothic decorations by the Italian grotesque of [[Sebastiano Serlio|Serlian]] inspiration.<ref name="bassegoda">Bassegoda Nonell, Juan; ''History of the architecture'', p. 224</ref> |
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Any argument, however, admit to Plateresque or Protorenaissance as an art that responded to the demands of [[Spain]], which had just completed the [[Reconquista]] and arrive to [[America]], beginning to perceive its wealth, and entered a large spiral of constructions that now consider as monuments. |
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==Style== |
==Style== |
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==See also== |
==See also== |
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*[[Churrigueresque]] |
*[[Churrigueresque]] |
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== References == |
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{{Architecture of Spain}} |
{{Architecture of Spain}} |
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[[Category:Spanish Colonial architecture| Plateresque]] |
[[Category:Spanish Colonial architecture| Plateresque]] |
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[[Category:Spanish Colonial Revival architecture|Plateresque]] |
[[Category:Spanish Colonial Revival architecture|Plateresque]] |
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{{Arch-style-stub}} |
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Revision as of 18:27, 9 March 2011
Plateresque, meaning "in the manner of a silversmith" - Plata meaning silver in Spanish, was an artistic movement, especially architectural, traditionally held to be exclusive to Spain and its territories, which appeared between the last Gothic and Renaissance in the late 15th century, spread over the next two centuries. It is a modification of Gothic space and an eclectic blend of Mudéjar, Flamboyant gothic and Lombard decorative components, and first-Renaissance elements of Tuscan origin.[1] Examples are the inclusion of shields and pinnacles, the facades divided into three (while the Renaissance are divided into two) and the columns of the Renaissance tradition. It reached its peak during the reign of Charles V, Holy Roman Emperor,[2] especially in Salamanca, but also flourished significantly in other cities of the Iberian Peninsula as León and Burgos and the territory of New Spain is now Mexico.[2][1] Considered to current times Renaissance style and to others Own style, sometimes receives the names of Protorenaissance[3][4] or First Renaissance as a refusal to consider a style in itself.[5]
The style is characterized by a prolific decorative facades covered with vegetal, chandeliers, festoons, fantastic creatures and all sorts of configurations.[2] The spatial configuration, however, was more clearly a landmark Gothic. This fixation on specific parts, without structural changes on the Gothic and just space, make it often classified as a variation and not style.[6] In New Spain the Plateresque acquired its own configuration, clinging tightly to its Mudéjar heritage and blending with Native American influences.[2] It can also speak of a Plateresque Style in the first decades of the 16th century in southern France and Portugal.[6]
In the 19th century with the rise of historicism, the Plateresque architecture revived under the name of Monterrey Style.[6]
Etymology
The Plateresque name refers to the silversmith trade. Diego Ortiz de Zúñiga used it for first time, applying it to the Royal Chapel of the Cathedral of Seville in the 17th century.[1][2]
Problems of geographical area and consideration as Style
Traditionally been considered a style exclusively Spanish, meaning the Spanish territories that were held by the Crown between the 15th and 17th centuries. But the mid-20th century this geographical dimension was questioned under the arguments of several authors, especially Camón Aznar (1945) and Rosenthal (1958), who defining Plateresque generically as an unitary amalgam of elements found (Gothic, Muslim, Renaissance), the first does not consider a style to include in the Renaissance, and warns the second its association with certain buildings in other European countries, mainly France and Portugal, but also in Germany and others.[3][5][7]
This problem highlights the inappropriateness of the name Plateresque and documentation as style bowing to consider a period of confusion and transition between styles, characterized by decorative profusion by failing to architects to develop new structural and spatial trends. Sometimes even this is reduced to even try the Plateresque as replacing the Gothic decorations by the Italian grotesque of Serlian inspiration.[8]
Any argument, however, admit to Plateresque or Protorenaissance as an art that responded to the demands of Spain, which had just completed the Reconquista and arrive to America, beginning to perceive its wealth, and entered a large spiral of constructions that now consider as monuments.
Style
Plateresque's main traits are the delicate execution in its ornaments. The artistic form is derived largely from late Gothic styles in the Low Countries, namely the Florid and Brabant styles, and is the last phase of Gothic in Spain before the adoption of forms inspired by the Italian Renaissance.
Plateresque was primarily based on the delight evoked upon the beholders of this realistic detail in the flamboyant medieval ogee arches, fretted canopies, sculptural titivating screens and surfaces of the many great public buildings erected during the reign of Ferdinand II of Aragón. This form was the result of the conflation between the architectural ideals of the Italian Renaissance and some Flemish traditions, and was soon transferred to Spanish colonies in the Americas, especially the Viceroyalty of New Spain—colonial Mexico.
Examples
Distinct examples of include the Royal Chapel of the Granada Cathedral, Monterrey Palace in Salamanca, the House of Shells in Salamanca, the façades of Plaza de España (Seville), and the University of Salamanca.
The Administration Building at Texas Tech University which was directly inspired by University of Alcalá.
Plateresque Revival
In the Spanish Colonial Revival architecture style centuries later, it was differentiated from the earlier and plainer Mission Revival style with the additional refinement of Plateresque and Churrigueresque detailing. Bertram Goodhue and Carleton Winslow Sr. studied Spanish Colonial structures in Mexico before designing the 1915 Panama-California Exposition in San Diego, California, that introduced this style to the United States and subsequent widespread popularity.
See also
References
- ^ a b c Bozal, Valeriano; Art history in Spain: From the origins to the Enlightenment, pg 157 and 165. Ed Akal (1978). ISBN 978-84-7090-025-9.
- ^ a b c d e Arellano, Fernando; The Hispanic American Art, pg 13-14. Ed. Universidad Católica Andrés (1988). ISBN 978-980-244-017-7.
- ^ a b Arias de Cossío, Ana María; The Art of the Spanish Renaissance, pp 90-91. Ed. Encuentro (2009). ISBN 978-84-7490-909-8.
- ^ Marías, Fernando; The 16th century: Gothic and Renaissance, p. 24. Ed. Silex Ediciones (2002). ISBN 978-84-7737-037-6.
- ^ a b Alonso Ruiz, Begoña; Late Gothic architecture in Castile: los Rasines, p. 23. Ed. University of Cantabria (2003). ISBN 978-84-8102-304-6.
- ^ a b c Bendala Galán, Manuel; Manual of the Spanish art, p. 416. Ed. Silex Ediciones (2003). ISBN 978-84-7737-099-4. Cite error: The named reference "bendala" was defined multiple times with different content (see the help page).
- ^ Nieto Alcaide, Víctor Manuel; Morales, Alfredo José; Checa Cremades, Fernando; Renaissance architecture in Spain, 1488-1599, p. 60. Ed. Cátedra (1989). ISBN 978-84-376-0830-3.
- ^ Bassegoda Nonell, Juan; History of the architecture, p. 224
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