Bilbao Museo Nacional de San Gregorio 
English Baroque art is fashionable or Hispanic in the world. We live, writes Serraller 1, a "baroque explosion, as evidenced by the six exhibitions held recently in countries and cities as diverse and distant as Madrid 2 and 3 Bilbao (Spain) 4 London (Great Britain), Mexico City 5 (Mexico), Los Angeles and Indianapolis 6 7 (USA) and currently is being held in Valencia, "The Glory of Baroque" (15 December 2009-26 September 2010) 8 .
Of these, only I had the opportunity to see the show, truly remarkable, dedicated to Juan Bautista Maine in the Museo del Prado, but should not be rushed because residents in Spain we have many opportunities to learn "in situ "Baroque art in its various forms, architecture, painting, sculpture and minor arts because there are few places in our country who do not have in its artistic heritage with works of this genre, many valuable pieces and some little known the general public. But if there is any city, near Madrid, Seville and Granada, is inexcusable destination for lovers of Baroque art, this is without a doubt, Valladolid and within it must stop, newly opened (since September 2009) Museo Nacional Colegio de San Gregorio that after eight years of painstaking rehabilitation, again shows visitors full force and passion of sculpture and Renaissance and Baroque painting, English, and English.
I visit today, then, after a long absence, the Colegio de San Gregorio renovated, this magnificent venue unsurpassed collection, together with good friends pucelano, proud to show the fans the sumptuousness of the historic building and the wealth of art works so well on the sets.
Before starting the visit on a bright May morning, I was informed of the centenary history of this museum.
History Museum
The decision to move to the College of San Gregorio " outraged during the nineteenth century by the soldiers of Napoleon, by bureaucratic bungling and the excesses of the restorers' 9 art objects from the monasteries suppressed by the law disentailment 1835, since 1842 at the stacks Colegio de Santa Cruz resident, is due to the Minister of Public Instruction and Fine Arts of the Second Republic, Fernando de los Ríos Urruti. He proposed to the Council of Ministers approved the Decree of April 29, 1933 by rising to the National Sculpture Museum of Fine Arts in Valladolid. Orueta were Ricardo and Duarte (1868-1939), renowned art historian, then Director General of Fine Arts, Francisco Javier Sanchez Canton (1891-1971), professor and deputy director of the Museo del Prado (later to become Director in 1960) Francisco de Cossio (1887-1975), Director of the Museum, and the architects Emilio Moya Lledós (1895-1943) and Constantine Cardeira and Perez primarily those who returned, if possible, its past glory to the college and arranged in the exposure of the rich collection of polychrome sculpture of the seventeenth and eighteenth centuries was installed there permanently since 1933.
Museum of Sculpture in Valladolid is consolidated and becomes fair national and international fame during the long years of the English Civil War, increasing its legacies funds, deposits and purchases by the state. However, in the 90's of last century, structural weaknesses (the evil of the stone), together with some institutional neglect, they need to undertake a complete rehabilitation of the building and modernization of its facilities, the company completed in 2009, the year in which the Centennial Museum, now named as Royal Decree 1136/2008 Colegio San Gregorio National Museum has reopened its doors to the public .
The exterior
Recalling this news, we have walking on the street of San Gregorio chains to the front of the College building in its day (late fifteenth century) founded, with papal approval, Brother mortar, as and his contemporaries called Fray Alonso de Burgos, Bishop of Palencia, a lover of fine art, powerful patron and inspirer of this "university theological" San Gregorio, designed to promote education among students of theology and the formation of good preachers. And it was nothing bad harvest to honor and glory of the Church Militant: Fr Vitoria, Fray Luis de Granada, Melchor Cano, P. Carranza, P. Las Casas ... nothing more and nothing less.
On the façade in front of us and I do the inevitable photo has said everything correctly and not a matter of trial play, much less try to describe it. In view of the observer appears as a beautiful tapestry richly decorated, glorious and magnificent as a whole and detail. The layman will call attention to the sculptures are wild in the door jambs and usually interpreted as an exotic detail raised by the recent geographical discoveries.
Inside Inside
reached through a courtyard, intimate and secluded, called Schools, leaving the left to visit the chapel at the exit of the exhibition. In the reception area, we purchased our tickets (3 €, normal rate, 1.5 €, reduced and free for Friends of the Museum).
We're ready and eager to start the principles visit the rooms 1 and 2, containing, according to the present distribution museum " transition period works and innovations of the late Gothic and Renaissance ." Of course I will not describe or comment on all the exhibits (in the store can acquire an excellent guide and a comprehensive catalog of funds), but only general (and unusual) on those most interested in or touched me.
In Room 1 calls my attention to a beautiful group of Piedad in which he outlines the tender and frightened expression of the Virgin, almost childlike, holding in her arms the lifeless body of the Son. It is an anonymous class derived from the chapel of the Bishop of Palencia, Sancho de Rojas, in the cloister of San Benito. Very good is also Flemish altarpiece Life of the Virgin, carved in walnut, with great detail in carvings and ornaments, which should be sold off convent of San Francisco 
of Valladolid. According to experts can be a probability sample of those sold in the famous fairs of Medina, which gives an idea of \u200b\u200bthe strength I had this trade and the internationalization arts of Castile at this time (XV century). The altarpiece of St. Jerome (lower panel painting on wood Gothic structure) is also an important piece - which was brought from the monastery of La Mejorada, near Olmedo and holding the arms of a bishop Fonseca, for whom it was made. The singular and gruesome note puts the sculpture of Death of Gil de Ronza (was attributed to Gaspar Becerra) and I remember seeing in other exhibitions. Comes from the convent of San Francisco in Zamora.
The Room 2 offers visitors, among other curiosities, a copy interesting sculptural Holy Family, Germanic bill. Until my visit to this museum did not know that, according to an apocryphal legend, Santa Anna, the mother of the Virgin, had, after San Joaquin dead, several husbands, presumably on. This tradition was sentenced by the Council of Trent but had great vogue in medieval Europe as evidenced by this release in which three husbands, it seems there was a room, comfortably bet, watch the group of Santa Ana, Virgin and Child with St. Joseph, walking by.
Alonso de Berruguete
To continue the visit and access to the halls of great Berruguete, must pass through the lower gallery of the main court, clearly drawing closer to plateresco , designed by Juan Guides?, perhaps earlier, almost, to the front "1496?, whose condition is optimal, because to the successful restoration of the nineteenth century 10.
Before starting the light of these rooms had Berruguete Alonso, who Toledo know his work well as a unique and inimitable artist who was not well understood by all in the Castile of time in which he lived. I'm not very sympathetic to the argument about the religious Azcárate of his work (" the problem that is presented to the Castilian sculptor was inserted into the spirit of the Italian Renaissance sculpture, medieval Christian English " 11) and I feel closest to consider him a "modern", author of a work so disconcerting , unadjusted to rules or principles, a work so personal and so new, compared to all mandatory failing " 12) and at the time described him as Francisco de Cossio.
Retablo de San Benito de Alonso de Berruguete
With this "prejudice" start the visit of 3 to 5 rooms dedicated to the great Palencia. His masterpiece, the altarpiece fragmented Real San Benito, which for the first time, I can see my wide, leaves me literally speechless. I knew that this altarpiece was commissioned in 1526 by Fray Alonso de Toro Abad for chapel the Benedictine monastery of San Benito and that the termination caused astonishment, deserves a eulogy on Cristobal de Villalon. To see him now, as a whole and details, I think this 13 praise is not exaggerated. Contributes to the artistic pleasure of contemplation the successful provision museum that lets you see even the back of the altarpiece frame, they say, was started with an ax and dismantled after the secularization of the monks, give up hope of full restoration . It has now been reassembled as much as possible, adding the missing parts without being noticed too much with what his character can be seen while total work Note the variety and individuality of his paintings and sculptures. Admiring the whole and its parts would not know that value more, if the architectural work of the altarpiece, the painting or sculpture. I think Berruguete was also a brilliant artist, a great designer, able to impress with this monumental altarpiece I believe, only the monks could contemplate so no wonder that so many professions. I'm not very original to say that my favorite works, once seen them all, would, on one hand, the altarpiece of the "Adoration of the Magi " , by his serene classicism and, secondly, the more personal and daring PM of "San Sebastian" of extraordinary and the stunning beauty of the "Sacrifice of Isaac .
lower choir stalls of San Benito
still under the impression that has caused me San Benito work ascend to the top of the yard to continue the historical and artistic itinerary proposed. The rooms 6 and 7 home another of the wonders of the Museum: the choir stalls under the monastery of San Benito , one of the most famous in Spain, designed by Andrés de Nájera and a chosen workshop (1589). It is a masonry ostentatious paid each chair by the Benedictine monasteries of the province of Valladolid with a profusion of Renaissance decoration, made of wood and painted in color only one of the chairs, for the Abbot of Valladolid, for that was the most commanding in the C ongregación Benedictine. The prudent, and not for me to contradict them stand out among all the boards of San Juan Bautista bearing the shield of the monastery of Burgos, which was paid for by whom and which is attributed to Diego de Siloam.
can not pass unnoticed in the room 6, an Ecce Homo of strange figure, with legs crossed, which through your body, lean and emaciated, and the pained expression on his face and absent, conveys all the loneliness and helplessness of being able to feel a human being. The size is Berruguete naturally and seems likely to come from the altar of the monastery of La Mejorada in Olmedo, then we will see, or at least is contemporaneous with this .
Juan de Juni
Santo Entierro de Juan de Juni
Coming from Berruguete rooms, I must admit, in court manifestly incorrect, the lengths of Juan de Juni are compared with these, dummies, gifted, yes, some extra dramatic effect. Perhaps you missed the French Castilianized step by Italy. Therefore, his figures seem creeps in attitudes, gestures broken, twisted clothes, but without the genius of Berruguete, as in the Burial of Christ (room 8), his most representative work, which comes from the funeral chapel Fray Antonio de Guevara, the former convent of San Francisco de Valladolid or reliquary bust of Santa Ana (Room 9), whose face, of remarkable realism, has been justly praised. J
Juni Unto a Berruguete and other teachers 'minor' (Always in comparison with the great), fill the rooms devoted to the arts in the Renaissance: Diego Rodriguez, Esteban Jordan, Juan de Anchieta ... In room 12 I draw attention to their subject, two reliefs: the Holy Job been vilified by his wife, sustained by a demon who encourages him in his curse, invoked 
ation which, from now , I will draw as often as necessary, attributed to Francisco Giralte and the " miracle" wrought by the holy Cosmas and Damian transplanting a leg of a black slave to a white man, nice exercise of Christian charity. More uplifting is the relief of Redemption of captives by San Pedro Nolasco of Pedro de la Cuadra , which inevitably reminds us of the captivity of Cervantes in Algiers baths.
Good wood sculpture of Calvary of Pompeo Leoni , better known as a sculptor in bronze altarpiece from the Franciscan convent of San Diego and interesting fine altarpiece Mannerist architecture and painting Oratory of the Royal Court of Chancery of Valladolid which was attributed to Gaspar Becerra but which now appears as possible Benedetto and Gaspar de Palencia. Baroque
Thus, "piano piano", we come to what, in principle, was our obscure object of desire, baroque images, where the arts, serving the interests of the Church are, as the well-written catalog, " a decisive weapon of propaganda reaching a high temperature expressive. "
The undisputed master of Castilian Baroque is undoubtedly or Gregorio Hernández Fernández, that, even Galician (born in Pontevedra in 1562), was Hold me nte 
Valladolid where he joined the Most of his work. This artist is presented in this room 14, extraordinary parts is a joy to behold, beginning with the Sixth Step Anguish, from the Brotherhood of Sorrows, excellent composition especially in the core group of Piety. masterpiece also Baptism of Christ in the Jordan , main scene of an altarpiece from the Barefoot Carmen Valladolid and excellent free statues San Bruno, the Carthusian monastery of Aniago and Santa Teresa de Avila of Discalced Carmelites in typical mantle folding habit pinned to a pin. Directly opposite the Pas de Gregorio Fernández see a sumptuous shrine with paintings on the doors exterior and interior of the brothers Carducho.
Dead Christ by Gregorio Fernández
The following rooms, 15 to 19 offer the visitor a wide range of fully baroque paintings and sculptures. Not if the Dead Christ of Gregorio Fernández 
on display in only one study site (Hall 15), will be the best of their own but if the artwork favorite museum visitors as a Research carried out in 1996, opinion to which I most. Another favorite of the public works, which looks like the dramatic, is the head of St. Paul of Juan Alonso and Ron Villabrille (room 17), who have recently seen some work in Madrid (a bust of St. Jerome in the church of San Ginés) , an extreme naturalism. More restful are the size of San Juan Bautista teen of Alonso Cano (room 18) and San Ignacio de Loyola of Pedro Roldán (room 16). 
Granada staff
Creating Pedro de Mena is the size of the Penitent Magdalene (room 19), Museo del Prado deposit of the current catalog says was carried out in 1664 for the house of the Jesuits in Madrid but I read on another site that was collected in 1919 from the Convent of the Visitation or salts of Madrid and had been implemented for the San Felipe Neri. I think a beautiful size where the ascetic without apparent effort combines the gracefulness of form. eighteenth century
Regarding the former, the eighteenth century, where new artistic styles succeed 
of neoclassicism and the Rococo, is less dramatic and more friendly. You only have to compare the Magdalena Pedro de Mena with that of Espinabete , but my favorite is the Valladolid sculptor Luis Salvador Carmona whose splendid crucified Christ, Museo del Prado deposit, from, perhaps from Loreto College in Madrid, even drawing on earlier models of the Baroque reflects a new sensitivity and more elegant, less tense. Beautiful, colorful and delicate carving is also Santa Eulalia on the cross, the same author. The three mentioned in the same room (20).
We can not leave these rooms without mentioning, at least, the roofs that cover. Original ones, the old building, adapted other art and patience are one of these magnificent pieces that we give to describe, but I would not mind seeing collected and studied in a monograph published . Leaving
back to the upper gallery or cloister courtyard, admiring its innards ornamental " parapets permeate the fine work, where the wreath retail, closed arcs as a sovereign eardrum mullion "
14 . descend the stairs round, the two sections separated by a sill. In this step the experts are the synthesis of the elements that define the time of its construction: the Gothic, Mudejar it (the Wood Deck " trough type with ten technical loop ataurejada " muqarnas 15) and resurgent (large coats of Fray Alonso and ashlar padding, similar to the College of Santa Cruz, also Valladolid, so finely wrought that looks like plaster, not stone). "Poetics musical box is in the starry sky wood" 16.
Cover Mudejar steps
I make a brief foray into the theme room dedicated to the processions with groups more or less "popular" Francisco Rincon, Gregorio Fernández, Andrés Solar ... I am not enthusiastic about Easter, a tradition lost in the eighteenth century secularized and "resurrected" by the Catholic Church in the 20's of last century. I imagine that in the sixteenth and seventeenth processions would be something awful with its parade of penitents, hooded (why they have now to disguise the penitents?), Gruesome images and theatrical staging, preceded or followed the burning of heretics " to Delibes' to scare people and perhaps to amuse some .
Chapel
recrossed the Court of the studies to enter the chapel, which displays various sculptural. The chapel, Gothic and high altitude, was completed in 1489 to house the tomb of Fray Alonso de Burgos, the work of Felipe Vigarny, destroyed during the French. Its current museum content start of 1933 when they installed some works that evoke its past splendor, beginning with the altarpiece of Berruguete Jerome brought the monastery of La Mejorada of San Andrés de Olmedo (previously was in place that it occupies another altarpiece because of Siloam Gil also destroyed during the Napoleonic Wars.) The judge understood that this altarpiece Berruguete denotes their profound knowledge of Italian Renaissance art and show influences of Brunelleschi, Ghiberti and Donatello. Gómez Moreno writes that this is the first work Berrruguete carving, done in 1526 when the artist still had fresh in the memory of the great masters. Beside paths praying statues of gilt bronze Dukes of Lerma, Francisco de Sandoval y Rojas and the Catalina Cerda, Pompeo Leoni recall the models of El Escorial.
Retablo de La Mejorada de Olmedo Alonso de Berruguete
also on premises, blocking the communication with the fronting old Convent of San Pablo, see the great tomb of Diego de Avellaneda , bishop of Tuy, the work of Felipe Vigarny , which compensates the destroyed by the French, from the monastery of San Juan Bautista Jerome and St. Catherine of mirrors, Guijosa (Soria).
By visiting this interesting funerary enclosure finish Museum visit that I love and that is fair to say before closing, is staffed by a young professional staff and adequately prepared at all times remains to promptly meet the many interesting visitors.
The balance of my visit to the Museum is entirely positive, although certainly important pieces I've made no comment during the tour. I came in first in search of the Baroque and I met also with "the overwhelming personality Berruguete places on their work and to universalize his art as one of the most daring and advanced than the world has " 17.
I just
shall recommend to the readers of this blog that so far I have followed a trip to Valladolid, 55 minutes far from Madrid on the AVE, to turn a visit to this unique museum with the assurance that will not at all disappointed and will two hours, minimum time duration of their journey, truly unforgettable.
© Manuel Martínez Bargueño
June 2010 (last updated July 2010)
If you have interested in this article and want to ask, comment or contribute something about it can leave a comment or write to my email address manuelblas222@gmail.com with confidence be promptly addressed.
Thanks. Manuelblas
NOTES
1. "Baroque loop." For Serraller. Country Babelia 31.10.09.
2. "Maíno Juan Bautista." Museo del Prado (09/19/2009 to 01/17/2010).
3 . "Murillo Young." Museo de Bellas Artes de Bilbao (10/19/2009 to 01/17/2010).
4. "The Sacred Made Real" (The sacred fact. English Painting and Sculpture 1600-1700). National Gallery in London (10/21/2009 to 01/24/2010). Until September 30, 2010 This exhibition was originally conceived and organized by the National Gallery in London and the National Gallery in Washington can be seen at the National Museum of San Gregorio de Valladolid
5. "Domenikos Theotocopoulos ", El Greco. Palacio de Bellas Artes. Mexico City (03/09/2009 to 01/11/2009)
6. " Luis Meléndez. Master of the English Still Life . LACMA (Los Angeles County Museum of Art) 27-09.2009-03.01.2010.
7 . " Sacred Spain: Art and Belief in the English World ." Indianapolis Museum of Art (11/10/2009 to 03/01/2010).
8. The exhibition "The Glory of Baroque " found in some of the most important temples of the Historical Center of Valencia: the Almudín, the church of San Esteban martyr, San Martin Obispo and San Antonio Abad and the church of San Juan de la Cruz (El País 12.06.1910 Traveler).
9. Take the publication quoted phrase " National Museum Sculpture "Valladolid. Center for Historical Studies. Ancient Art file. Madrid. 1933, p.5.
10. The restoration architect Theodosius Valladolid Torres was the master builder and the run was called Leocadio Cacho (Juan José Martín González. " The National Museum of Sculpture in Valladolid" . Editorial Everest. SA fifth edition, 1989, p.14 )
11. Jose Maria de Azcarate. "Alonso de Berruguete ." III. Alonso de Berruguete and aesthetics of the English Renaissance. Ministry of Education. General Directorate of Fine Arts, 1963, p.55.
12 . Francisco de Cossio. " Berruguete." Editions of the School of Arts and Crafts of Valladolid, 1948, p.33.
13. " which has an altarpiece of San Benito, which have seen many times that if the Prince Philip and Alexander were living now, they considered the works of those of its itempo, treasures had not l think they are paying " .
14. Juan José Martín González " Museum ..." op.cit. P.9.
15. Juan José Martín González. " Historical-Artistic Guide Valladolid, second edition, (undated) Editorial Miñón Valladolid, p.68.
16. Juan José Martín González. " The Museum ..." op.cit. p. 14.
17. Francisco de Cossio, op.cit. p.10.
rancisco Iturribarria Laucirica "sacerdos-vatesque -clarus " (1853-1916), a modern work (1957) Quentin of Torre. I searched some information about this priest, poet, philosopher and polyglot Basque evolved from Carlism towards more pro nationalists. His poetry, in the words of his contemporaries was "inspired personal and intense, melodic instinct admirable" 2 . His complete works were published after his death, by the Board of Culture of the provincial council and some examples can be found even in the book trade of set, as I have observed. 
rse with all the brain damage and death " 4 . In my case, I keep the memory and is one of the most enjoyable of my childhood, more than half a century ago, when my parents brought me to Madrid for the first time to witness the stadium was then called a classic Real Chamartin Madrid-Athletic de Bilbao (so if you called and the Basque club by virtue of the authority), the party that won the team finished the capital 3 to 1, if the historical memory serves me correctly. The team played Gaínza Bilbao and Madrid have not made Di Stefano. 
San Mames, "Cathedral", the stadium that he wanted to visit before demolishing it, is one of the oldest football fields with tradition in Europe, opened on August 28, 1913 . On why they call it "the Cathedral" there are several versions. One of them, for me the most convincing or that pleases me most is the one that says his hobby, since ancient times, can appreciate the delights of good football team practice at home or rival. Is a public understood, the true and genuine "lecture" football. 
rse with all the brain damage and death " 4 . In my case, I keep the memory and is one of the most enjoyable of my childhood, more than half a century ago, when my parents brought me to Madrid for the first time to witness the stadium was then called a classic Real Chamartin Madrid-Athletic de Bilbao (so if you called and the Basque club by virtue of the authority), the party that won the team finished the capital 3 to 1, if the historical memory serves me correctly. The team played Gaínza Bilbao and Madrid have not made Di Stefano. 
San Mames, "Cathedral", the stadium that he wanted to visit before demolishing it, is one of the oldest football fields with tradition in Europe, opened on August 28, 1913 . On why they call it "the Cathedral" there are several versions. One of them, for me the most convincing or that pleases me most is the one that says his hobby, since ancient times, can appreciate the delights of good football team practice at home or rival. Is a public understood, the true and genuine "lecture" football. 
ation which, from now , I will draw as often as necessary, attributed to Francisco Giralte and the " miracle" wrought by the holy Cosmas and Damian transplanting a leg of a black slave to a white man, nice exercise of Christian charity. More uplifting is the relief of Redemption of captives by San Pedro Nolasco of Pedro de la Cuadra , which inevitably reminds us of the captivity of Cervantes in Algiers baths. 
