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Title

Retable of Saint Andrew

Maestro de los Claveles [attributed to] (Active at the end of the 15th century)

Generic classification
Painting
Object
Altarpiece
Date
ca. 1475-1500
Century
Last quarter of the 15th c.
Cultural context / style
Late Gothic
Dimensions
33,2 x 15,5 in
Material
Panel
Technique
Oil Painting
Iconography / Theme
Crucifixión, San Andrés, Santa Catalina, Última Cena
Provenance
Ávila (Ávila, Spain)
Current location
Toledo Museum of Art, Ohio (Toledo, Ohio, United States)
Inventory Number in Current Collection
1955.214AF
Object history

It was Gudiol Ricart (1959) the first to point out that this altarpiece of San Andrés was the work of the Maestro de Geria. This hypothesis was supported by other researchers such as Padrón Mérida (1990) and Rodríguez Cruz (1964), who called him Master of the Carnations because of the special treatment he made of these flowers in his compositions. It was this author who classified the master's production in two stages, including this altarpiece in the second one, together with the Triptych of the Pietà of the Church of San Miguel (Segovia). Among the characteristics of this stage are: "a greater tendency of the painter to accentuate the features of the characters and to highlight the contours with strong broken lines, in such a way that the figures are somewhat geometric and with incorrect features, but very expressive" (Rodríguez Cruz, 1964).

The origin of the altarpiece of San Andrés is unknown, although its author carried out works in the current provinces of Avila, Segovia and Valladolid. In fact, it is believed that this set came from Avila (Collar de Cáceres, 2004). It is unknown how and when it left the country, but in 1955 it ended up in the Toledo Museum of Art in Ohio (United States) thanks to the donation of Edward Drummond Libbey.

Description

The altarpiece of San Andrés is composed of six tables distributed in three streets, being the widest the central one. The scenes that appear in the altarpiece are the following: the Calvary, the Last Supper, the imposition of the chasuble to San Ildefonso, Santa Catalina, San Andrés and the donors. An ogee arch with cresting tops the scenes. St. Andrew is represented as a large figure. His face presents a great geometry, something that is emphasized in the treatment of the eyebrows and eyes. The works of the Maestro de los Claveles are reminiscent of the Master of Avila for the primitiveness of the forms.

* The relative location of dealers, antique shops, art galleries, and collectors leads us to the places where they were based or had one of their main headquarters. However, this does not always indicate that every artwork that passed through their hands was physically located there. In the case of antique dealers and art merchants, their business often extended across multiple territories; sometimes they would purchase items at their origin and send them directly to clients. Similarly, some collectors owned multiple residences, sometimes in different countries, where they housed their collections. It is often difficult to determine exactly where a specific piece was kept during its time in their possession. Consequently, the main location of the dealer or collector is indicated. These factors should be considered when interpreting the map. Refer to the object's history in each case.
Bibliography
  • BERNARDOS MAYORAL, Francisco (1990): "Nuevas pinturas del Maestro de los Claveles", vol. 62, nº 252, Archivo español de arte.
  • COLLAR DE CÁCERES, Fernando (2003): "Llanto sobre Cristo muerto", en Las Edades del Hombre. El árbol de la Vida, Fundación Las Edades del Hombre, Segovia, p. 335.
  • GUDIOL, José (1959): "Una obra inédita del Maestro de Gería", en Studies in the History of Art, Phaidon Press, Londres, pp. 106-109.
  • LOZOYA, Marqués de (1961): "Pintura de los siglos XV y XVI en el Museo de Segovia", en Homenaje al profesor Cayetano Mergelina, Universidad de Murcia, Murcia, pp. 553-556.
  • PADRÓN MÉRIDA, Aída (1990): "Una tabla del Maestro de los Claveles", vol. 63, nº 252, Archivo español de arte.
  • POST, Chandler Rathfon (1953): "El Maestro de Gería", nº 19, Boletín del Seminario de Estudios de Arte y Arqueología.
  • RODRÍGUEZ CRUZ, Rosario (1964): "El maestro de los Claveles", nº 61, Goya: revista de arte.
Citation:

Isabel Escalera Fernández, "Retable of Saint Andrew" in Nostra et Mundi. Cultural Heritage from Castile and Leon around the world, Fundación Castilla y León, 2025. https://inventario.nostraetmundi.com/en/work/440

DOI
Retable of Saint Andrew

Toledo Museum of Art, Ohio.

Toledo Museum of Art, Ohio.

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