Gregorio Fernandez Circle

Circle of GREGORIO FERNÁNDEZ (Lugo, 1576 - Valladolid, 1636); c. 1600.
"Immaculate Conception".
Carved and polychrome wood.
Measurements: 47 x 25 x 20 cm.
Stylistically this work follows the model of the one in the Diocesan Museum of Zamora, made by the sculptor Gregorio Fernandez in 1630. In such a way it can be deduced that it is a follower of Gregorio Fernandez, and in fact it is remarkably close to sculptures of the same theme made by the master. The artist presents us with a monumental and stylized carving, especially in the face, which stands out for the long neck and the thin features that contrast with the great volume of the mantle. The piece stands out for the detail of the features of the face or the hair that falls on the mantle.
Fernández was the greatest exponent of the Castilian school of the early Baroque, heir to the expressiveness of Alonso Berruguete and Juan de Juni and permeable to the classicist influences of Pompey Leoni and Juan de Arfe, on which he would rely to leave behind the mannerism of his training to become a fully Baroque sculptor. Although we know little biographical information about the master, his work is well documented, which was made for numerous Castilian temples and brotherhoods. He was a very representative artist of his time, of the dramatic spirituality of 17th century Spain, reflected in processional pasos of great pathos that were his favorite theme, given that they represented scenes of the Passion and allowed precisely this harsh drama to be reflected. He was a unique artist, always maintaining his individuality, and in fact he defined one of the great sculptural schools of the Spanish Baroque, as opposed to the Andalusian school of Martínez Montañés, more classicist and harmonious. On the other hand, Fernández was a son of the counter-reformist culture of Philip II and, therefore, he sought a religious image as didactic as possible, far from the purely aesthetic approaches that moved the Sevillian master. Gregorio Fernández had a large workshop that took on contracts mainly from Valladolid, León and Madrid, but also from the Basque Country and Extremadura, where numerous sculptors were trained and a veritable school of followers was created. According to Palomino in the 18th century, Fernández was a pious man, even close to sainthood, who before starting work prostrated himself in deep prayer and fasted, did penance and maintained a constant dialogue with God, a life in keeping with the profound mysticism that dominated Spanish religiosity in the 17th century, and which speaks of a feeling of commitment to faith when carrying out his works.