John of beauves – Wikipedia, the free encyclopedia

Altarpiece of the Church of San Juan Bautista de Estella (Navarra), whose sculptures are the work of Juan de Beauves.

Juan de Beauves (1522-1592) also known as Fray Juan de Beauves , he was an imaginary sculptor, son of the sculptor Peti Juan de Beauves, of French origin, with workshop based in Pamplona. Fray or Fraile nicknamed, despite not being religious. All his sculptural work was carried out in the Regional Community of Navarra. His work was always united by the collaboration with other Renaissance sculptors in Navarra, such as Pierres Picart, Pedro de Moret, Lope Larrea and Miguel de Espinal, this last brother -in -law of Beauves for his marriage to Catalina de Beauves. ^{[ first ]} ​

His first beginnings in the trade were carried out in his father’s workshop, a tallist who had participated in the stalls of the Pamplona Cathedral with Esteban de Obrasy. Later, his father signed a contract, dated July 1, 1533, with the sculptor Gabriel Joly, also of French origin, to end his learning in the workshop that this sculptor had in Aragon, where he remained for four years. This formation left him a style of great expression within a certain classicism. ^{[ 2 ]} ​

After these years he returned to Pamplona first with his father and immediately undertook a life as a hermit living in different hermitages in the region. He signed “the friar” and thus began to be known, but never belonged to any order; His nomadic life made him change residence where a new job arose, so it is known that he was in the hermitages of San Salvador de Villanueva de Araquil, of San Jorge in Extramuros de Pamplona, ​​Estella, Lumbier, Irañeta, Salvatierra (Álava) and Pamplona.

He conducted the Unzu altarpiece in 1559, which has recently been documented as his work, where he sculpts a single sculptural group representing the Coronation of the Virgin , for his Son Jesus Christ between Saint John the Baptist and San Jerónimo, about them is the Eternal Father. The influence of Joly for his expressions and muscular anatomies is noted in the images, for the scene he was inspired by certain variants, (as he used to do frequently in the Spanish Renaissance) in an engraving of Marcaantonio Raimondi on an original of a work of Rafael. ^{[ 3 ]} ​

Beauves always worked in the background, in collaboration with other sculptors, and could always demonstrate their professional quality, being a great specialist in Marian images, with the faces of a sweetness similar to the Rafaelesco type. Also within the imagery of the time their sculptures of the Crucified of an excellent anatomy. This can be seen in the altarpiece of San Juan de Estella hired in 1563, in collaboration with Pierre Picart that made the architectural part, where he performs a great nude of the Christ of the Fifth Anguish . ^{[ 4 ]} These two artists also work together in the main altarpiece of the monastery of Santiago de Pamplona. The reliefs of the Flagellation and the Resurrection of the altarpiece bank have a Christ treated in a very similar way to the Piety of the altarpiece of San Juan de Estella. It is also appreciated in the relief of the Pentecost , a line that approaches the relief of Entombment preserved in the Marés Museum in Barcelona and has been attributed to Beauves recently. ^{[ 5 ]} They receive in 1570, from the Dominican community, as payment 1300 ducats each. This work visited by Antonio Ponz around 1780, was praised by this great traveler. Three years later of your visit, its structure was reforming according to the baroque taste:

The main altarpiece of the Church of the P. Dominicos is in medium style, worthy of consideration for its baxos reliefs and body architecture. It is not a little that he has not had bad whereabouts, like other infinites of this class; and of which he was threatened, to put in his place a mamarrachade, such as the architecture of the other altarpieces.

Ponz, Antonio (1792): Trip out of Spain , Volume II, Madrid, p. 340.

The altarpiece of Ochagavía, was hired by the sculptor Miguel de Espinal and also had Beauves as a collaborator. It was made between the years 1574 and 1578. It is one of the most beautiful altarpieces of Navarre production between the transition of the two times of the expressive and Romanist rebirth. It shows in its sculptural part scenes of the life of the Saints Juanes, heads of the Church and the life of Christ with a relief of piety very similar to the piety of the Vatican made by Miguel Ángel with a very classicist composition in all his whole . ^{[ 6 ]} ​

He collaborated in other altarpieces along with other artists such as the Pamplona Pedro de Moret setator, with which he conducted the altarpiece of the Lumbier and Tabar parish, whose contract was signed in 1563. ^{[ 7 ]} ​

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