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Juan de Borgoña and Workshop - Calvary
Ref : 96339
95 000 €
Period :
<= 16th century
Artist :
Juan de Borgoña et atelier
Provenance :
Medium :
Oil on panel
Dimensions :
l. 23.03 inch X H. 31.5 inch
Galeria Bernat

Old Master paintings and sculpture

+34 658905604
+34 658905608
Juan de Borgoña and Workshop - Calvary


Oil on panel
80 x 58,5 cm
Toledo, c. 1525-1535
Provenance: Madrid, private collection

The work before us here is a Calvary with the Mass of St Gregory, which Isabel Mateo has attributed to Juan de Borgoña.
The composition draws on the model created at the heart of Juan de Borgoña’s workshop in Toledo, the leading example of which is the Calvary currently preserved at the Faculty of Law at Madrid’s Complutense University. This is the origin of the two angels who are flying around the cross, while the profiled Mary on the left of our panel is reminiscent of the St. John the Evangelist from the Complutense Calvary. There are also several works featuring the centurion pictured from the front and pointing to Christ. Juan de Borgoña popularized this type of soldier with gold breastplates and slashed breeches, and would once again portray a similar figure in his Resurrection on the lost stations of the cross from the cloisters of San Juan de la Penitencia in Toledo. With regard to the figure of the Virgin, ours resembles one that appears in a dismembered Calvary housed between the Musée du Louvre and the Museo del Prado. Mary’s pose and body language, as well as the angels collecting Christ’s blood, are returned to in another work by Juan de Borgoña and his workshop, the Calvary from the Manuel González collection (Madrid). Returning to the Louvre/Prado panels, the model for the Virgin was not the only parallel, as the female figure on the far left of our panel is an exact match for the profiled Virgin from the Louvre fragment. Meanwhile, the Mary who is holding onto the Mother of God’s arm presents a face and tilt of the head that are identical to that of St. John the Evangelist.
This Calvary model was subsequently adapted by Juan de Borgoña’s followers and collaborators, such as Juan Correa de Vivar and Francisco and Antonio de Comontes.
We should not forget that Antonio de Comontes was Borgoña’s most loyal follower in Toledo, and that they undertook a number of joint commissions, such as the altarpiece for the church of San Andrés de Toledo (1513), which survives to this day, and which appears to have been executed by Comontes on his own. These links would explain the existence of such close parallels between works attributed to Borgoña and workshop, and those associated with Comontes. In the Calvary we are studying here, these links between one artist and another coalesce in the Mass of St. Gregory towards the top, whose central figure is directly reminiscent of two that appear in another panel from the Gerstenmaier collection and attributed to Comontes, the Last Communion of St. Benedict.

Galeria Bernat


16th century Oil Painting Renaissance