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Piedad with Canon Lluís Desplà
ArtistBartolomé Bermejo
Year1490
Mediumtempera on wood
LocationBarcelona Cathedral, Barcelona
Despla sit next to Mary and Death of Christ

The Piedad with Canon Liuís Desplà was commissioned by Canon Lluís Desplà for a chapel in Barcelona Cathedral from the Spanish Renaissance artist Bartolomé Bermejo.[1] It depicts a piedad, or pietá, the scene in which the Virgin Mary mourns over the body of her son, Jesus Christ. The painting is notable for its inclusion of stylistic elements from Flemish art, as well as the artist's rigorously empirical observations of animals and plants.[1]

Bartolomé Bermejo

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In 1440, Bartolome de Cárdenas, better known as Bermejo, was born on the Liberian peninsula of Cordoba.[2] He was famously known as an itinerant artist who often traveled to places to adapt his artistic ability by utilizing artistic styles with Spanish roots and adopting new in-depth strategies to create more highly designed ideas toward traditional art.[3] Furthermore, Bermejo searches for associates to allow him to continue his life work whenever he plans to move to another place.[4] He adopts his mastery of his oil technique to make his works of art towards a more realistic Northern European style influence. Bermejo created his Spanish portraits using a suitable Flemish method, which he learned was called translucent oil glazes.[5]

When examining his works of art, it is often tricky to determine where to categorize Bermejo based on his distinguished ideas. In most of his works, Bermejo portrays an illusionistic language based on replacement realism by creating a sense of capturing reality and sensory representation.[6] Bermejo distinguishes subject matter using his oil glaze technique to imitate illusionistic ideas with bright colors, transparency, polished gloss, gleaming metal, and splendid stone, gold, and silver materials.[7] Most information about Bermejo's works and whereabouts has not been discovered.

Description

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The Piedad with Canon Lluís Desplà is considered the highest work of art ever made by skillful artists who produce countless unique styles of religious and traditional art.[8] Afterward, this piece became the last known of Bermejo’s artwork to be finished until he stopped doing his work and eventually vanished. [9]

Within the early fifteenth century, Bermejo was deeply interested in Fernando Gallego’s works of his panoramic landscape that followed a similar style influenced by the Flemish method. [10] This painting panel was for the donor’s private oratory of a chapel. This art was painted on polychrome wooden sculpture with three panels, a Catalonian traditional material that is moveable.[11]

Bermejo focuses on rendering accurate details with each subject matter to have naturalism trait value and a unique color palette. This showcases how in-depth Bermejo applies detail to his work using the Flemish oil glaze technique, which uses more stylized, angular drapery characteristic of Flemish.[12]

Crucial Figures:

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The portrait distinguishes two crucial figures, St. Jerome and Canon Liuís Desplà, who are side by side with the Virgin Mary as the central focus, grieving over the death of her son Jesus. Jerome is a priest who wears a red and white church robe and reads through the scriptures of the bible while kneeling to the side of death Christ.[13] Below St. Jerome, Bermejo included Jerome’s feline companion in the scene as a reference to how Jerome tamed the beast in the wildness.[14] Canon Desplà is an Archdeacon wearing thick dark robes and holding an influential position in Barcelona. Desplà was fascinated by Bermejo’s Flemish techniques and works of art and became a personal client.[15] Desplà requested Bermejo to include a portrait of him in the Piedad scene. For Despla's intentions, he wanted to portray and publicize his authorly position as an Archdeacon kneeling on the right side along the Virgin Mary and the death of Christ by showing his devoutness and remorse within the scene.[16] Also, he wants to be in the same image as St. Jerome, who he adores, the scholarly father of the church.[17]

By examining Mary’s robe up close, the edges of the mantle have the remarkable embedded texture of gold patterns, and the angle perspective of the robe is portrayed as actual fabric.[18] This showcases how in-depth Bermejo applies detail to his work using the Flemish oil glaze technique.

Looking at the three leading figures in the foreground (Jesus, Mary, and Jerome), Bermejo put effort into expressing their facial features due to the collection's concept of symbolic models.[19] The unique virtue shows the expression of the sad Virgin Mary with half-closed eyes, slightly parted lips, and downward curved corners of her mouth.[20] The haloes on their heads symbolize their holy devotion, but in most cases, the artists differ in including the golden crown. [21] People often think the concept is based on European representation in the late fifteenth century. [22] 

Landscape:

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By looking at the sky, Bermejo created several unique weather effects to give a more naturalistic appearance of the sun setting over Jerusalem and the landscape environment. He applied distinctive details of wind-torn and stormy clouds, flickering light sources, fretful dawn, and flocks of birds well. [23] He distinguishes the dark stormy clouds from a passage in the Gospels that describes the death of Jesus and the possible coming of the eclipse. [24]

The same applies to the landscape, visualizing all living animals, bugs, mountains, valleys, and other towns and plants' life subject matter with highly detailed scenes.[25] Within the landscape of Piedad, the portrait has dramatic elements to give a contrasting meaning to the environment and subject matters that Bermejo has embedded into the scene.[26] Bermejo inspects his concept of the natural environment art scene for a good sense of creative ideas to depict Jerusalem based on the Gothic architectural style.[27] He keenly observes every aspect of fine detail features within the landscape and sky that enhance the Acqui panel. [28]

The scene includes two small details within the background landscape. On the left, a hermit sits at the entrance of a mountain cave. On the right, a woman is seated in her wheelchair in her stone house in Jerusalem. Both of them have their unique visual details. The hermit’s side is represented by the uneven thickness of parallel strokes of the brush, while the woman’s side shows interesting domestic architectural details of the bricks and plaster. [29]

His Mastery is demonstrated by the fine details of gleaming metal items, tiny books with legible inscriptions, and a whole host of plants and animals within his artwork—many of his clients and viewers like the passion creatively that Bermejo portrays in vivid colors.

Often, Bermejo borrows some from northern works of art reference by two artists, Jan van Eyck’s Mystic Lamb and Hans Memling’s The Life and Passion of Christ. Van Eyck's Portraits focuses on landscapes, plants, and townspeople.[30] In comparison, Memling has a different focus on the landscape depicted within the city of Jerusalem. Bermejo applies both concepts to his portrait to create a combination of northern and Spanish traditions to illustrate his ideal of the material environment.

Notes

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  1. ^ a b "Smarthistory – Bartolomé Bermejo, Piedad with Canon Lluís Desplà". smarthistory.org. Retrieved 2024-09-03.
  2. ^ Kilroy-Ewbank, Lauren. "Bartolome Bermejo, Piedad with Canon Lluis Despla". Smarthistory. Retrieved October 7, 2024.
  3. ^ Kilroy-Ewbank, Dr.Lauren. "Bartolomé Bermejo, Piedad with Canon Lluís Desplà". Smarthistory.
  4. ^ Treves, Letizia. Bartolome Bermejo Master of the Spanish Renaissance. london: the national gallery. p. 58. ISBN 9781857096446.
  5. ^ Moffitt, John F. (1999). The Arts in Spain. London: Thames and Hudson. p. 82. ISBN 0-500-20135-6. {{cite book}}: Check |isbn= value: checksum (help)
  6. ^ Treves, Letizia (2019). Bartolome Bermejo. London: London and New Haven. p. 57. ISBN 9781857096446.
  7. ^ Treves, Letizia (2019). Bartolome Bermejo. london: London and New Haven. pp. 51–52. ISBN 9781857096446.
  8. ^ Young, Eric (1975). bartolome Bermejo. Great Britian: Elek books Limited. p. 86. ISBN 0236310410.
  9. ^ Kilroy-Ewbank, Lauren. "Bartolomé Bermejo, Piedad with Canon Lluís Desplà". Smart History.
  10. ^ Kilroy-Ewbank, Lauren. "Bartolomé Bermejo, Piedad with Canon Lluís Desplà". Smart History.
  11. ^ Moffitt, john f. (1999). The Arts in Spain. London: Thames and Hudson. p. 82. ISBN 0-500-20315-6.
  12. ^ Kilroy-Ewbank, Dr. Lauren. "Bartolomé Bermejo, Piedad with Canon Lluís Desplà". Smart History.
  13. ^ moffitt, John F. (1999). the arts in spain. london: thames ans hudson. p. 82. ISBN 0-500-20315-6.
  14. ^ Kilroy-Ewbank, Lauren. "Bartolome Bermejo, Piedad with Canon Lluis Despla". Smarthistory. Retrieved October 7, 2024.
  15. ^ Treves, Letizia. Bartolome bermejo. london. p. 61. ISBN 9781857096446.
  16. ^ Kilroy-Ewbank, Lauren. "Bartolome Bermejo, Piedad with Canon Lluis Despla". Smart history. Retrieved October 7, 2024.
  17. ^ Treves, Letizia (2019). Bartolome Bermejo. London: National Gallery Company. p. 61. ISBN 9781857096446.
  18. ^ Kilroy-Ewbank, Lauren. "Bartolome Bermejo, Piedad with Canon Lluis Despla". Smarthistory. Retrieved October 7, 2024.
  19. ^ Treves, Letizia (2019). Bartolomé Bermejo. London and New Haven. p. 60. ISBN 9781857096446.
  20. ^ Kilroy-Ewbank, Dr. Lauren. "Bartolomé Bermejo, Piedad with Canon Lluís Desplà". Smart History.
  21. ^ Kilroy-Ewbank, Dr. Lauren. "Bartolomé Bermejo, Piedad with Canon Lluís Desplà". Smart History.
  22. ^ Kilroy-Ewbank, Dr. Lauren. "Bartolomé Bermejo, Piedad with Canon Lluís Desplà". Smart History.
  23. ^ Moffit, John F. (1999). The Arts in Spain. London: Thames and Hudson. p. 82. ISBN 0-500-20315-6.
  24. ^ Kilroy-Ewbank, Dr. Lauren. "Bartolomé Bermejo, Piedad with Canon Lluís Desplà". Smart History.
  25. ^ moffitt, John F. (1999). the arts in spain. thames and hudson. p. 83. ISBN 0-500-20315-6.
  26. ^ Moffitt, John F. (1999). The arts in Spain. London: Thames and Hudson Ltd. p. 83. ISBN 0-500-201315-6. {{cite book}}: Check |isbn= value: length (help)
  27. ^ Kilroy-Ewbank, Dr. Lauren. "Bartolomé Bermejo, Piedad with Canon Lluís Desplà". Smart History. Retrieved November 1, 2024.
  28. ^ Young, Eric (1975). Bartolome Bermejo. Great Britain: Elek Books Limited. p. 88. ISBN 0-236-31041-0.
  29. ^ Young, Eric (1975). Bartolome Bermejo. Great Britain: Elek books limited. pp. 88–89. ISBN 0-236-31041-0.
  30. ^ Treves, Letizia. Bartolome Bermejo: Master of the Spanish Renaissance. London: National Gallery Company. p. 54.

References

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  • John F. Moffit, The Arts in Spain (London: Thames and Hudson, 1999)
  • Letizia Treves, et al. Bartolomé Bermejo, exh. cat. (London and New Haven: National Gallery Company and Yale University Press, 2019)
  • Alberto Velasco and Francesco Fité, eds., Late Gothic Painting in the Crown of Aragon and Hispanic Kingdoms (Leiden: Brill, 2018)

Bibliography

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John F. Moffit, The Arts in Spain (London: Thames and Hudson, 1999)

Doot Bokelman, The Reception of Bartolomeo Bermejo Saint Augustine: Modern Enigma versus Renaissance Certainty (South Central Renaissance Conference, 2015)

Letizia Treves, et al. Bartolome Bermejo exh. cat (London and New Haven: National Gallery Company and Yale University Press 2019)

Alberto Velasco and Francesco Fite, eds., Late Gothic Painting in the Crown of Aragon and Hispanic Kingdoms (Leiden: Brill, 2018)

Dr. Lauren Kilroy-Ewbank, "Bartolomé Bermejo, Piedad with Canon Lluís Desplà," in Smarthistory, September 28, 2019, accessed October 2, 2024, https://smarthistory.org/bermejo-piedad-despla/.

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