Renovation and modernity in contemporary Spanish religious sculpture. The work of José María Aguilar Collados (1909-1992) (II). The post-conciliar work

Abstract

The aestethic refuse started by Father Aguilar in the Crucifix of Carabanchel had its continuity in the works made in his new location, Sevilla, from 1956. He moved away from Baroque tradition and was closer to the principles emanating from Second Vatican Council about the liturgy and the arts. Fray José María began to give their images a new cultic sense, which had its culmination in the meditational images made once he had to move to Inca due to health reasons.

Keywords

• Arte sacro
• Escultura religiosa
• Escultura contemporánea
• Iconografía religiosa
• Simbolismo
• Escultores