Cesar Avila 11/15/13

Exhibition Analysis: The Altarpiece from Ciudad Rodrigo

The artistic themes of Medieval Western Europe revolved primarily upon the
transmission of Christian doctrine through iconography and visual interpretation of Biblical
parables. Perhaps the most common mode of conveying such theological content during this
period was through the altarpiece, framed artistic representations of sacred subjects that were
symbolically placed above the altar of a church. Among the most extensive and monumental
examples of this method of religious devotion is the The Altarpiece from Ciudad Rodrigo, an
exhibition that consists of twenty-six oil and tempera paintings by Fernando Gallego, Maestro
Bartolom and their respective workshops. Collectively the exhibition represents an incredibly
detailed chronology of the Bible through illustration of the Book of Genesis, the life of Christ,
and the Last Judgment. This gallery ultimately serves as a commentary on the significance of
religious content on the conventions of Medieval European art and the role that such art had in
demonstrating piety and doctrinal themes. These notions are fully embodied throughout Maestro
Bartoloms Crucifixion (1480-1488 CE), a brilliant work that employs Hispano-Flemish
conventions to depict a climactic moment in Christian doctrine.
Throughout the Inquisition of the fifteenth-century, the extreme devotion of both the
Spanish monarchy and clergy led to the widespread commission of various altarpieces that
showed reverence for Christian doctrine. The twenty-six oil-on-wood panels of The Altarpiece
from Ciudad Rodrigo exemplify the desire of said entities to relate key themes of the Christian
faith to the masses. These goals are accomplished primarily through the common depiction of
Christian subjects, the stylistic conventions used by each artist to display such themes, and the
positioning of each panel in relation to one another. Individually, each panel elucidates specific
Biblical passages that are key to ones understanding of the Christian faith. The Hispano-Flemish
style characteristic of both Gallego and Maestro Bartolom drew heavily from Northern
European conventions and allowed for profound, emotionally stimulating portrayals of religious
content. The departure from the idealism of Gothic art to a more naturalistic style allowed for the
use of such new media as oil-based paints and glazes that expressed minute details with luster.
This phenomenon is seen clearly with the use of gold paint to depict Christian symbols such as
Christs halo in a manner that asserts divinity. Moreover, the artists use of dynamic gestures and
individualized expressions for the myriads of subjects depicted allows for a representational
naturalism that ascribes to a more intimate relationship between the viewer and painting. The
arrangement of the paintings themselves has massive implication on the ability of the exhibition
to establish a non-linear narrative of the Bible from the Old Testament to the New. Entering from
the main hall of the gallery, one is naturally drawn to the vastly divergent piece that hangs on the
center of the opposite wall. This focal work, Maestro Bartolomes Chaos (c. 1493) depicts the
Second Coming of Christ in the apocalypse but also serves functionally in the exhibit to separate
the work of Fernando Gallego from that of Maestro Bartolom. On the right side, the work of
Gallego relates several anecdotes that help to augment the divine majesty of Jesus Christ through
works such as The Raising of Lazarus (1480-1488) and Changing the Water into Wine (c. 1480-
1488). The work of Maestro Bartolom on the left side of Chaos is considerably more solemn as
it primarily depicts the Passion of the Christ. Once synchronized, each hemisphere of the gallery
combines to produce a visually striking interpretation of the Bible. Thus, viewers of the
exhibition are able to see how such altarpieces would have assumed a didactic purpose in the
Spanish cathedrals in which they were placed. Consequently this indicates that religion was the
chief influencing factor in the overall creation of Medieval Spanish art.
With a brilliant array of vibrant colors and an unequivocal representation of Christianitys
most defining moment, Crucifixion captures the essence of the exhibition by demonstrating both
religious themes and the masterful conventions employed by Gallego, Maestro Bartolom and
their galleries. Although this panel is not situated in a particularly noteworthy position amongst
the other works, it is distinguished by a densely populated composition and extensive use of
saturated colors. The prominent use of iconography characteristic of the exhibition is achieved
most obviously thorough the focal image of Christ, however, analysis of the surrounding
characters reveals such significant Biblical figures as the Virgin Mary, Pontius Pilate and the
Three Wise Men. Despite the busy nature of the panel, the centrality of the image of Christ upon
the cross allows it to retain its prominence. The use of oil-based paint allows for Bartolom to
depict Christs skin in a radiant manner that implies vitality despite the large wound that effuses
a stream of blood. Coupled with the aforementioned motif of the glowing halo, this ostensible
defiance of death affirms Christ as an object of divinity. Furthermore, this piece is the
exhibitions greatest example of the meticulous tendency for Bartoloms to individualize the
expressions of each character. Directly underneath the cross, the Virgin Mary and others who
sympathize with Christ appear heartbroken and melancholic while the Three Wise Men look
upon in disgust for the betrayal, torture, and tragic death of their Savior. Finally, the Roman
soldier glances upward at the lifeless figure of Christ with a mocking face and a pompous display
of the weapon used to inflict death. Such variability is extended with the depiction of the other
two crucified men in a twisted manner that suggests struggle and resistance of death.
Comparatively, although he has been subjected to the same persecution, Christ retains a peaceful
disposition that reflects the core Christian ideology that he willingly sacrificed himself for the
benefit of mankind. Noting the plethora of integral Christian themes present throughout
Crucifixion, the artwork takes on a pedagogical function for the mostly illiterate congregation
who would have observed the piece during liturgy. As such, this painting encapsulates the
profound influence that religion had on the themes of Medieval Spanish art. Moreover, the
ubiquity of the styles and conventions used by Gallego, Maestro Bartolom, and their workshops
throughout this particular piece ascribe to its relegation as the consummate piece of the
exhibition.
The exhibition The Altarpiece from Ciudad Rodrigo prominently displays the most
visually stunning examples of Medieval Spanish devotional art. As is evident through its
magnum opus, Crucifixion, this gallery presents an imaged interpretation of the Bible as well as
the techniques that the artists used in order to effectively transmit themes of such magnitude.
Ultimately this collection serves as a commentary on the dominion of Christianity throughout
Medieval art in regard to both stylistic conventions and thematic content.