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The Granadan school of sculpture or Granadine school of sculpture—the tradition of Christian religious sculpture in Granada, Andalusia, Spain—began in the 16th century and constituted a clear tradition of its own by the 17th century. The extraordinary artistic activity of Renaissance Granada brought artists to that city from various regions of Spain and from other parts of Europe. The Granadan school began with Diego de Siloé, was developed especially by Pablo de Rojas, and culminated with Alonso Cano. ==15th and 16th centuries== Gothic sculptures were brought to Granada in the era of the Catholic Monarchs Ferdinand and Isabella. Although these were objects of devotion, they did not begin a local tradition of sculpture. Rather, it was in the era of the Holy Roman Emperor Charles V (Charles I of Spain) that an initial nucleus of sculptors came together to work on sculptures for the Capilla Real. The tomb of the Catholic Monarchs was the work of Italian sculptor Domenico Fancelli; the tomb of Joanna of Castile and Philip I of Castile the work of Bartolomé Ordóñez; the great altarpiece was by Felipe Bigarny and pieces such as the ''Incarnation'' and the ''Entombment of Christ''-now in the Museum-by Jacopo Torni of Florence. All are masterworks, all were innovative in their time, but they do not represent any one particular style. More of a focus would come from the immense output of Diego de Siloé, especially in the Monastery of St. Jerome and the Granada Cathedral; and also in the decoration of the Palace of Charles V; among the artists involved in decorating the Palace were Nicolao de Carte and his student Juan de Orea, as well as the Fleming Antonio de Leval. De Orea, in particular, brought together a vigorous realism with an Italian sense of composition and movement. Of all of these artists it was Siloé who, not only because he remained based in Granada but also by the power and variety of his art, came to attract and create a group of followers that came to constitute a local school. The most faithful continuation of his work was by Diego de Aranda, but more personal notes were struck by Baltasar de Arce and Diego de Pesquera. De Arco's ''Christ at the Pillar'' in the church of the Hospitallers shows violently concentrated movement typical of the mannerist style, but with a pre-Baroque expressive intensity. He brought more brio and grandiosity to the central figure of the fragmentary main altarpiece of the church of San Cristóbal. Pesquera, who Manuel Gómez Moreno believed may have learned his art in Rome, came to work with Siloé, providing details within the work of the latter, bringing a finesse to expressions of tenderness and of fainting. A particularly notable example of this can be seen in the figures of Virtues in the chapter house in the Cathedral. After Granada, Pesquera went on to Seville; after 1580 nothing is known of his fate. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Granadan school of sculpture」の詳細全文を読む スポンサード リンク
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