Luisa Roldán – SpeedyLook encyclopedia

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Luisa Ignacia Roldán Villavicencio (Seville, September 8, 1652 [baptism date] [ first ] – Madrid, January 10, 1706), [ 2 ] Popularly known as The Roldana , it was the first registered Spanish sculptor. It is one of the main figures of the Baroque sculpture in the Andalusia of the late seventeenth and early 18th century. [ 3 ] Her fame reaches greater relief since Antonio Palomino recognized her as a sculptor as important as her father Pedro Roldán. [ 4 ] ​ [ 5 ] ​

He formed mainly influenced by his father, in whose workshop in Seville he worked until his marriage in 1671. His sculpture was of religious theme, following the guidelines of the Council of Trent to humanize the art of images, to put the religion closest to the people . He performed natural size sculptures to process, in wood or mud cooked with polychromy and many of them of the so -called “candlestick” or to dress, as well as other small devotion groups for individuals and convents, with great movement and expressiveness With full characteristics of Baroque art. Executed numerous nativity scenes in Italian -style terracotta, leaning more for those who formed a scene of the Natividad as united sculptural group.

After a learning stage and first works carried out in Seville, in 1686 he moved to Cádiz to carry out various works commissioned by the municipal council and the cathedral. After two years of stay in that Andalusian capital he traveled to Madrid, where she worked as a camera sculptor for the monarchs Carlos II and Felipe V until her death. [ 5 ] ​

Family [ To edit ]

It was the fifth of the twelve children of the marriage formed by the prestigious sculptor Pedro Roldán and Teresa de Jesús Mena Ortega and Villavicencio. [ 6 ] Four young people died.

In Seville and when his father had set up the workshop in the collation of Santa Marina, Luisa Ignacia was born and was baptized in the church of Santa Marina on September 8, 1652. The 1654 was as a year of birth until his Baptism Departure, the year 1984, in the parish of San Julián de Sevilla, whose document says:

In the city of Seville, Sunday eight of September of the year 1652, I Mr. Pedro Ambrosio de Poblete, priest of this church of Mrs. Santa Marina de Sevilla, baptized Luisa, daughter of Pedro Roldán and Ms. Teresa de Jesús his legitimate woman; He was the godfather Juan Peral Crespo, neighbor of La Magdalena; admonishes the spiritual kinship; Signed UT Supra Pedro Ambrosio de Poblete. Healing [ 7 ] ​

His father’s workshop reached great prestige and had numerous orders, so it is not surprising that his older daughters would help from very young in the family workshop; It is known that Francisca dedicated himself to polychromy and that Maria and Luisa bowed more towards sculpture. [ 8 ] His father is supposed to be his teacher, both in the management of gouges and in the teaching of drawing, since since 1660 was Pedro Roldán as a professor of this subject at the Academy of Seville. [ 9 ] ​

The works increased and the family economy allowed his father to set up a new larger workshop, where numerous operators worked in addition to his three daughters. Luisa quickly highlighted her other sisters and may help directly in her father’s sculptures. According to Cascales and Ceán Bermúdez, the Cabildo of the Cathedral of Seville had commissioned the image of San Fernando to Pedro Roldán – conserved in the Major Sacristy -, sculpture that once seen by the Cabildo Cathedral was rejected. Taken to the workshop, Luisa was fixed, being the head and legs and giving them more movement, in this way she was admitted without qualms. [ ten ] ​ [ 11 ] ​

Marriage [ To edit ]

In the Luisa family workshop he had promised in marriage with Luis Antonio Navarro de los Arcos (1652-1711), apprentice of the sculptor Andrés Cansino. His father opposed this relationship, like those of his two sisters Francisca and Ana Manuela, without knowing the cause. [ twelfth ] ​
Due to the San Fernando canonization that took place in the city of Seville in 1671, Pedro Roldán received various orders for the decoration of the Cathedral of Seville; It is possible that Luisa took advantage of this occasion when her father was very busy, to agree with Luis Antonio and decide to marry even without paternal consent. [ 13 ] ​

Church of San Marcos de Sevilla, where Luisa Roldán and Luis Antonio de los Arcos married.

For his religious formation and for legal aspects, he proceeded by Vicente de Ballesteros Procurator de Courts, on behalf of Luis Antonio de los Arcos to the petition before the judge of the Matías Church of the Kings Balezuela – with dated December 17, 1671 -, to want to marry Luisa Ignacia Roldán, “with whom he had tried two years to this part, giving himself a word of marriage to each other” and wishing his marriage to be “according to order of our Holy Church” , requested that an archbishopric sheriff be in search of Luisa and carried before the judge to declare if she had given a marriage word. [ 14 ] ​

Several witnesses claimed to be present when both of the marriage word on the night of December 15. Pedro Roldán did not give his consent despite having asked Luis Antonio. [ 15 ] ​

That same day, December seventeen was the bailiff Juan Nieto to look He was a relative of Luis Antonio, who had no vote of chastity and who despite having given Luis Antonio’s marriage, could not fulfill him for his father’s refusal to this marriage. Made this statement, the judge ordered that the young woman be taken to the house of the Dorador Lorenzo de Ávila, to “have her in his possession with the necessary guard and custody and that he would not deliver it to any person without a license and judicial commandment.” The car is signed in Seville on December 17, 1671 by Mr. Juan Nieto, Lorenzo de Ávila, Bartolomé Franco and D. Diego R. de Cepeda, Notary. A very similar statement was what Luis Antonos made the next day. This event, known as “The Rapture of the Roldana by the apprentice Luis Antonio de los Arcos”, was published in 1920 by Santiago Montoto de Sedas. [ 16 ] ​

The marriage was finally held on December 25, 1671 in the church of San Marcos, with numerous witnesses, but without the presence of the bride’s father. [ 17 ] ​

Offspring

The marriage had in total seven children of whom four died being children.

  • Luisa Andrea (11-12-1672-28-1-1685) [ 18 ] ​
  • Fernando Máximo (14-6-1674-13-7-1675) [ 19 ] ​
  • Fabiana Sebastiana (13-2-1676 – 7-1-1683) [ 20 ] ​
  • María Josefa Petronila (6-4-1677-24-6-1678) [ 21 ] ​
  • Francisco José Ignacio (5-9-1681) [ 22 ] ​
  • Rosa María Josefa (12-1-1684) [ 23 ] ​
  • María Bernarda (28-2-1689, Madrid) [ 24 ] ​

Sevillian stage [ To edit ]

Virgen de la Estrella In Seville, attributed to Luisa Roldán in 2010.

After their wedding in 1671 at the age of 19, the patterns of the Sevillian parish of San Vicente registered Luis Antonio and Luisa Roldán as neighbors in the street of weapons in a house in the Navarro family of the Arcos until 1680 in who moved to the parish of the Tabernacle on Genoa Street and even later in 1683 they made a new move to the collation of San Martín. [ first ] ​
In this first Sevillian period, sculptures must have made, which have remained anonymous, along with the help of her husband, who would surely take care of her polychromy and possibly include her signature in the contracts. [ 25 ] ​

It is also believed that relations with their father improved, since some collaborations are contained between them. The ones that highlight are the four angels made by the Roldana for the Holy Week Pass that mostly and for his style could be attributed to Luisa Roldán. [ 26 ] ​
According to Bernales Ballesteros, «in the passage of The exaltation , the reliefs of the car made by Pedro Roldán, the four angels Luisa Roldán and probably the two thieves – although there is documentation that gives as an author Luis Antonio de los Arcos, it can be thought that he only signed in the books and will be in charge of the polychromy and golden-“. [ 27 ] ​

At that time, the “painful” commission to process in Holy Week was very common, so it seems normal for Luisa Roldán to carry out any, although there is no document that proves, however, one of the one closest to his style It is the Virgin of the Rule , which belongs to the Brotherhood of the Prenndimiento, popularly known as “Los Panaderos” [ 28 ] ​
Another work attributed by some authors to the Roldana, is the image of the Virgen de la Macarena , among them Professor Hernández Díaz, who comments on the resemblance to The painful of Sisante, subsequent work and safe attribution to this author. [ 29 ] ​
The art history professor García Olloqui, an expert in the work of Luisa Roldán, believes that The Macarena save “a certain resemblance to the Virgen de la Soledad , documented work of the Roldana, of c. 1688, from the brotherhood of the same name of Puerto Real (Cádiz) ». [ 30 ] ​ The Virgen de la Estrella , belonging to the Brotherhood of the Star, traditionally attributed to Juan Martínez Montañés, after a restoration carried out in 2010, the Andalusian Institute of Historical Heritage (IAPH), attributed the image to the production of the artistic workshop of the marriage constituted by Luisa Ignacia Roldán and Luis Antonio de los Arcos. [ thirty first ] ​

Another type of Mariana images also attributed to this sculptor, are within their stay in Seville, such as the Virgin of the Headquarters in the church of the Hospital of the Venerable Priests and that is cataloged, in the inventory of said hospital held between 1920 and 1930 by Jerónimo Gil Álvarez, as “of the style of Luisa Roldán.” The Virgin with the child of the Academy of Medicine of Seville, it is considered of the school of Pedro Roldán but closely related to his daughter Luisa. [ 32 ] ​
Other important images are the Virgen del Carmen , existing in the Carmelite convent of Santa Ana and in the convent of Santa María de Jesús the main image of the titular Virgin, placed in the main altarpiece and whose sculptural rest was made by Pedro Roldán. [ 33 ] ​
An image known as the Pilgrim Virgin It is preserved in the Museum of Benedictine Mothers of the Monastery of the Santa Cruz de Sahagún and is attributed to this sculptor. The image reached the monastery in 1967 from the Pilgrim’s sanctuary of the same city and it is stated that it was bought in Seville in 1687. Although on that date Luisa Roldán had moved to Cádiz, it is possible that this image stays in the workshop of The Roldán family, where it could be acquired. [ 34 ] ​
Traditionally he has been attributed the make of the image of Our Lady of Solitude of the Brotherhood of the Holy Burial of Dos Hermanas, however, a very outdated attribution has been considered.

Cadiz stage [ To edit ]

The date of its transfer to Cádiz, could not be determined precisely. Although nearby dates, thanks to the autograph document of the sculptor, found during a restoration of the year 1984 of the Behold the man which is preserved in the Cathedral of Cádiz, in which it autonombra as a “distinguished author” of the image helped by her husband and is dated June 29, 1684 and whose backs are various sketches of faces. This document is preserved in the exhibition at the Cathedral Museum. [ 35 ] ​ [ 36 ] ​
However, it is possible that this sculpture was carried out in Seville and was sent to Cádiz, because in other documents of 1686, it is said that the marriage was called to Cádiz by the Cabildo Cathedral to make “figures of patriarchs and angels for her monument” . Of these same dates are various Behold the man , like that of the Church of San Francisco de Córdoba – attributed by Sánchez Peña – and the chapel of Our Lady of Bethlehem of the Convent of Santa Cruz also of Córdoba that show great similarity with that of Cádiz. [ 37 ] ​

One of the first commissions already installed in Cádiz, was that of the municipal deputies of the Festivities of the Patrons of Cádiz, which they proposed on March 10, 1687 the realization of the sculptures of San Servando and San Germán to be exhibited in The Chapter Chapter of the City of the City, currently venerated in a chapel of the New Cathedral of Cádiz. [ 38 ] ​
In one of these saints – San Servando – a document was found: “Designed by Pedro Roldán, made by Luisa Roldán and Gold and stewed by Luis Antonio de los Arcos.” [ 39 ] ​

  • San Servando in the New Cathedral of Cádiz.

  • San Germán in the New Cathedral of Cádiz.

Also of his workshop are the Lord of humiliation Belonging to the Brotherhood of La Piedad and that is located in the church of Santiago Apostle, headquarters of the Brotherhood; The images of Saint John Baptist and of Saint Joseph They are placed on a baroque altar of the parish of San Antonio. [ 40 ] In the Church of the Monastery of Our Lady of La Piedad is a sculptoric group representing a sacred Family . [ 41 ] ​

During this stay in the Cadiz capital, he made other sculptures for the city as well as for nearby populations where numerous powers are found and among them the image of Our Lady of Solitude of Puerto Real, in a document dated July 3, 1688, which consists of the donation of said sculpture, by the marriage of the arches-Roldán to the convent of the minimum parents, in exchange for a celebration to be made of Mass sung with responding every “Friday of commemoration of the pains of the Virgin background to Palm Sunday, for the souls of marriage and heirs of her and successors.” This image in polychrome wood, belongs to the Venerable Sacramental and Real Brotherhood of Penance of Ntra. Mrs. de la Soledad, Holy Burial of Ntro. Mr. Jesus Christ and San Francisco de Paula. The three sculptures, that of the Virgin, that of the Yacente Christ and that of the San Francisco de Paula have been attributed from ancient to the Roldana, to the discovery of the document mentioned in 1988, in which the authorship of the authorship of The image of the loneliness which is preserved as carried out by the author, the San Francisco de Paula is also totally documented that is of the Roldana although that of the Christ continues to be attributed to the circle of the sculptor. Both are in the Conventual Church of Victoria. [ 42 ] On April 23, 2016, the Hon. Puerto Real City Council, dedicates a place with the name of “Imaginera Luisa Roldán”, which is at the intersection of Soledad streets with Matagorda factory.

Among the themes carried out by the Roldana, are the representations of Niño Jesús; One of the most popular is the call Niño Jesús Quitapesares of the Church of San Pedro in Arcos de la Frontera; It is in the main batch of the main altarpiece and is part of the sculptural set of the Divine Pastora .

In Jerez de la Frontera, the images of the Child Jesus of the brotherhood of the sweet name of Jesus in the convent of Santo Domingo, a Saint Joseph of the church of San Lucas, a Conforter Angel From the passage of the brotherhood of prayer in the garden and for the Brotherhood of the PREDENCE, the titular image that is a valuable baroque image image. None of these images have never been confirmed as such and according to the latest studies would belong to local sculptors in the city of Jerez.

In the population of Sanlúcar de Barrameda, the two angels of the transparent convent of the mother of God are of popular attribution, as well as a birth of the Capuchin convent. Among the images to process the Holy Week in Sanlúcar de Barrameda is the Our Lady of Sorrows that there was already at the time the brotherhood was constituted, so it was possibly from the seventeenth or early eighteenth century. [ 43 ] ​
There are authors who attribute it to Luisa Roldán, while other sources attribute it to Jerónimo Hernández. The image bust is terracotta and cedar wood; It is stored in the Church of the Blessed Trinity. [ 44 ] ​

Stage in the court of Madrid [ To edit ]

By the end of 1688 or early 1689 marriage along with their two children decided to move to Madrid, in search of official recognition and a better economic situation. Date data is established because in 1687 [ 45 ] And on February 28, 1689, his daughter María Bernarda was born in the Madrid parish of San Bernardo. [ forty six ] ​

Of these early days in Madrid is the work The rest in the flight to Egypt (c. 1691) With iconographic themes taken from a drawing by Michelangelo and a work by Veronés. This work by Luisa is named as « The Holy Family from the Güell collection »by Sánchez Cantón, [ 47 ] And also as « Jesus birth of Count Güell ». [ 48 ] ​
Another group on the same line as the previous one is that of The mystical marinations of Santa Catalina , work signed by the author and that is located in the Hispanic Society of America in New York, in which the Death of the Magdalena And that after being attributed, the author’s signature was found near the feet of the angel on the right of this group. [ 49 ] ​

With the realization of these small sculptural groups, the family managed to live, while waiting for King Carlos II king-. This appointment came with October 15, 1692, which represented its official prestige, but not the economic one as the Roldana expected; The work he did were poorly paid and even had difficulty charging, because at that time, the general situation of the kingdom was bad for poor administration and corruption. You have news that the French ambassador’s own wife complained that even in the palace there was neither bread nor meat to eat and went hungry. [ 50 ] ​
Although he was assigned an annual one hundred salary, the real payment did not receive it, so he had to make several requests to keep his family. The requests went first to the King himself to which in 1693 he requested the granting of a room in the Houses of the Treasury – place close to the Alcazar and where they lived a large part of the King’s chamber artists – since not even with his « Poor sculptor square had nowhere to live or her children. They then became aimed at Queen Mariana de Neoburg, such as the year 1697 in which she remembered that she had been in her service for six years and asked to be given: “Costume or a coastal aid or whatever it was of her greatest pleasure” ; In another letter of the same year he added: “For being poor and having two children, I spend it with great narrows because many days is missing for the precise for the support of each day.” [ 51 ] ​
There is a document of the year 1698 in which her husband Luis Antonio de los Arcos, who apparently did not manage The family was. [ 52 ] ​
After some time the answer was received: “There is no vacant place.” [ 53 ] ​

From her real appointment, the sculptor signed most of her works by adding “chamber sculptor”, so it can be seen in one of the best known: the Archangel San Miguel with the devil at his feet , work commissioned by the King to the decoration of the El Escorial monastery. The sculpture, which is polychrome wood and somewhat greater than the natural one, shows the archangel beating the demon to which he has under his feet, all with great movement and drama. As noted, Luisa self -portrained in San Miguel’s face and put her husband’s face to the demon, representing good and evil respectively. [ 54 ] ​

In the cathedral of Santiago de Compostela there is a relief of the Virgin of Milk , possibly the King’s gift to his fiancee Mariana when he arrived in Spain and landed in Galicia spending a few days in Santiago, where perhaps the future queen left the relief to the cathedral in offering. With this same theme Mariano and from this Madrid era, there is a sketch in Seville and an image in the convent of the Capuchinas of Malaga and another in a private collection of Madrid. [ 55 ] ​

Last years [ To edit ]

One of the polychrome angels, a work attributed to Luisa Roldán of the altarpiece of the chapel of Our Father Jesus of Great Power in the Collegiate Church of San Isidro, Madrid.

In 1699 his father died, Pedro Roldán, naming heirs to all his children and among them to Luisa. Of that same date is the Virgin with the child , with a certain influence of the Gothic flamenco – Luisa would have seen in his father’s workshop a book of prints that he owned by Alberto Durero – so he could inspire him in any of his works; This Virgin is in the convent of San José or “Las Teresas” in Seville and is signed with date on the back. From this stage they can be the polychrome terracotta groups that are exhibited in the Provincial Museum of Guadalajara of the Sagrada family with the child taking his first steps and San Joaquín and Santa Ana with the Virgin Girl . [ 56 ] ​

In 1700 King Carlos II and the new King Felipe V died, arrived in Spain in April 1701. Luisa Roldán presented two works to the new King, a Burial of Christ and a Birth , while sending a request to be appointed again sculptor of the camera and asking for «house to live and ration to keep her and her children … I put into consideration of your majesty, which what you know executes it in stone , in wood, in mud, in bronze, in silver, and in another any subject ». The requests continued on the part of the marriage, until on October 1701 the new king granted him again the appointment of Chamber sculptor. [ 52 ] ​
Carlos II had commissioned the sculptor an image of Jesús Nazareno To send it as present to Inocencio XI, but before the death of the Pope in 1689, it was destined for the Monastery of El Escorial. Finally, due to the king’s death, the sculpture remained in the Roldana workshop and went on to be able to Painful To be sent to the convent of the Clarisas’ religious – known as Nazarenes – of Sisante. [ 57 ] ​

Of this last era are a Archangel San Miguel in the monastery of the royal barefoot along with a Guardian angel attributed to the Roldana. In the collegiate of San Isidro there are six passionate angels placed in a baroque altarpiece of the chapel of Our Father Jesus of Great Power; These angels keep a great similarity with the four passionate angels of the Brotherhood of the exaltation of Seville. [ 58 ] ​

In the parish church of San Andrés (from Madrid) the death game was found on January 10, 1706, [ 59 ] Where there is writing that a few days before had made a “declaration of poverty.” [ 60 ] ​

His work is mainly formed by imagery sculptures, along with small format terracottes made during his stay in Madrid and for the little bourgeoisie. Much of it is distributed by Andalusia, but also outside of this, such as in Madrid, León, Móstoles, Sisante (Cuenca), Gran Canaria, New York, London, Ontario, Los Angeles.

He held an important place in his work, the realization of “nativity scenes” or “nativities”, in which he used to represent the group of the Sagrada Familia, surrounded by Angels. In some it included the presence of some animal of births, such as lambs, mule and ox, in addition to others. In these scenes there is already a progressive air with a tendency to Rococó. His works show beautiful but humanized faces, getting to believe that they were portraits of characters close to her, family or friends.

Some of his works – even when they were made for the same year – demonstrate very large differences in their representation. For example in 1692, the San Miguel crushing the devil and The Virgin sewing , where the group of San Miguel is of great drama and movement while the sculpture of the Virgin brings the feeling of tranquility, intimidation and serenity. This is explained taking into account the mood of the sculptor, full of ups and downs, sometimes affective and sometimes even aggressive, which could be because it suffered a cycloimia, although in a passenger degree, perhaps caused by marriage disagreements And the hard -hard events of which he had to go through, especially in the years of his stay in court. [ sixty one ] ​

For years his works were attributed to the men in his surroundings: his father, her husband or contemporary sculptors. Recent studies and a historiographic review have allowed us to review the powers of their works and recognize their contributions to the Baroque. [ 5 ] ​

Influence of his work [ To edit ]

Without having direct disciples that are known, it is most likely to be in Cádiz where in her workshop they were working family members of both her husband and herself, who to her transfer to Madrid, stayed for Andalusian lands working and leaving signs of the “Luisa Roldán workshop” or “Los Roldanes.” His work significantly influenced some later artists.

This sculptor, grandson of Pedro Roldán and son of one of the sisters of Luisa, owes some of his sculptural concepts to his grandfather, but also to influences received from his aunt, so it is included within the school of the Roldanes, and Like Luisa, he went to Madrid where he got the appointment of the Chamber of the Chamber of Queen Elizabeth of Farnesio, but he had better luck than the sculptor in terms of the economic one, he managed to live with luxuries and have the privilege of the nobility that was granted in 1751 by the Royal Chancery of Granada. [ 62 ] ​

Cristóbal Ramos was a sculptor with baroque features and forms of academicism in his sculpture. They show their works very typical of Luisa Roldán such as the double sleeves in the garments of the Virgin or the fine and delicate ways of the composition in the issues of birth. This sculptor is attributed to Virgen de la Soledad of the Brotherhood of the Holy Burial of Dos Hermanas, based in the parish of Santa María Magdalena, which was attributed for some time to the Roldana. [ 63 ] ​

This Sevillian sculptor was training in Pedro Roldán’s workshop with which he collaborated until the death of the teacher. His quite eclectic work also shows influence of Martínez Montañes and Pedro de Mena, however religious groups are closer to the same vision of Luisa Roldán, as can be seen in Santa Ana and the Virgin Girl , exhibited in the Church of the Savior of Seville. [ sixty four ] ​

Location of works in museums and collections [ To edit ]

  • Border arches. St. Peter’s Church: Divina Pastora with Niño Jesús Quitapesares .
  • Austin, Texas. BLANTON ART Museum: The education of the Virgin. ”
  • Barcelona. Count Güell Collection: The rest in the flight to Egypt. ”
  • Bilbao. Bilbao Fine Arts Museum: Piety at the foot of the cross .
  • Cádiz New Cathedral of Cádiz. Behold the man , San Servando and San Germán and passionate angels . Church of San Antonio: Saint Joseph and Saint John Baptist . Santa Cruz Church: San Antonio de Padua . Our Lady of Piedad Monastery: sacred Family .
  • Chicago Art Museum of the University of Loyola: Virgin with Child and Saint John the Baptist .
  • Cordova. Church of San Francisco: Behold the man
  • Detroit. Detroit Institute of Arts: Virgen de la Soledad .
  • Guadalajara. Provincial Museum of Guadalajara: San Joaquín, Santa Ana with the Virgin Girl and Sagrada family with the child taking the first steps
  • Jerez de la Frontera. Santo Domingo Convent: Child Jesus belonging to the brotherhood of the sweet name of Jesus. Church of San Lucas: Saint Joseph . Church of Santiago: The PREDENCE.
  • Lion. Church of San Marcos: Our Father Jesus of Mercy , Ecce Homo belonging to the brotherhood of Our Lord Jesus of Redemption.
  • Londres. Victoria and Albert Museum: Appearance of the Virgin to San Diego .
  • The Angels. The Getty Center: San Ginés de la Jara .
  • The Angels. Los Angeles County Art Museum: The education of the Virgin .
  • Madrid. Convent of the Royal Barefoot: Archangel San Miguel , Holy Guardian Angel . Convent of Las Carmelitas (Madrid): Birth . Convent of San Ildefonso de las Trinitarias (nursing): Immaculate . Collegiate of San Isidro: Six passionate angels in the altarpiece of the Chapel of Christ. Visitation monastery. Real salts: Virgin of milk.
  • Móstoles Hermitage of Our Lady of Saints: Jesús Niño and San Juan Bautista .
  • Nueva York. Hispanic Society of America: Death or ecstasy of María Magdalena , Mistics de Santa Catalina Brokes , Rest in escape to Egypt , Cut head of San Pablo , Head cut from San Juan Bautista .
  • NY. Metropolitan Art Museum: Burial of Christ (terracotta).
  • Genil bridge. Old convent of the PP. Franciscans: Virgen de los Angeles .
  • Port Royal. Church of La Victoria: Recumbent and Virgen de la Soledad .
  • Puerto de Santa María. Professional Church: Two Lampareros Angels and Nazarene .
  • San Lorenzo de El Escorial. El Escorial Monastery: Archangel San Miguel crushing the devil .
  • Sahagún. Santa Cruz Monastery: Pilgrim Virgin .
  • Sanlucar de Barrameda. Convent of Madre de Dios: two angels of the transparent church. Capuchin convent: Birth
  • Santiago de Compostela. Cathedral Museum of Santiago de Compostela: Virgin of Milk .
  • Seville. Cathedral of Sevilla: Child Jesus . Brotherhood of exaltation: four passionate angels. Brotherhood of the star: Virgen de la Estrella . Brotherhood of “Los Panaderos”: Virgin of Rule . Los Venerable Hospital: Virgin of the Headquarters . Santa Ana convent: Virgen del Carmen . ** Convent of Santa María de Jesús: Santa María de Jesús and Birth . Convent of the Teresas: Virgin with a child . Our Lady of Piedad Monastery: sacred Family .
  • Sisante. Nazarene Sisters Church: Nazarene and Painful virgin .
  • Toronto. Royal Ontario Museum: San Miguel .
  • Gran Canaria. Cathedral of the Canary Islands: San Fernando Rey
  • Valladolid. National Sculpture Museum: Cavalcade of the Magi , Virgin with the Child and Saint John the Baptist , Virgin of Atocha and Virgin of Milk
  • Villaverde del Río. Parish of La Purísima Concepción: “Virgen de los Ángeles”.

Temporary exhibitions [ To edit ]

  • Andalucía Baroque 2007. Roldana . Reales Alcázares. Seville July 25, October 4, 2007.

Recognition [ To edit ]

In July 2018, the Association “Hersotoric. History, women and gender ”and the“ Comic authors ”collective created a cultural and educational project to make visible the historical contribution of women in society and reflect on their absence, consisting of a game of cards. One of these cards is dedicated to Roldán. [ 65 ] ​ [ 66 ] ​

In 2022 Correos issued a seal dedicated to “La Roldana”, within the #8Mtodolaño collection. [ sixty seven ] ​

See also [ To edit ]

References [ To edit ]

  1. ↑ a b Hall van den Elsen 2007: p. 21.
  2. ↑ Barrrionuevo2011: p. 54.
  3. ↑ Gaze 1997: pp. 1192-1194.
  4. ↑ Palomino, Antonio (1744). «The lives of Spanish Eminent Painters and Statuaries: Volume III» . p. 171.
  5. ↑ a b c «Imaginery in the Female Baires: Louise Roldán, the Roldanna de Seville» . Feminist tribune . April 17, 2019 . Retrieved on April 17, 2019 .
  6. ↑ García Olloqui 2000: p. 16
  7. ↑ Gran 1984: P. 42.
  8. ↑ Bernales Ballesteros 1973: p. 3. 4.
  9. ↑ García Olloqui 2000: p. twenty-one.
  10. ↑ Cascales Muñoz 1929: pp. 33-34.
  11. ↑ Ceán Bermúdez 1800: p. 236.
  12. ↑ García Olloqui 2000: p. 25
  13. ↑ García Olloqui 2000: p. 27
  14. ↑ SEDED MONTOTO 1920: p. 117.
  15. ↑ SEDED MONTOTO 1920: p. 119.
  16. ↑ SEDAS MONTOTO 1920: pp. 147-148.
  17. ↑ García Olloqui 2000: p. 29
  18. ↑ García Olloqui 1977: pp. 89-90
  19. ↑ García Olloqui 1977: p. 91
  20. ↑ García Olloqui 1977: p. 92
  21. ↑ García Olloqui 1977: p. 93
  22. ↑ Sancho Corbacho 1950: p. 93
  23. ↑ Sancho Corbacho 1950: p. 95
  24. ↑ Romero Torres 2007: p. 25.
  25. ↑ García Olloqui 2000: p. 36.
  26. ↑ García Olloqui 1977: p. 53
  27. ↑ Bernales Ballesteros 1973: p. 81.
  28. ↑ García Olloqui 1977: p. 57
  29. ↑ Hernández Díaz 1989: p. 219
  30. ↑ García Olloqui 2000: p. 42
  31. ↑ “The intervention in the Virgen de la Estrella” finished ” . Junta de Andalucía/Andalusian Institute of Historical Heritage. January 26, 2010 . Consulted on March 26, 2011 . (broken link available on the Internet Archive; see the record , the first version and the last ).
  32. ↑ López Garrido, María Isabel (1989): «The artistic collection of the Academy of Medicine of Seville». In: Hispanic Archive Magazine , No. 221, Seville.
  33. ↑ Morales 1981: p. 109
  34. ↑ García Olloqui 2000: p. 62
  35. ↑ Of the Sierra 2006: p. 42
  36. ↑ Pleguezuelos Hernández, Alfonso (December 14, 1984). «A new work by Luisa Roldán: the Ecce Homo of the Cathedral of Cádiz» . ABC of Seville. p. 79 . Consulted on March 26, 2011 .
  37. ↑ MORENO TABLE 1994: pp. 204-205
  38. ↑ García Olloqui 2000: pp. 82-85.
  39. ↑ Bernales Ballesteros 1973: p. 74.
  40. ↑ García Olloqui 2000: p. 90
  41. ↑ Of the Sierra 2006: p. 77
  42. ↑ García Olloqui 2000: pp. 85-89.
  43. ↑ Zambruno 1988: p. 299.
  44. ↑ García Olloqui 2000: pp. 90-93.
  45. ↑ García Olloqui 2000: p. 95
  46. ↑ Romero Torres 2007: p. 139
  47. ↑ Sánchez Cantón 1965: p. 46.
  48. ↑ Verrié, Federico Pablo; Pellicer, Cirici (1948). MILIAWS OF THE SPANISH: Modern Age and Contemporary Tomo II II . Barcelona: Gallach Institute of Bookstore and Ediciones. p. 134.
  49. ↑ Gilman Proske 1964: PP. 6-7.
  50. ↑ Gilman Proske 1964: p. 1.
  51. ↑ García Olloqui 2000: pp. 104-108
  52. ↑ a b Gilman Proske 1964: p. 2.
  53. ↑ Sancho Corbacho 1950: p. 61
  54. ↑ García Olloqui 2000: pp. 101
  55. ↑ García Olloqui 2000: p. 112
  56. ↑ García Olloqui 2000: pp. 116-118
  57. ↑ García Olloqui 2000: p. 126
  58. ↑ Martín González, Juan José (1983). Baroque sculpture in Spain 1600-1770 . Madrid: Chair. pp. 178-181. ISBN 84-376-0392-7 .
  59. ↑ Hall van den Elsen 2007: p. 26.
  60. ↑ Declaration of poor in the Provincial Archive of Protocols of Madrid, Protocol 10515, 1706.
  61. ↑ García Olloqui 1995: p. 13.
  62. ↑ Hernández Díaz 1983: p. 12.
  63. ↑ Montesinos 1986: p. 27.
  64. ↑ Torrejón Díaz 1987: p. 84.
  65. ↑ “Participate in crowdfunding” pioneer hersthoric “in Verkami» . www.verkami.com . Retrieved on November 18, 2019 .
  66. ↑ Madrid. «Urban walks with history and feminist look» . Madrid . Retrieved on November 18, 2019 .
  67. ↑ «Correos issues a seal dedicated to“ La Roldana ”, within the #8Mtodelaño collection» . Right . Retrieved on November 5, 2022 .

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external links [ To edit ]