De escultura palatina para la reina Mariana de Neoburgo a pieza devocional para Santa Teresa de Jesús: un San Miguel Arcángel de Alessandro Algardi

• Gloria Martínez Leiva ^[1]
  1. [1] Universidad Complutense de Madrid

     Universidad Complutense de Madrid

     Madrid, España

     
• Localización: Hispanic Research Journal: Iberian and Latin American Studies, ISSN 1468-2737, Vol. 20, Nº 5, 2019, págs. 472-490
• Idioma: español
• Texto completo no disponible (Saber más ...)
• Resumen
  • español

    Alessandro Algardi fue uno de los escultores más importantes del barroco y uno de los predilectos del estamento religioso. Es por ello que pese a su muerte en 1654, sus modelos se mantuvieron vivos a través de su taller, ya que éstos continuaron siendo demandados. Una de sus esculturas, que representaba a San Miguel venciendo al demonio, llegará de este modo, a finales del siglo XVII, a manos de la reina Mariana de Neoburgo, segunda esposa del rey hispánico Carlos II, siendo una de las escasas obras según modelo de Algardi que llegaron a España durante el siglo XVII. El presente texto documenta la obra que tras la muerte de la soberana fue legada testamentariamente al convento de Carmelitas de Alba de Tormes para velar por los restos de Santa Teresa de Jesús, en cuyo actual museo se ha localizado la pieza.

  • English

    Alessandro Algardi was considered one of the top Italian Baroque sculptors of his time, receiving commissions from pontiffs, the Spanish court, and other distinguished patrons. After his death in 1654, his workshop remained active and successful, still receiving many commissions for sculptures that were produced from the legacy of casts and mounds he left behind in his workshop. This paper is about one of these sculptures and documents, its arrival in Spain during the seventeenth century. The sculpture is that of Saint Michael defeating the devil, and was in the possession of Queen Maria Anna of Neuburg, second wife of the Spanish King Carlos II. This is believed to be one of the few Algardi sculptures that arrived in Spain during the seventeenth century. This paper documents how in the Last Will of the Queen it was bequeathed to the Carmelite convent of Alba de Tormes to watch over the remains of Santa Teresa of Jesus. The sculpture was indeed located in the museum of the Carmelite convent of Alba de Tormes (Salamanca).