The Light of a City I

During the 13th and 15th centuries, the presence of Andalusian tradition in Córdoba was still considered important. Artists begin to spread the iconography of the official religion as part of the process of Christianization in the city. Bartolomé Bermejo, Pedro de Córdoba and Alejo Fernández are part of this first generation of artists who, influenced by Flemish and Italian painting, did not hesitate to introduce elements related to Andalusian tradition into their compositions.

The representation of the anatomy in delicate 14th century architectures and fabrics come together in this high-quality anonymous work.

Alejo Fernández was one of the most important painters of this time. The figures begin to become rounder and the architecture acquires a presence influenced by the Italian "Cinquecento" (in the 16th century).

The decorative motifs on this base resemble those of the Andalusian period, used specifically in the 10th century Córdoba Caliphate. This work comes from the Convent of Santa Clara, which was an old mosque.

In smaller scale, donors who paid for this altarpiece, and on an even smaller scale, the Mother Superior of the convent.

Nature and the search for a greater expression of realism leads to a new perspective in art. Theatricality, light contrasts, and great compositions characterize the art of 17th century Córdoba. Antonio del Castillo is the greatest example of this. He dominated the school in the mid-century and left his mark in the next century, when people would repeat his compositions.

Calvary—a symbolic motif by Antonio del Castillo, made for the Plenary Hall of the Holy Office of the Inquisition. In producing it, he was inspired by prints of central European works, as always.

A dead Christ that unites the divine and the human with his deathly complexion. A tight, precise stroke defines a delicate anatomical form, revealing Castillo's skill for drawing.

The Virgin and Saint John speak to the viewer's emotions and feelings. The Virgin sorrowful, and Saint John in tears, both wrapped in heavy coats, on which Castillo details every fold.

In the background, a beautiful Jerusalem in the darkness, and an idealized reconstruction of Solomon round off the composition. At the foot of the cross are the bones of Adam, as the redemption of mankind.

As an assignment from the important Guild of Silversmiths of Cordoba, Juan de Valdés Leal produced this wonderful "Immaculate Conception with Saint Eloy and Saint Anthony", known as "The Virgen of Silversmiths."

Saint Eloy is the patron of the Guild of Silversmiths. Valdés has portrayed him in an outfit rich in detail, and most likely with the face of a real person from that time.

You can't help but notice, on the plinth that is supporting the Virgin, some gold work that pays pictorial homage to the Guild that ordered it.

The movement and sensationalism of the composition are accentuated by angels and cherubs, which surround Mary carrying symbols of the Litany.

One of the most original contributions of Antonio del Castillo were the "historiejas." These are small- and medium-sized compositions of natural landscapes in which people are secondary elements.

They generally had a moralistic narrative content, and are among the more intellectual works that Castillo produced.

Replicating nature, and Castillo's style, triumphed in Cordovan society, where this type of work was in demand.

The 18th century explores the assumptions of the previous century. The search for harmonious proportions and color are the main aspects of the work of Cordovan painter, Acisclo Antonio Palomino. Locally, Cordovan painting fell into a deep crisis of identity and originality, repeating the patterns of Antonio del Castillo without much success.

Antonio Palomino was a theoretician as well as painter, essayist and biographer. His works portray delicate, elongated figures and a refined use of color, as reflected in this composition.

This work by Jose Ignacio Cobo y Guzman is part of the Life of Saint Peter Nolasco series, which he made for the "Casa-Madre" (home) of the Cordovan Mercedarians.

Here, the miracle of his birth is told. As he is born, a swarm of bees create a honeycomb in his hand.

In the child's hand, a lost honeycomb dripping with honey can be found. The honey is a metaphor for the number of people who would be attracted to the church.