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Pedro Garcia de Benabarre or Benavarre

Altarpiece of Saint Sebastián

Altarpiece of Saint Sebastián

Saint Michael

San Pelagio

Apocalyptic Virgin and Saint Vincent Ferrer with two Donors

Dormition of the Virgin

Virgin and Angels

Pedro Garcia Benavarre, or Benabarre (Benabarre, Huesca fl 1445-1485) was a Spanish-Flemish Gothic painter active in Aragon and Catalonia.

Biography

A Pedro Garcia de Benabarre was documented in 1445 in Zaragoza in Blasco union Grañén painter, who could be his teacher and with whom he collaborated as an assistant between 1445 and 1447.1 This Zaragoza highlights the execution stage of the altarpiece of Villarroya of Campo.2 The two partners also worked painting altarpieces for the church of the monastery of San Pedro de Siresa in Jacetania.

In 1452 he wa sestablished in Benabarre and worked on his own. From there he moved to Barcelona in 1455, hired by the widow and son of Bernat Martorell, with whom he pledged to finalize left unfinished works by the master outside of Barcelona and take charge of the upcoming contracts within five years from on 1 January 1456. From this period are the altarpieces of St. Clare of Assisi and St. Catherine of Alexandria (1456, Barcelona Cathedral) and San Quirico and Santa Julita (Diocesan Museum of Barcelona).

It is likely that the terms of the contract signed with the Martorell are not met in full because in 1460 it is found again documented in Benabarre where he remained until 1469. From Benabarre worked for various nearby locations. At this stage, which are contracted numerous altarpieces, you may belong one of his most famous works: the Virgin enthroned and four angels or Virgen de Bellcaire, from the parish church of Bellcaire d'Urgell and preserved in the National Museum Art de Catalunya, with the handwritten signature "Pere García de Benavarri m'a pintat year ..."; the disappearance date has resulted in several proposals, but stylistically is towards 1470.3

Also in the years that passed between Benabarre and Lleida they belong the altarpiece dedicated to the Virgin and San Vicente Ferrer, painted for the Dominican monastery of Cervera, and the altarpiece of the now defunct church of San Juan del Mercado de Lleida, partially preserved in the Museu Nacional d'Art de Catalunya. 1470 he worked in the altarpiece of the convent the Dominicans had in Lleida, engaged in its restoration, to be destroyed in the Remença.

By 1481 he settled in Barbastro. For dated July 26 documents and the September 14, 1483 consists that claimed 1001 and 1500 salaries respectively by painting altarpiece of the church of the convent of San Francisco of this city, missing work for which yet in 1485 he caught 250 salaries.

Works attributed

Pedro Garcia de Benabarre is attrbuted for more than forty works, which include:

Altarpiece of the Virgin of Villaroya del Campo. Church of Our Lady of the Rosary, Villarroya del Campo, province of Zaragoza.4
Altarpiece of the Holy Trinity, whose central panel shows the body of the Son on the knees of the Father, the Holy Spirit to be among them, San Fabian and San Sebastian dressed as goalkeeper in the side boards. It remains in situ, in the monastery of San Pedro de Siresa, in the Valle de Hecho, Huesca.5
Altarpiece of San Blas, with two panel paintings dedicated to San Juan and Santiago, located in the monastery of San Pedro de Siresa, Huesca.
Tables of San Miguel Arcangel and San Pelagio Papa, the Museum of Huesca.
Altarpiece of the Chapel of San Valero of Velilla de Cinca (Huesca), disappeared in 1936. It consisted of three streets: the central, dedicated to San Valero, represented as an old man with long beard and wrinkled skin, coated with episcopal vestments, with a book in his left hand and the right attitude to bless. He was accompanied by Vicente and Lorenzo Aragon deacons. In the side streets they were represented scenes from the life of santo.6
Side doors of the altarpiece of the Virgin of Montanyana with Apostle Saints Peter and Paul, from the parish church of Montanyana (Huesca), preserved in the Szépmüvészeti Múzeum in Budapest, Hungría.7
Tables of the Birth of the Virgin and the Nativity from an altarpiece of the church of Our Lady of Baldos of Montanyana (Ribagorza, Huesca), preserved in the National Museum of Catalan Art, work workshop dated to 1475.8
Painting on wood of the Triple-Santa Ana Ana with her daughter Mary and the boy with two angels, main part of an altarpiece from the Convent of Santa Clara of Barbastro (Huesca), kept in the MNAC, Barcelona.9
Painting of the Resurrection with the partial representation of the scene of the Resurrection of Christ painted in tempera with oil touches. The table belonged to an altarpiece disappeared whose dedication and origin is unknown and is disputed between the Government of Aragón and Lleida Museum. Their use is documented as a side door of the main altarpiece of the church of Our Lady of Valdeflores Benabarre before the Civil War, when the temple was looted. Purchased at auction by the Provincial Council of Lleida in 2009, without prior notification to the Government of Aragon, it was moved to the Museum of Lleida, but three months later seized by the Civil Guard, preventing expose, touch, move, or restaurarla.10
Panel painting of the Virgin and Child, dated 1479, from the Monastery of Santa Maria de Alaón (Ribagorza), preserved in the Museum Frederic Mares, Barcelona.
In Graus, Huesca, are preserved in the parish church of San Miguel Archangel (early thirteenth century) six paintings on wood that made up an old Gothic altarpiece by Pedro Garcia de Benabarre et al. The two main tables dedicated to San Victorian de Asan and St. Benedict of Nursia, holders thereof; Bank four boards depicting scenes from the Passion of Christ (Last Supper, Prayer in the Garden, Flogging, and Piedad) and in the attic or crowning Calvary is located.
Table of the Virgin and four angels from Bellcaire d'Urgell (Noguera) signed. Conserved in the MNAC, two panels of the same altarpiece are stored in the Goya Museum of Castres (France).
Altarpiece of the Virgin and St. Vincent Ferrer Church of the Convent of the Dominicans of Cervera (Segarra), dated to 1455-1456. In the central compartment MNAC is preserved with the Apocalyptic Virgin and San Vicente Ferrer with two donors; another fragment, with the occupation of St. Vincent Ferrer saves the Musée des Arts Decoratifs in París.11
Altarpiece of the church of San Juan del Mercado de Lleida, fragmentarily preserved between the MNAC, the Isabella Stewart Gardner Museum in Boston and several collections particulares.12
Table with two scenes from the legend of St. Sebastian: San Sebastian and Polycarp destroying idols and San Sebastian talking to Marcos and Marcelino. Table, 160 x 68 cm, No. inventory. 1324, Museo del Prado, Madrid.
Table companion of the previous two scenes of the martyrdom of Saint Sebastian, when you shoot at him first and lower beaten and thrown down a drain to the Cloaca Maxima. Table 160 x 68 cm. No. Inventory. 1325. Prado Museum. Madrid.
The Last Supper, painted in oil table in a private collection. According to the File Mas in 1935 he belonged to the collection of the Marquis of Torres Sanchez Dalp.

Notes

He documented for the first time in Zaragoza in 1445, signing as a witness in the contract that Grañén Blasco agreed to receive as an apprentice to Petrico Fernandez of Belorado (Burgos).
González Velasco http://ddd.uab.cat/pub/locus/11359722n8p81.pdf 2005.
Virgin and angels, The MNAC Online Collections, Museu Nacional d'Art de Catalunya, accessed February 15, 2013.
M. Carmen Lacarra, "Altarpiece of the Virgin and Child in the parish church of Villaroya del Campo" Jewels of Heritage, Zaragoza, Zaragoza Provincial Council, Archbishop of Zaragoza, Bishop of Tarazona, 1990, p. 97-115.
Aragon Pyrenees, p.9. Siresa paintings mark the origin of the Gothic school altoaragonesa November 3, 2000.
"Two Fifteenth-Century Painters and Aragonese retables of the Calatayud Group" Metropolitan Museum of Art Journal 15, 1981, altarpiece disappeared Image: Fig 17 Page 15...
[Nyerges, Eva "Nouvelles acquisitions. Deux panneaux Pedro Garcia de Benabarre "Hongrois Bulletin du Musee des Beaux Arts, 88/89, 1998 pp. 135-138.
The Museu Nacional d'Art de Catalunya MNAC Online collections, accessed February 15, 2013.
MNAC-Núm.inv. 15842
Inventory of the cultural heritage of Aragon, 2009. Originally it had double the current level, but was cut approximately in half, leading to a work of landscape format whose mazonería in carved and gilded wood is largely the result of the replacement. The original composition contained a representation of Christ risen from the tomb with four sleeping soldiers, two before and two behind the tomb. Today, after the mutilation of the piece, the two soldiers at the bottom of the table are gone, as are most of the grave. Christ is represented in triumphant attitude, blessing with his right hand and left holding a thin banner decorated with a white cross on a red background waving slightly as a symbol of his victory over death. Porta cruciferous nimbus gilded and decorated with small incised motifs and perizonium saw a thin white mantle and closed with a brooch of jewelry. His figure is slender and his face has well defined and expressive features, something that denotes a clear interest by the artist to individualize the characters. On the other hand, the figures of the two soldiers have been completely preserved repainted.
Apocalyptic Virgin and St. Vincent Ferrer with two donors, MNAC Online Collections, accessed February 15, 2013.

Banquet of Herod The MNAC Online Collections, National Museu d'Art de Catalunya, accessed February 15, 2013.

Bibliography

The Great Encyclopedia Aragon

Volume 9 (2004). The Great Encyclopedia català. ISBN 84-297-5437-7 Edicions 62. Barcelona (in Catalan).

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