Unveiling the Artistry of Juan Martínez Montañés: Carving and Polychromy in the Santa Clara Church Altarpiece

Abstract

Juan Martínez Montañés was one of the most important sculptors and altarpiece architects of the Spanish Golden Age. The restoration of the Santa Clara church in Seville has presented a unique opportunity to study the main altarpiece, crafted by Montañés between 1621 and 1623. He was also in charge of the polychromy and gilding, believing that delegating these procedures to others would diminish the quality of his work. This conviction led to a well-known lawsuit with the renowned contemporary Spanish painter Francisco Pacheco. Ultimately, the painter and sculptor Baltasar Quintero performed the polychromy of this altarpiece, but under the strict conditions of Montañés. Various non-invasive analytical techniques, such as CT, UVF, XRF, and digital microscopy, were employed to study wood treatment and polychromy. Additionally, three samples were prepared as cross-sections and analysed by SEM-EDX. The results revealed Montañés’ meticulous woodwork, anticipating its long-term preservation. Consistent with Montañés’ commitment to maintaining the superior quality of his work, the analysis showed an absence of a ground layer in the flesh areas, while the gilding was executed with high-quality gold. The pigment palette corresponds to the treaties and documents of his time, and the extensive areas of later retouches were accurately located. These new data provide a deeper understanding of both the technique and the high standards of one of the most important and globally recognised sculptors.

Keywords

• polychromy
• sculpture
• woodwork
• pigments
• Montañés
• altarpiece