Triptych of Nava and Grimon: Difference between revisions
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'''Tríptico de la Natividad de Nava y Grimón''', [[flemish]] painting is dated 1546 and attributed (central panel), to [[Pieter Coecke]] and lateral to the workshop of the same master. This brochure is the most famous work of art and known the [[Museo Municipal de Bellas Artes de Santa Cruz de Tenerife]], located in the [[Santa Cruz de Tenerife|city of the same name]] in the [[Canary Islands]] ([[Spain]]).<ref> |
'''Tríptico de la Natividad de Nava y Grimón''', [[flemish]] painting is dated 1546 and attributed (central panel), to [[Pieter Coecke]] and lateral to the workshop of the same master. This brochure is the most famous work of art and known the [[Museo Municipal de Bellas Artes de Santa Cruz de Tenerife]], located in the [[Santa Cruz de Tenerife|city of the same name]] in the [[Canary Islands]] ([[Spain]]).<ref name="El Tríptico de Nava">{{Cite web |title=Tríptico de Nava-Grimón |url=http://hispanismo.org/reino-de-las-canarias/9354-pintura-y-arte-flamenco-en-canarias.html#post55701 |work=Hispanismo.org |language=Spanish}} quoting (dead link) {{Cite web |title=El Tríptico de Nava |url=http://comunidad.terra.es/blogs/laincognita/archive/2007/04/23/El-Tr_ED00_ptico-de-Nava.aspx |work=La incógnita |date=23 April 2007}}</ref> |
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== Features == |
== Features == |
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It is an oil on board, which has three different scenes that reproduce various topics related to the birth and childhood of [[Christ]]: The central composition represents the Nativity, on the front panel of the [[Circumcision of Jesus]] left and on the right the [[Presentation of Jesus at the Temple]]. On the back of both, to close the tables, the [[Annunciation|Annunciation of the Virgin Mary]] and the [[Archangel Gabriel]], in a classical space and marble, as the story of the [[Gospel of Luke]].<ref |
It is an oil on board, which has three different scenes that reproduce various topics related to the birth and childhood of [[Christ]]: The central composition represents the Nativity, on the front panel of the [[Circumcision of Jesus]] left and on the right the [[Presentation of Jesus at the Temple]]. On the back of both, to close the tables, the [[Annunciation|Annunciation of the Virgin Mary]] and the [[Archangel Gabriel]], in a classical space and marble, as the story of the [[Gospel of Luke]].<ref name="El Tríptico de Nava"/> |
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The work combines the canon elongated figures with architectural elements taken from [[Vitruvius]] and [[Sebastiano Serlio]], or [[Mannerist]] palette rich with archaic formulas, showing on the one hand the formation of [[Pieter Coecke]] with [[Antwerp]] Mannerist and other traces of their stays in [[Italy]] and [[Turkey]], and the study of the classical writers.<ref |
The work combines the canon elongated figures with architectural elements taken from [[Vitruvius]] and [[Sebastiano Serlio]], or [[Mannerist]] palette rich with archaic formulas, showing on the one hand the formation of [[Pieter Coecke]] with [[Antwerp]] Mannerist and other traces of their stays in [[Italy]] and [[Turkey]], and the study of the classical writers.<ref name="El Tríptico de Nava"/> |
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== History == |
== History == |
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[[Tomás Grimón y García de Albarracín]], was a master of field linked to the [[Spanish Crown]] and personal contact with [[Flanders]]. Tomás, [[Tenerife]] brought the triptych from [[Brussels]] to the private chapel of his house in [[San Cristóbal de La Laguna]], situated on the site now occupied by the [[Palacio de Nava]]. Spend and become part of the family assets Nava y Grimón.<ref |
[[Tomás Grimón y García de Albarracín]], was a master of field linked to the [[Spanish Crown]] and personal contact with [[Flanders]]. Tomás, [[Tenerife]] brought the triptych from [[Brussels]] to the private chapel of his house in [[San Cristóbal de La Laguna]], situated on the site now occupied by the [[Palacio de Nava]]. Spend and become part of the family assets Nava y Grimón.<ref name="El Tríptico de Nava"/> |
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The triptych is actually a "brush altarpiece" large, that in the early seventeenth century was dismembered, from the side boards to the chapel of the San Clemente (in the municipality of [[Santa Úrsula]]), owned by the same family, and being the center table in the palace of Nava harrier.<ref |
The triptych is actually a "brush altarpiece" large, that in the early seventeenth century was dismembered, from the side boards to the chapel of the San Clemente (in the municipality of [[Santa Úrsula]]), owned by the same family, and being the center table in the palace of Nava harrier.<ref name="El Tríptico de Nava"/> |
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In 1969 the tables are removed for restoration and divided in the private collections of his heirs. In 1991, provisionally grouped in the family home Ascanio Estanga, until its acquisition by [[CEPSA]] Foundation. Today they are deposited in the [[Museo Municipal de Bellas Artes de Santa Cruz de Tenerife]] in [[Santa Cruz de Tenerife]] and is one of the most important [[Flemish]] paintings Islands.<ref |
In 1969 the tables are removed for restoration and divided in the private collections of his heirs. In 1991, provisionally grouped in the family home Ascanio Estanga, until its acquisition by [[CEPSA]] Foundation. Today they are deposited in the [[Museo Municipal de Bellas Artes de Santa Cruz de Tenerife]] in [[Santa Cruz de Tenerife]] and is one of the most important [[Flemish]] paintings Islands.<ref name="El Tríptico de Nava"/> |
||
In 1998, the triptych was moved to [[Madrid]] to participate in the exhibition: ''Masterpieces recovered''. This is a sample of Spanish Heritage artistic works, which have been treated and restored in recent years. The Tríptico de Nava y Grimón and was in fact the centerpiece and title of the exhibition.<ref> |
In 1998, the triptych was moved to [[Madrid]] to participate in the exhibition: ''Masterpieces recovered''. This is a sample of Spanish Heritage artistic works, which have been treated and restored in recent years. The Tríptico de Nava y Grimón and was in fact the centerpiece and title of the exhibition.<ref>{{Cite journal |title=Inmortales recuperados |url=http://www.alfayomega.es/Revista/1999/146/10_raices4.php |work=Alfa y Omega |issue=146 |first=Javier Alonso |last=Sandoica |date=2 January 1999 |publisher=Fundación San Agustín |location=Madrid |issn=1698-1537 |language=Spanish}}</ref> |
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== References == |
== References == |
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Revision as of 13:12, 19 April 2013
 | This article may be a rough translation from Spanish. It may have been generated, in whole or in part, by a computer or by a translator without dual proficiency. |
| Tríptico de Nava y Grimón | |
|---|---|
 | |
| Artist | Pieter Coecke |
| Year | 1546 |
| Type | triptych |
| Location | Museo Municipal de Bellas Artes de Santa Cruz de Tenerife, Santa Cruz de Tenerife |
Tríptico de la Natividad de Nava y Grimón, flemish painting is dated 1546 and attributed (central panel), to Pieter Coecke and lateral to the workshop of the same master. This brochure is the most famous work of art and known the Museo Municipal de Bellas Artes de Santa Cruz de Tenerife, located in the city of the same name in the Canary Islands (Spain).[1]
Features
It is an oil on board, which has three different scenes that reproduce various topics related to the birth and childhood of Christ: The central composition represents the Nativity, on the front panel of the Circumcision of Jesus left and on the right the Presentation of Jesus at the Temple. On the back of both, to close the tables, the Annunciation of the Virgin Mary and the Archangel Gabriel, in a classical space and marble, as the story of the Gospel of Luke.[1]
The work combines the canon elongated figures with architectural elements taken from Vitruvius and Sebastiano Serlio, or Mannerist palette rich with archaic formulas, showing on the one hand the formation of Pieter Coecke with Antwerp Mannerist and other traces of their stays in Italy and Turkey, and the study of the classical writers.[1]
History
Tomás Grimón y García de Albarracín, was a master of field linked to the Spanish Crown and personal contact with Flanders. Tomás, Tenerife brought the triptych from Brussels to the private chapel of his house in San Cristóbal de La Laguna, situated on the site now occupied by the Palacio de Nava. Spend and become part of the family assets Nava y Grimón.[1]
The triptych is actually a "brush altarpiece" large, that in the early seventeenth century was dismembered, from the side boards to the chapel of the San Clemente (in the municipality of Santa Úrsula), owned by the same family, and being the center table in the palace of Nava harrier.[1]
In 1969 the tables are removed for restoration and divided in the private collections of his heirs. In 1991, provisionally grouped in the family home Ascanio Estanga, until its acquisition by CEPSA Foundation. Today they are deposited in the Museo Municipal de Bellas Artes de Santa Cruz de Tenerife in Santa Cruz de Tenerife and is one of the most important Flemish paintings Islands.[1]
In 1998, the triptych was moved to Madrid to participate in the exhibition: Masterpieces recovered. This is a sample of Spanish Heritage artistic works, which have been treated and restored in recent years. The Tríptico de Nava y Grimón and was in fact the centerpiece and title of the exhibition.[2]
References
- ^ Sandoica, Javier Alonso (2 January 1999). "Inmortales recuperados". Alfa y Omega (in Spanish) (146). Madrid: Fundación San Agustín. ISSN 1698-1537.