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Open a larger version of the following image in a popup: Putti, attributed to Bartolomé Ordóñez, c. 1516–1520. Complete view of the alabaster relief.
Open a larger version of the following image in a popup: Putti, Attributed to Bartolomé Ordóñez, c. 1516–1520
Open a larger version of the following image in a popup: Putti, Attributed to Bartolomé Ordóñez, c. 1516–1520
Open a larger version of the following image in a popup: Putti, Attributed to Bartolomé Ordóñez, c. 1516–1520
Open a larger version of the following image in a popup: Putti, Attributed to Bartolomé Ordóñez, c. 1516–1520
Open a larger version of the following image in a popup: Putti, Attributed to Bartolomé Ordóñez, c. 1516–1520

Putti

Attributed to Bartolomé Ordóñez, c. 1516–1520
Alabaster
62 × 53 × 13 cm
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%3Cdiv%20class%3D%22artist%22%3EPutti%3C/div%3E%3Cdiv%20class%3D%22title_and_year%22%3E%3Cspan%20class%3D%22title_and_year_title%22%3EAttributed%20to%20Bartolom%C3%A9%20Ord%C3%B3%C3%B1ez%3C/span%3E%2C%20%3Cspan%20class%3D%22title_and_year_year%22%3Ec.%201516%E2%80%931520%3C/span%3E%3C/div%3E%3Cdiv%20class%3D%22medium%22%3EAlabaster%3C/div%3E%3Cdiv%20class%3D%22dimensions%22%3E62%20%C3%97%2053%20%C3%97%2013%20cm%3C/div%3E

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Two putti lift a sweeping curtain in this expressive alabaster relief. Their contrasting poses, twisting bodies and finely worked drapery combine physical strength with the softness of childhood. Álvaro Pascual...
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Two putti lift a sweeping curtain in this expressive alabaster relief. Their contrasting poses, twisting bodies and finely worked drapery combine physical strength with the softness of childhood. Álvaro Pascual Chenel relates the sculpture to Bartolomé Ordóñez and his workshop, drawing comparisons with the sculptor’s funerary monuments and the Michelangelesque character of his figures. Dated in the catalogue to c. 1516–1520, the work reflects the close artistic exchanges between Renaissance Italy and Spain.

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Literature

Álvaro Pascual Chenel, From Late Gothic Art to Italian Mannerism in Alabaster: Gil de Siloe and Bartolomé Ordóñez (Jaime Eguiguren), pp. 36–37.

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