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In [[America]], especially in today's [[Mexico]], various authoctonous cultures were in certain steps that can be considered Baroque when the Spanish brought with them the Plateresque. This symbiotic mixed with local traditions, so that the Gothic architecture was not to America itself, but through a Plateresque quickly moved first with indigenous influences and then with the Africans, evolving into what came to be called an ''American Baroque''.<ref>[[Alejo Carpentier|Carpentier, Alejo]]; Márquez Rodríguez, Alexis; y García Carranza, Araceli; ''Recovered steps: Essays of Theory and Literary Criticism'', p. 37. Ed. Fundación Biblioteca Ayacucho (2003). ISBN 978-980-276-354-2.</ref>
In [[America]], especially in today's [[Mexico]], various authoctonous cultures were in certain steps that can be considered Baroque when the Spanish brought with them the Plateresque. This symbiotic mixed with local traditions, so that the Gothic architecture was not to America itself, but through a Plateresque quickly moved first with indigenous influences and then with the Africans, evolving into what came to be called an ''American Baroque''.<ref>[[Alejo Carpentier|Carpentier, Alejo]]; Márquez Rodríguez, Alexis; y García Carranza, Araceli; ''Recovered steps: Essays of Theory and Literary Criticism'', p. 37. Ed. Fundación Biblioteca Ayacucho (2003). ISBN 978-980-276-354-2.</ref>

== History ==

The Plateresque style follows the line of [[Isabelline Gothic|Isabelline]], where the decorative elements of Iberian traditions and Italianates form ornament complexes that overlap the Gothic structures. Later it can talk of a Plateresque that retain the Gothic forms as basis until 1530. After that date, althought continue to be used and evolve the Plateresque ornaments, these become part of an architecture that beginning to take on the Renaissance ideas. In 1563, with the start of construction of the [[El Escorial|monastery of San Lorenzo de El Escorial]], the Renaissance architecture is purified through the interventions of [[Juan de Herrera]], ending the splendor and extension of the Plateresque in the Iberian Peninsula.<ref name="arias" /> But in Mexico not forgotten, leading to a [[Neo-Plateresque]] in the 18th century.

In any case the Plateresque, considered or not as style and exclusively Spanish or another side European, represents the transition between [[Gothic Architecture|Gothic]] and [[Renaissance]] styles.

==== Isabelline Style (15th c.) ====
{{Main|Isabelline Gothic}} {{Main|Manueline}}

In the 15th century began to develop in the [[Crown of Castile]] a tendency to decorate with flamboyant reasons, from [[Flanders]], Islamic and Castilian architecture, which received the name of [[Isabelline Gothic]] because most of the orders came from [[Isabella I of Castile]]. These ornaments, which were progressively complexity it did not influence the internal structure of buildings.

Something similar happened in the same period in [[Portugal]], in what became known as [[Manueline]].

==== Plateresque Gothic (late 15th c. - 1530) ====

A late 15th century began to disguise the Gothic buildings, especially grotesque, but principle these did not change its spaces or structures. This process began when arrived to [[Spain]] the Renaissance elements, which are applied by copying them, figuratively, but without understanding, that is, without letting go of ideas and medieval forms.

Even many of the Plateresque buildings already were built, which were only added layers of Renaissance ornamentation, especially around openings (windows and doors), and in general, with exceptions, all non-tectonic element.<ref name="avila" />

Although is usually applied in the architecture the appellative Plateresque, to the act of superimposing new Renaissance elements on governed forms by medieval guidelines also is visible in the Spanish [[painting]] and [[sculpture]] of the time.<ref name="marias" />

==== Plateresque Renaissance (1530 - 1560) ====

Period in that the Renaissance had been fully taken on the [[Iberian Peninsula]], although had not yet reached its peak. This will be the amendments of [[Juan de Herrera]] and [[Philip II of Spain]] at the [[El Escorial|monastery of El Escorial]] design, whose construction began in 1563.

On these dates the decoration, though profuse, is completely Italianate parameters and applied to buildings designed according to the logic Renaissance.

==== Monterrey Style (19th c. and first third of 20th c.) ====
[[File:Palacio de Monterrey de la Duquesa de Alba.JPG|thumb|270px|The Palacio de Monterrey.]]
[[File:Ayto2.JPG|thumb|270px|Facade of the City Council of [[Seville]] in the Plaza de San Francisco work by Diego de Riaño.]]
{{Main|Monterrey Style}}

In the 19th century came the Monterrey style name given by the [[Palacio de Monterrey]] ([[Salamanca]]) - Neo-Plateresque style, a centered [[Historicism (art)|historicism]] in the Plateresque.

The style survived until the early 20th century, immersed in the national and regional ''revivals'', though widely spread but hardly accepted, it could find some examples on the [[Gran Vía]] of [[Madrid]].<ref>Navascués Palacio, Pedro, y Alonso Pereira, José Ramón; ''La Gran Vía de Madrid''. Ed. Encuentro ([[2002]]). ISBN 978-84-7490-667-7.</ref><ref>Of San Antonio Gómez, Carlos; ''The Madrid of the, 98:
architecture for a crisis. 1874-1918'', p. 132. Ed. Community of Madrid, Ministry of Education and Culture (1998). ISBN 978-84-451-1485-8.</ref>

In Mexico there was also a new expression of Plateresque, whose success spread to the Southwestern [[United States]], which began in the first half of the 18th century.<ref>Zuno Hernández, José Guadalupe; ''History of the arts in the Mexican Revolution'', vol. 2, p. 41. Ed. National Institute of Historical Studies of the Mexican Revolution (1967).</ref> Do not confuse this Neo-plateresque with of Spain at the end of 19th and early 20th centuries, the called Monterrey style.


==Examples==
==Examples==
==== Plateresque architects and artists ====
Distinct examples of include the Royal Chapel of the [[Granada Cathedral]], [[Monterrei|Monterrey]] Palace in [[Salamanca]], the [[Casa de las Conchas|House of Shells]] in Salamanca, the façades of [[Plaza de España (Seville)]], and the [[University of Salamanca]].

* Of First Plateresque.
** Diego de Alcázar<ref>Fernando Chueca Goitia; ''Ars Hispaniae: Architecture of the 16th century''. Ed. Plus-Ultra (1953).</ref>
** Alonso de Covarrubias<ref>Camón Aznar, José; ''La arquitectura plateresca''. Ed. Instituto Diego Velázquez ([[1945]]).</ref>
** Martín de Gainza<ref name="aguado" />
** [[Rodrigo Gil de Hontañón]]
** Gil de Siloé<ref>Soldevila, Ferrán; ''History of Spain, vol. 3''. Ed. Ariel (1999).</ref>
** [[Andrés de Vandelvira]]<ref name="aguado" />
** [[Diego de Riaño]]<ref name="aguado">Aguado Bleye, Pedro, y Alcázar Molina, Cayetano; ''Manual of History of Spain: Christian Monarchs. House of Habsburg (1474-1700)'', p. 1064. Ed. Espasa-Calpe (1963).</ref>
** [[Diego Siloe]]<ref name="bassegoda" />
** Vasco de la Zarza<ref>Rivas Carmona, Jesús; ''The retrochoir of spanish cathedrals: a study of an architectural typology'', p. 93. Ed. Editum (1994). ISBN 978-84-7684-572-1.</ref>
* Of Neo-Plateresque.
** Eduardo Adaro Magro<ref>Bozal, Valeriano; ''History of the Art in Spain. From Goya to the present day'', p. 67. Ed. Akal (1991). ISBN 978-84-7090-027-3.</ref>
** José López Sallaberry<ref>Bueno Fidel, María José; ''Architecture and nationalism: Spanish pabillions in the 19th century universal expositions'', cap. 6. Ed. University of Málaga and Colegio de Arquitectos (1987).</ref>


==== Arquitectures and other Plateresque works ====
⚫
The [[Administration Building (Texas Tech University)|Administration Building]] at [[Texas Tech University]] which was directly inspired by [[University of Alcalá]].
* The facade of Convent of San Marcos (León).
* La Tower of [[Guadramiro]] (Salamanca).
* El castle of the Calle Maqueda.
* La facade of the [[University of Salamanca]].
* The Hospital of the Catholic Monarchs of Santiago de Compostela.
* The facade of the [[New Cathedral, Salamanca|New Cathedral of Salamanca]].
* The facade of the [[Convent of St. Stephen, Salamanca|Convent of San Esteban]] of Salamanca.
* The cloister of the [[Convent of las Dueñas]] of Salamanca.
* The facade of the Church of Sancti Spiritus of Salamanca.
* The facade of the [[Colegio Mayor de San Ildefonso]], of the [[University of Alcalá de Henares]].
* The [[Casa de las Conchas]] of Salamanca.
* The [[Convent of San Marcos, León|Convent of San Marcos]] of León.
* The [[City Council of Seville]]
* The facade of Forgiveness and the balcony of the relics of the Cathedral of Coria.
* The Gate of la Pellejería of the [[Cathedral of Burgos]].
* The Hospital del Rey of Burgos.
* The antecripta the retrochoir and the [[Cathedral of Palencia]].
* The [[University of Oñate]]
* The [[Porta Maior]] of [[Viveiro]].
* The ironworks of the [[Casa de Pilatos]] Seville.
* The facade of the [[Church of Santo Tomás (Haro)|Church of Santo Tomás]] in Haro.
* The pulpit of the Church of San Andrés Apóstol of Villanueva de los Infantes.
* The Main Entrance of the [[Catedral de Santa María la Menor|Cathedral of Santa María la Menor]] of Santo Domingo, Dominican Republic.
* The House of the Sun of the [[Hearst Castle]] of San Simeon, California, USA, based in the Spanish plateresque architecture.
⚫
*The [[Administration Building (Texas Tech University)|Administration Building]] at [[Texas Tech University]] which was directly inspired by [[University of Alcalá]].


==Plateresque Revival==
==Plateresque Revival==

Revision as of 00:17, 10 March 2011

Facade of the University of Salamanca
Hospital of the Catholic Monarchs, in Santiago de Compostela.

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

Altar plateresque of the Cistercian monastery of Santa María del Salvador, in Cañas (La Rioja).
Tomb of the Saint Juan de Ortega in the church of the convent of Santa Dorotea, Burgos.

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.

Features

Spanish Plateresque

Were typical facades-altarpiece, made careful as if it were works of goldsmith, decorated prolifically. The decoration, although earned various inspirations, was mainly vegetable, but also had profusion of medallions, heraldic devices and animal figures, among others. It also produces a wealth of materials: gold plates on crests and tops, vases, etc. At the conclusion of the first third of the 16th century evidence more polychrome and appear crests of historical basis and the balustrades, to mention a neater decoration.[9]

The extent of decoration for all architectural surfaces leads to the creation of new surfaces and subspaces, primarily decorative where these have been, which in turn are decorated profusely, such as niches and aediculas.[10]

Also were progressively including Italian items as decoration: rustications, classical capitals, Roman arches and especially grotesque.[11]

The decoration had specific meanings and can not be read as merely descriptive. Thus, the laurels, the military grounds and the plenty of horns are placed in houses of military personnel. By the same the staging of Greek and Roman myths abstracting humanist ideals, so that the logic decorative became a means to express and disseminate ideas Renaissance.[10]

Also it implemented, and preferred spatial aspects. Thus were built caustrales stairs of open box.[12] However, there was little space changes with respect to the Gothic.

American Plateresque

In America, especially in today's Mexico, various authoctonous cultures were in certain steps that can be considered Baroque when the Spanish brought with them the Plateresque. This symbiotic mixed with local traditions, so that the Gothic architecture was not to America itself, but through a Plateresque quickly moved first with indigenous influences and then with the Africans, evolving into what came to be called an American Baroque.[13]

History

The Plateresque style follows the line of Isabelline, where the decorative elements of Iberian traditions and Italianates form ornament complexes that overlap the Gothic structures. Later it can talk of a Plateresque that retain the Gothic forms as basis until 1530. After that date, althought continue to be used and evolve the Plateresque ornaments, these become part of an architecture that beginning to take on the Renaissance ideas. In 1563, with the start of construction of the monastery of San Lorenzo de El Escorial, the Renaissance architecture is purified through the interventions of Juan de Herrera, ending the splendor and extension of the Plateresque in the Iberian Peninsula.[3] But in Mexico not forgotten, leading to a Neo-Plateresque in the 18th century.

In any case the Plateresque, considered or not as style and exclusively Spanish or another side European, represents the transition between Gothic and Renaissance styles.

Isabelline Style (15th c.)

Main article: Isabelline Gothic
Main article: Manueline

In the 15th century began to develop in the Crown of Castile a tendency to decorate with flamboyant reasons, from Flanders, Islamic and Castilian architecture, which received the name of Isabelline Gothic because most of the orders came from Isabella I of Castile. These ornaments, which were progressively complexity it did not influence the internal structure of buildings.

Something similar happened in the same period in Portugal, in what became known as Manueline.

Plateresque Gothic (late 15th c. - 1530)

A late 15th century began to disguise the Gothic buildings, especially grotesque, but principle these did not change its spaces or structures. This process began when arrived to Spain the Renaissance elements, which are applied by copying them, figuratively, but without understanding, that is, without letting go of ideas and medieval forms.

Even many of the Plateresque buildings already were built, which were only added layers of Renaissance ornamentation, especially around openings (windows and doors), and in general, with exceptions, all non-tectonic element.[10]

Although is usually applied in the architecture the appellative Plateresque, to the act of superimposing new Renaissance elements on governed forms by medieval guidelines also is visible in the Spanish painting and sculpture of the time.[4]

Plateresque Renaissance (1530 - 1560)

Period in that the Renaissance had been fully taken on the Iberian Peninsula, although had not yet reached its peak. This will be the amendments of Juan de Herrera and Philip II of Spain at the monastery of El Escorial design, whose construction began in 1563.

On these dates the decoration, though profuse, is completely Italianate parameters and applied to buildings designed according to the logic Renaissance.

Monterrey Style (19th c. and first third of 20th c.)

The Palacio de Monterrey.
Facade of the City Council of Seville in the Plaza de San Francisco work by Diego de Riaño.
Main article: Monterrey Style

In the 19th century came the Monterrey style name given by the Palacio de Monterrey (Salamanca) - Neo-Plateresque style, a centered historicism in the Plateresque.

The style survived until the early 20th century, immersed in the national and regional revivals, though widely spread but hardly accepted, it could find some examples on the Gran Vía of Madrid.[14][15]

In Mexico there was also a new expression of Plateresque, whose success spread to the Southwestern United States, which began in the first half of the 18th century.[16] Do not confuse this Neo-plateresque with of Spain at the end of 19th and early 20th centuries, the called Monterrey style.

Examples

Plateresque architects and artists

Arquitectures and other Plateresque works

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

  1. ^ 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.
  2. ^ 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.
  3. ^ a b c Arias de Cossío, Ana María; The Art of the Spanish Renaissance, pp 90-91. Ed. Encuentro (2009). ISBN 978-84-7490-909-8.
  4. ^ a b Marías, Fernando; The 16th century: Gothic and Renaissance, p. 24. Ed. Silex Ediciones (2002). ISBN 978-84-7737-037-6.
  5. ^ 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.
  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).
  7. ^ 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.
  8. ^ a b Bassegoda Nonell, Juan; History of the architecture, p. 224
  9. ^ Quesada Marco, Sebastián; Dictionary of Spanish culture and civilization, p. 64. Ed. Akal (1997). ISBN 978-84-7090-305-2.
  10. ^ a b c Ávila, Ana; Images and symbols in the Spanish painted architecture (1470-1560), pp 80-83. Ed. Anthropos (1993). ISBN 978-84-7658-417-0.
  11. ^ Amorós, Andrés, y Camarero, Manuel; Annotated Anthology of the Spanish literature: history and texts: 16th century, p. 183. Ed. Castalia (2006). ISBN 978-84-9740-125-8.
  12. ^ Marías, Fernando; El siglo XVU: Gothic and Renaissance, p. 163. Ed. Silex Ediciones (1992). ISBN 978-84-7737-037-6.
  13. ^ Carpentier, Alejo; Márquez Rodríguez, Alexis; y García Carranza, Araceli; Recovered steps: Essays of Theory and Literary Criticism, p. 37. Ed. Fundación Biblioteca Ayacucho (2003). ISBN 978-980-276-354-2.
  14. ^ Navascués Palacio, Pedro, y Alonso Pereira, José Ramón; La Gran Vía de Madrid. Ed. Encuentro (2002). ISBN 978-84-7490-667-7.
  15. ^ Of San Antonio Gómez, Carlos; The Madrid of the, 98: architecture for a crisis. 1874-1918, p. 132. Ed. Community of Madrid, Ministry of Education and Culture (1998). ISBN 978-84-451-1485-8.
  16. ^ Zuno Hernández, José Guadalupe; History of the arts in the Mexican Revolution, vol. 2, p. 41. Ed. National Institute of Historical Studies of the Mexican Revolution (1967).
  17. ^ Fernando Chueca Goitia; Ars Hispaniae: Architecture of the 16th century. Ed. Plus-Ultra (1953).
  18. ^ Camón Aznar, José; La arquitectura plateresca. Ed. Instituto Diego Velázquez (1945).
  19. ^ a b c Aguado Bleye, Pedro, y Alcázar Molina, Cayetano; Manual of History of Spain: Christian Monarchs. House of Habsburg (1474-1700), p. 1064. Ed. Espasa-Calpe (1963).
  20. ^ Soldevila, Ferrán; History of Spain, vol. 3. Ed. Ariel (1999).
  21. ^ Rivas Carmona, Jesús; The retrochoir of spanish cathedrals: a study of an architectural typology, p. 93. Ed. Editum (1994). ISBN 978-84-7684-572-1.
  22. ^ Bozal, Valeriano; History of the Art in Spain. From Goya to the present day, p. 67. Ed. Akal (1991). ISBN 978-84-7090-027-3.
  23. ^ Bueno Fidel, María José; Architecture and nationalism: Spanish pabillions in the 19th century universal expositions, cap. 6. Ed. University of Málaga and Colegio de Arquitectos (1987).
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