El arquitecto Sebastián de Benavente (1619-1689) y el retablo cortesano de su época

Abstract

(Introduccion) El nombre de Sebastian de Benavente era conocido solo por especialistas, ya que el retablo cortesano espanol del siglo XVII no ha merecido la atencion necesaria de la historia del arte. La documentacion era abundante en torno a el, pero la aparente desaparicion de casi toda su obra llevo a conclusiones precipitadas acerca de su estilo. Sin embargo, una revision que llevamos a cabo de su vida y obra a traves de la bibliografia existente en 2004 nos permitio intuir su importancia y originalidad en las artes del Madrid del siglo XVII.(Objetivos) Para demostrar ese puesto preeminente, nos propusimos ampliar la documentacion por medio de la consulta en diversos archivos y bibliotecas. El hallazgo de nuevas noticias nos permitiria profundizar en la biografia de Benavente, sus relaciones con clientes y otros maestros, e incluso encontrar obras conservadas. El estudio y fotografia de estas, ademas de la recopilacion de testimonios graficos de las piezas perdidas, llevaria a la redaccion de un catalogo cronologico que desvelaria el estilo del arquitecto con mayor certeza, ademas de aspectos iconograficos y tipologicos. (Resultados) La busqueda documental fue fructifera, con la obtencion de un centenar de nuevas referencias, bastantes de ellas de gran importancia. Mediante la relacion entre los datos obtenidos ha sido posible elaborar una biografia extensa, resolviendo incognitas sobre su entorno familiar y su formacion. Hemos ampliado el circulo de sus colaboradores en el retablo y en otras ramas artisticas. Ademas las obras de Benavente han aumentado considerablemente, sobre todo las conservadas, de modo que hemos podido definir con seguridad su estilo y demostrar su originalidad. Fue decisivo para el cambio al Barroco pleno en el retablo espanol y tuvo repercusion hasta bien entrado el siglo XVIII. (Conclusiones) Hemos situado a Sebastian de Benavente en el puesto principal que ocupo en vida como maestro de retablos y dibujante, respetado y admirado por sus companeros de profesion y otros maestros del medio artistico, por sus novedades rompedoras en estilo, habilidad como empresario y amplias relaciones. [ABSTRACT] (Introduction) The name of Sebastian de Benavente was known just by the specialists owing to the Spanish court altarpiece in the 17th century hasnt deserved the necessary attention from the History of Art. Documentation around it was abundant, but the apparent disappearance of almost the whole work led to get precipitate conclusions about its style. However, a checking done on his life and work with the current bibliography in 2004, allowed us sensing his importance and originality into the arts of that Madrid in the 17th century. (Objectives) To demonstrate that preeminent position, our aim was increasing the documentation consulting several archives and libraries. The find of unpublished news would permit us to go into Benavente biography, the relationships with his clients and other masters, even finding preserved works. Their study and photography, besides the compilation of graphic testimonies of the lost pieces, would get us to the writing of a chronological catalog which would reveal the architect style with more certainty, apart from iconographical and typological aspects. (Results) The documentary search was productive, obtaining a hundred new references, very important most of them. Through the connection between the information obtained, it was possible to elaborate an extensive biography, resolving mysteries about his home environment and his education. (Conclusions) We have increased the circle of his collaborators in altarpiece and other artistic branches. Also, Benavente Works have increased outstandingly, particularly, those preserved, this way we have been definitely able to define his style and originality. He was decisive in the change to the High Baroque in the Spanish altarpiece and had repercussion until the 18th century. We have placed Sebastian de Benavente in the main position which he had during his life as a master of altarpieces and draftsman, respected and admired by his workmates and other masters from the artistic medium, owing to his original style innovations, skill as businessman and wide contacts.

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