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Diego Jimenez II (Viana, Navarra, 1617 - Cabredo, Navarra, 1660).
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Description
Diego Jiménez II (Viana, Navarre, 1617 - Cabredo, Navarre, 1660).
"The Last Supper
Relief in carved, polychrome and gilded wood.
36 x 98.5 x 2.5 cm.
This relief was part of the exhibition "The Mystery of Faith: An Eye on Spanish Sculpture 1550 - 1750" (2009), and is reproduced in the magnificent catalogue published for the occasion (pages 230-233), with texts by Andrea Gates and Patrick Matthiesen.
Diego Jimenez II was born and trained in an area in the north of Spain which took over from the school of Romanist sculptors who grew up around the master Juan de Anchieta It was Anchieta who introduced the early Renaissance to Spain and is considered to be the father of one of the most important Schools following Michelangelo in Europe. In this area of rich and enduring sculptural heritage the sculptor of this relief began to work one hundred years later. At the time, important sculpture workshops continued to supply images to the numerous local churches in the towns of Navarre, La Rioja, Alava and the surrounding area. One of these was the Navarrese workshop in Cabredo, founded by Anchieta's pupil, Pedro González de San Pedro (1560-1608), and continued by Juan Bazcardo (Navarre, 1584-1653) and Diego Jiménez II. It was in this workshop, in fact, that he produced this relief. By way of anecdote, it should be noted that the two sculptors were brothers-in-law, as both married daughters of González de San Pedro. This family and artistic relationship, which was not uncommon at the time, gave rise to numerous joint creations such as the altarpieces of La Población de la Barca and Dallo, both in Álava.
As we read in the Gates and Matthiesen catalogue mentioned above, "the shape of this relief suggests that it originally formed part of the predella of an altar". Jiménez's sculptural quality is evident in the way he distributes the figures around the table, giving the illusion of spaciousness through his handling of depth, despite the limited sculptural space available to him.
On the one hand, the relief reflects the Romanesque heritage mentioned above and, on the other, it shows characteristics already typical of the Baroque, such as the naturalism of the piece, the use of individualised features for each character and the treatment of the clothing in angular folds.
What is usually a rather solemn, static and dogmatic scene is depicted here as a light-hearted dinner party, with more of a costumbrist than religious nature, as if it were a family or friends' gathering. The figures are arranged in groups, in animated chatter, with a couple talking to each other, some questioning others, one figure looking directly at the viewer, while Jesus caresses the head of his favourite disciple, who is dozing, resting his cheek on his hand. On the other side, Judas Iscariot hides a bag of coins in his hand, his payment for betraying Jesus.
Reference Bibliography:
- Gates, Andrea y Matthiesen, Patrick. (2009). "The Mystery of Faith: An Eye On Spanish Sculpture, 1550-1750".
- Ramírez Martínez, José Manuel. (s.f.). "Diego Jiménez" https://dbe.rah.es/biografias/57000/diego-jimenez
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Diego Jiménez II (Viana, Navarre, 1617 - Cabredo, Navarre, 1660).
"The Last Supper
Relief in carved, polychrome and gilded wood.
36 x 98.5 x 2.5 cm.
This relief was part of the exhibition "The Mystery of Faith: An Eye on Spanish Sculpture 1550 - 1750" (2009), and is reproduced in the magnificent catalogue published for the occasion (pages 230-233), with texts by Andrea Gates and Patrick Matthiesen.
Diego Jimenez II was born and trained in an area in the north of Spain which took over from the school of Romanist sculptors who grew up around the master Juan de Anchieta It was Anchieta who introduced the early Renaissance to Spain and is considered to be the father of one of the most important Schools following Michelangelo in Europe. In this area of rich and enduring sculptural heritage the sculptor of this relief began to work one hundred years later. At the time, important sculpture workshops continued to supply images to the numerous local churches in the towns of Navarre, La Rioja, Alava and the surrounding area. One of these was the Navarrese workshop in Cabredo, founded by Anchieta's pupil, Pedro González de San Pedro (1560-1608), and continued by Juan Bazcardo (Navarre, 1584-1653) and Diego Jiménez II. It was in this workshop, in fact, that he produced this relief. By way of anecdote, it should be noted that the two sculptors were brothers-in-law, as both married daughters of González de San Pedro. This family and artistic relationship, which was not uncommon at the time, gave rise to numerous joint creations such as the altarpieces of La Población de la Barca and Dallo, both in Álava.
As we read in the Gates and Matthiesen catalogue mentioned above, "the shape of this relief suggests that it originally formed part of the predella of an altar". Jiménez's sculptural quality is evident in the way he distributes the figures around the table, giving the illusion of spaciousness through his handling of depth, despite the limited sculptural space available to him.
On the one hand, the relief reflects the Romanesque heritage mentioned above and, on the other, it shows characteristics already typical of the Baroque, such as the naturalism of the piece, the use of individualised features for each character and the treatment of the clothing in angular folds.
What is usually a rather solemn, static and dogmatic scene is depicted here as a light-hearted dinner party, with more of a costumbrist than religious nature, as if it were a family or friends' gathering. The figures are arranged in groups, in animated chatter, with a couple talking to each other, some questioning others, one figure looking directly at the viewer, while Jesus caresses the head of his favourite disciple, who is dozing, resting his cheek on his hand. On the other side, Judas Iscariot hides a bag of coins in his hand, his payment for betraying Jesus.
Reference Bibliography:
- Gates, Andrea y Matthiesen, Patrick. (2009). "The Mystery of Faith: An Eye On Spanish Sculpture, 1550-1750".
- Ramírez Martínez, José Manuel. (s.f.). "Diego Jiménez" https://dbe.rah.es/biografias/57000/diego-jimenez
Beauty and Devotion. Picasso between the Old and New World.
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Lots: 118
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08006
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The purchase price includes the delivery of the lots in the venue of the auction. Transporting to other destinations is at the own risk of the client. The customer must contact "LST", to give the corresponding instructions for such transporting. "LST" is not responsible for the packaging or any accident incurred during transportation.
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VII. SCALE OF BIDS. The bids are set according to the following scale:
From 50.-€ to 200.-€…………………………………………..at 10.-€
From 200.-€ to 500.-€…………………………………… …25 in 25.-€
From 500.-€ to 1.000.-€………………………………..…..….50 in 50.-€
From 1.000.-€ to 2.000.-€………………………………..…100 in 100.-€
From 2.000.-€ to 5.000.-€……………………………….….250 in 250.-€
From 5.000.-€ to 10.000.-€…………………………………500 in 500.-€
From 10.000.-€ to 20.000.-€……………………………1.000 in 1.000.-€
From 20.000.-€ to 50.000.-€……………………………2.500 in 2.500.-€
From 50.000.-€ to 100.000.-€…………………………..5.000 in 5.000.-€
From 100.000.-€ to 100.000.-€………………………10.000 in 10.000.-€
From 200.000.-€ to 200.000.-€………………………25.000 in 25.000.-€
From 500.000.-€ to 500.000.-€………………………50.000 in 50.000.-€
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XII. DELIVERY OF LOTS. The purchase price includes the delivery of the lots in the venue of the auction. Transporting to other destinations is at the own risk of the client. The customer must contact "LST", to give the corresponding instructions for such transporting. "LST" is not responsible for the packaging or any accident incurred during transportation.
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Sales operations are understood to be held at the registered office of "LST", C/ Conde de Salvatierra, 8, 08006. Any dispute shall be taken to the competent courts of Barcelona, expressly waiving any other jurisdiction, in accordance with Article 55 of the "Ley de Enjuiciamiento Civil".
