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Spanish Romanesque
Spanish Romanesque refers to the development of Romanesque art within the Hispanic-Christian realms of the Iberian Peninsula during the 11th and 12th centuries. While sharing stylistic characteristics with the broader European Romanesque style, Spanish Romanesque exhibits distinctive regional traits across the peninsula. Notably, Spanish Romanesque art did not flourish in the southern regions, which were under Muslim control (Al-Andalus). Sparse examples exist in the central areas, primarily towards the later period, with minimal presence south of the Ebro and Tagus rivers. The majority of Spanish Romanesque structures are concentrated in the northern third of the peninsula. Scholars delineate regional variations based on the east-to-west spread of Romanesque influence, categorizing them into “eastern kingdoms” such as Catalan, Aragonese, and Navarrese Spanish Romanesque , and “western kingdoms” including Castilian-Leonese, Asturian, Galician, and Portuguese Romanesque styles. The First Romanesque, or Lombard Romanesque, notably thrived in Catalonia, while the broader Romanesque style proliferated along the route of the Camino de Santiago, influenced by the foundations of the Order of Cluny. Late Spanish Romanesque developments in the 13th century are particularly evident in rural constructions.
Country : European
Spanish Romanesque : Architecture
From the 11th century onward, European artistic influences, particularly from Burgundian Cluniac and Lombard monasteries, intersected with local artistic traditions such as Pre-Romanesque, Visigothic, Asturian, Mozarabic, and Repoblación art, as well as Andalusi and Mudéjar Romanesque styles. This amalgamation of influences, along with the distinctive Mudéjar Spanish Romanesque characterized by brickwork, flourished in regions like the northern plateau, Toledo, and Teruel, resulting in a rich and distinctive artistic expression.
Spanish Romanesque : Sculpture
The earliest examples of Romanesque sculpture in the Hispanic-Christian peninsular kingdoms are seen in two lintels from the Roussillon area, notable for their shared iconography. One lintel is housed in the Saint-Génis-des-Fontaines Abbey, dating back to 1020, while the other is located in the monastery of Sant Andreu de Sureda. Other significant works from the 11th century include the tympanum of the Cathedral of Jaca, the gables of San Isidoro in León, the Platerías façade of the Cathedral of Santiago de Compostela by Master Esteban, and the cloister of the monastery of Santo Domingo de Silos.
Moving into the 12th century, notable examples include the façades of Santa Maria de Ripoll, the Church of Santa María la Real in Sangüesa, the monastery of San Pedro el Viejo in Huesca, and the cloister of the monastery of San Juan de la Peña. Towards the late 12th century, we see works like the facades of the Church of Santa María del Camino in Carrión de los Condes and Santo Domingo in Soria. The shift towards Gothic influences is evident in some works from this period, such as the apostolate of the Cámara Santa in Oviedo, the facade of San Vicente in Ávila, and the Portico of Glory of the Cathedral of Santiago de Compostela, created by Master Mateo. Another notable sculptor of the era was Arnau Cadell, known for the capitals of the cloister of Sant Cugat.
Among the round bulge carvings preserved in polychrome wood, common themes include depictions of Christ crucified (known as Majesty) or the Madonna with Child (known as sedes sapientiae or “Seat of Wisdom”). A particularly exceptional sculptural group demonstrating a transition towards Gothic style is the Davallament of Sant Joan de les Abadesses.
Spanish Romanesque : Painting
The Spanish Romanesque period boasts a wealth of remarkable frescoes, including notable examples like the Pantheon of the Kings of San Isidoro in León, which remain preserved ‘in situ’. Others, like those from San Baudelio de Berlanga and the hermitage of la Vera Cruz in Maderuelo, are now housed in the Prado Museum, along with a collection showcased in the National Art Museum of Catalonia.
Panel painting during this era often took the form of antependiums or altar frontals, particularly influenced by Italian-Byzantine styles, especially evident in Catalonia from the 12th century onwards. Examples like the Altar frontal from La Seu d’Urgell or The Apostles exemplify this fusion. As the period progressed, painting transitioned towards the Gothic style, characterized by increased narrative capacity and a departure from the stiffness of earlier works, as seen in pieces like the Altar frontal from Avià.
Spanish Romanesque : Sumptuary Laws
The manuscript preparation within the scriptoriums of monasteries and cathedrals was a remarkable endeavor that upheld the tradition of Beatus of Liébana’s Commentary on the Apocalypse while integrating influences from across Europe. Among the standout examples are the Libro de los Testamentos, the Tumbos Compostelanos, and the Codex Calixtinus, each showcasing the meticulous craftsmanship and cultural fusion of the period.
Textiles from liturgical vestments and tapestries have also endured, exemplified by masterpieces like the Tapestry of Creation from the Cathedral of Girona. These intricate textiles not only served religious purposes but also displayed exquisite artistry and design, reflecting the spiritual and aesthetic sensibilities of the time.
Meanwhile, the influence of Andalusian ivory carving flourished notably at the Leonese court, producing remarkable works. Goldsmiths, too, left their mark with elaborate pieces like the Cáliz de las Ágatas, also known as “of Doña Urraca,” and the Ark of San Isidoro. Additionally, artists adeptly incorporated techniques such as Limoges enamels, as evidenced in the Frontal of Santo Domingo de Silos, further enriching the artistic landscape of Spanish Romanesque art.
Romanesque Church in Spanish
Romanesque Spanish Art Facts
Spanish Romanesque : Areas
- Tower and apses of Sant Climent de Taüll.
- Portico of the church of Santa Maria de Ripoll.
- Facade and towers of Ripoll.
- Apses and dome of Ripoll.
- Cloister of Ripoll.
- Batlló Majesty.
- San Juan de la Peña.
- Western Front of the Cathedral of Jaca.
- Castle of Loarre.
- Church-castle of Ujué.
- Portal of Andre Maria erreginaren eliza (Zangoza/Sangüesa).
- Cloister of Santo Domingo de Silos.
- The doubt of St. Thomas, in the cloister of Silos.
- Santo Domingo (Soria).
- Central column of San Baudelio de Berlanga.
- The Weddings at Cana, fresco of San Baudelio de Berlanga.
- Tomb of the Holy Brothers Martyrs in the basilica of San Vicente (Ávila).
- Santa María la Mayor of Arévalo (Romanesque-Mudéjar).
- San Andrés de Cuéllar (Romanesque-Mudéjar).
- Tower and atrium of San Esteban (Segovia).
- Interior of the Church of la Vera Cruz (Segovia).
- San Martín de Frómista.
- Ermita de Santa Cecilia and castle of Aguilar de Campoo.
- Corbels in the Collegiate of San Pedro de Cervatos.
- Cloister of the Collegiate church of Santa Juliana (Santillana del Mar).
- Colegiata de Santa María la Mayor (Toro).
- Dome of the Old Cathedral (Salamanca).
- San Román (Toledo) (Romanesque-Mudéjar).
- San Lorenzo (Sahagún) (Romanesque-Mudéjar).
- Crucifix of don Fernando and doña Sancha.
- Royal Pantheon of San Isidoro (León).
- Two of the apostles of the Cámara Santa (Oviedo).
- Corbels in San Martino de Villallana. -Church of San Martino de Villallana-
- Portico of the Cathedral of Ourense.
- Alfonso IX of León, illustration of the Tumbo A. -Romanesque illuminated manuscripts-
- Vault, clerestory and arches of the central nave of the Cathedral of Santiago de Compostela.
- Facade of Pratarías of the Cathedral of Santiago de Compostela.
- Codex Calixtinus, 1140.
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