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Resumen: entre 1615 y 1617 el lego cartujo fray Juan Sanchez Cotan –en el siglo afamado pintor de bodegones– realizo varios cuadros para la cartuja de Granada, donde vivia tras profesar como religioso en 1604. Entre ellos destacan representaciones de los martirios de religiosos cartujos en Inglaterra (1535, 1537, 1540) y en los Paises Bajos (1572). Se trata de obras escasamente estudiadas por los historiadores del arte espanol, que tambien han pasado desapercibidas para los autores de trabajos recientes sobre la cultura martirial de la Europa Moderna. Este articulo propone una revalorizacion de este ciclo pictorico, recientemente restaurado por el Instituto de Patrimonio Cultural de Espana (Ministerio de Cultura) y lo analiza en el contexto de la produccion martirial europea –visual, oral y escrita– de la Edad Moderna, especulando finalmente sobre el sentido que los cuadros pudieron tener para sus principales destinatarios: los hermanos legos de la cartuja granadina de las primeras decadas del Seiscientos. Abstract: Between 1615-1617 the Carthusian lay brother fray Juan Sanchez Cotan –in “wordly” life a renowned still-life painter– painted several canvases for the Charterhouse of Granada, where he lived after becoming a Carthusian in 1604. Among them, there are several scenes depicting the martyrdoms of Carthusian monks in England (1535, 1537, 1540) and the Low Countries (1572). These works have been overlooked by the historians of Spanish Art as well as by scholars working recently in the culture of martyrdom in Early Modern Europe. This article aims to draw attention to this cycle, recently restored by the Ministerio de Cultura, and analyzes it in the context of the European martyrial production ( and its visual, oral and written sources). Finally, it speculates on the meaning that the canvases held for their main audience: the lay brothers of the Charterhouse of Granada in the Early Seventeenth Century.
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