Biography

It was Gómez-Moreno (1925) who baptized this artist as the Maestro de Palanquinos, a name he received for the altarpiece painted in Palanquinos (León). Later Post (1933) devoted in his History of Spanish Painting more attention to the painter, notably increasing the catalog of his works. It seems unquestionable that Fernando Gallego exerted a great influence on the Master of Palanquinos, being even possible that he had been trained in his workshop (Ballesté Escorihuela, 2017). Among the characteristics of his works stand out: the backgrounds and golden nimbuses with incisions and phylacteries, brocade robes, pink or green architectures and the exaggeration of attitudes (Ballesté Escorihuela, 2019). There are numerous paintings by the Master of Palanquinos found in museums and collections both inside and outside Spain. The following can be cited, by way of example: Fall of the rebel angels (Museum of León); Altarpiece of the Holy Johns of the Church of San Juan Bautista de Villalón de Campos (Valladolid) or the Virgin of the milk with a donor (National Museum of Art of Catalonia).

Bibliography

• BALLESTÉ ESCORIHUELA, Marc (2017): De la pintura Hispano-flamenca al primer Renacimiento en las antiguas diócesis de León y Astorga: El Maestro de Palanquinos y el Maestro de Astorga (c. 1480-1540), Universidad de Lleida (Tesis doctoral), Lleida, pp. 27-55.
• BALLESTÉ ESCORIHUELA, Marc (2019): "Tablas de nuevos maestros castellanos anteriormente atribuidas al Maestro de Palanquinos (h. 1480-1500)", Archivo Español de Arte, vol. 92, nº 367, pp. 245-251.
• BERG SOBRÉ, Judith et al. (2008): Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago, Chicago.
• CAMÓN AZNAR, José (1966): Pintura medieval española, Summa artis 22, Madrid, pp. 587-588.
• GÓMEZ MORENO, Manuel (1925): Catálogo monumental de España. Provincia de León, p. 278/314/368.
• POST, Chandler Rathfon (1933): A History of Spanish Painting, vol. 4, Harvard University Press, Cambridge (Massachusetts).