Spanish Romanesque designates theRomanesque art developed in theHispanic-Christian kingdoms of the Iberian Peninsula in the 11th and 12th centuries. Its stylistic features are essentially common to the European Romanesque although it developed particular characteristics in the different regions of the peninsula. There is no Romanesque art in the southern half of the peninsula because it remained under Muslim rule (Al-Andalus). The examples of Romanesque buildings in the central area of the peninsula are sparse and of the latest period, with virtually no presence south of the Ebro and the Tagus. Most Romanesque buildings can be found in the northern third of the peninsula. Romanesque art was introduced into the peninsula from east to west, so scholars have usually defined regional characteristics accordingly: the "eastern kingdoms" comprising the Pyrenean areas, Catalan Romanesque, Aragonese Romanesque and Navarrese Romanesque, and the "western kingdoms" comprising Castilian-Leonese Romanesque, Asturian Romanesque, Galician Romanesque and Portuguese Romanesque.
TheFirst Romanesque or Lombard Romanesque is specially present in Catalonia, while the full Romanesque spread from the foundations of theOrder of Cluny along the axis of theCamino de Santiago. The late-romanesque of the 13th century, can be found specially in rural buildings.[1]
From the 11th century the European artistic influence, specially from the BurgundianCluniac monasteries and theLombard monasteries, was superimposed on local artistic traditions such as "Pre-Romanesque,Visigothic art,Asturian art,Mozarabic art andRepoblación art) as well asAndalusi art, also called Hispanic Muslim, and cohabited with the so-calledMudéjar Romanesque (or "Romanesque of brick") dominant in some areas such as the centre of the northern plateau – from Sahagún to Cuéllar – Toledo or Teruel, giving rise to an art of strong personality.
The chronology in the penetration of architectural forms can be followed from east to west. The first examples are in Catalonia (Sant Pere de Rodes, 1022) and those developed along theCamino de Santiago in Aragon (Cathedral of Jaca, from 1054), Navarre (Leire, 1057), Castile (San Martin de Frómista, 1066) and Leon (San Isidoro – portal of 1067), ending in Galicia, where the most outstanding work was raised: thecathedral of Santiago de Compostela (begun in 1075 with the pilgrimage plan characteristic of most of the churches of the Way (for exampleSt. Sernin of Toulouse).
The 12th century saw the culmination of the style with:
The transition from Romanesque to Gothic starts from the late 12th century and can be seen in theCathedral of Tarragona andLa Seu Vella (Lleida).[2]
Few but notable are the churches of central plan, which are often associated with models from the Holy Land brought by the military orders. The main examples are thechurch of Saint Mary of Eunate in Navarre, thechurch of the Holy Sepulchre (Torres del Río) and thechurch of the Vera Cruz (Segovia).[3]
The earliest works ofRomanesque sculpture in the Hispanic-Christian peninsular kingdoms are two lintels of the Roussillon area which share similar iconography. One can be found in theSaint-Génis-des-Fontaines Abbey (dated in 1020)[4] and the other in themonastery of Sant Andreu de Sureda. Also from the 11th century are the tympanum of theCathedral of Jaca, the gables ofSan Isidoro (León), the Platerías façade of theCathedral of Santiago de Compostela fromMaster Esteban and the cloister of themonastery of Santo Domingo de Silos.
The most outstanding examples from the 12th century are the façades ofSanta Maria de Ripoll, of theChurch of Santa María la Real, Sangüesa, of themonastery of San Pedro el Viejo (Huesca) and the cloister of themonastery of San Juan de la Peña. To the late 12th century belong the facades of theChurch of Santa María del Camino (Carrión de los Condes) andSanto Domingo (Soria). The transition toGothic is visible in some works of this period: the apostolate of theCámara Santa (Oviedo), the facade ofSan Vicente (Ávila) and thePortico of Glory of the Cathedral of Santiago de Cosmpostela authored byMaster Mateo.[5] Another of the early sculptors wasArnau Cadell who produced the capitals of the cloister ofSant Cugat.
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The round bulge carvings that have been preserved in polychrome wood usually depict either theChrist crucified in the type calledMajesty or theMadonna with Child in the type calledsedes sapientiae ("Seat of Wisdom"). An exceptional sculptural group is theDavallament of Sant Joan de les Abadesses, which shows the transition to the Gothic style.[6]
Spanish Romanesque can boast some outstanding frescoes such as the Pantheon of the Kings of San Isidoro (León), retained 'in situ', or those removed from their original locations such asSan Baudelio de Berlanga and thehermitage of la Vera Cruz (Maderuelo), both in thePrado, and the collection assembled in theNational Art Museum of Catalonia.[7]
Panel painting producedantependiums or altar frontals that specially in Catalonia absorbed the Italian-Byzantine influence from the 12th century (Altar frontal from La Seu d'Urgell or of The Apostles). In the later period painting evolved to theGothic style, of higher narrative capacity and lesser stiffness (Altar frontal from Avià).[8]
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The preparation of manuscripts in the monasteries and cathedralsscriptoriums was an outstanding activity that continued the tradition ofBeatus de Liébana'sCommentary on the Apocalypse and incorporated European influences. Some of the best examples include theLibro de los testamentos, theTumbos compostelanos and theCodex Calixtinus.
Some excellent examples of textiles fromliturgical vestments andtapestries have survived such as theTapestry of Creation of the Cathedral of Girona.
TheIvory carving of Andalusian influence developed an important workshop at the Leonese court.
Goldsmiths produced elaborated pieces such as theCáliz de las Ágatas also called "of Doña Urraca" -ca 1063-[9] and theArk of San Isidoro. Some artists incorporated theLimoges enamels technique as can be seen in theFrontal of Santo Domingo de Silos).[10]
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