Biography

A Castilian artist derived from Diego de la Cruz is called the Master of Salomón de Frómista (Silva, 1990). He receives his name from one of his best known works: the altarpiece of Frómista. Likewise, to avoid confusion with the Maestro de los Balbases, who had also worked on the altarpiece, the Salomón panel was chosen to define its characteristics (Silva, 1990). Having worked with the Master of the Balbases, his figure has hardly been studied in isolation. Post (1935) made a first attempt, which was followed by Gudiol (1955). If we look at his works, it is undeniable to separate him from the influence of Diego de la Cruz, with whom he probably trained in Burgos. As for his characteristics, Pilar Silva (1990) points out that his figures are larger than those of Diego de la Cruz, as well as the incorporation of decorative motifs in his architectures. In addition, "peculiar are the eyes, with a lost look, and in particular his eyebrows, long and thin". Numerous works by the Master of Solomon of Frómista are scattered in museums and national and international institutions. See, for example: the altarpiece of the life of Christ (Church of Santa María del Castillo, Frómista); the altarpiece of San Esteban (Church of San Esteban, Burgos) or The Mass of San Gregorio (Philadelphia Museum of Art).

Bibliography

• GUDIOL RICART, José (1955): Pintura gótica (Ars Hispaniae, vol. IX), Editorial Plus-Ultra, Madrid.
• POST, Chandler Rathfon (1935): A History of Spanish Painting, vol. 6 (The Valencian School in the Late Middle Ages and Early Renaissance), nº 2, Harvard University Press, Cambridge (Massachusetts), pp. 626-629.
• SILVA MAROTO, María Pilar (1990): Pintura hispanoflamenca castellana: Burgos y Palencia. Obras en tabla y sarga, vol. II, Junta de Castilla y León, Valladolid, pp. 421-427.