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The Martyrdom of Father Andrés, Prior of the Seiz Charterhouse
Carducho, Vicente
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Carducho, Vicente

Florence (Italy), 1576 - Madrid (Spain), 1638

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The Martyrdom of Father Andrés, Prior of the Seiz Charterhouse

1626 - 1632. Oil on canvas

On August 29, 1626, King Philip IV’s painter, Vicente Carducho (ca. 1576-1638), signed a contract for the creation of a cycle of paintings to celebrate the founding of the Carthusian Order by Saint Bruno and its leading members. This colossal undertaking sought to visually narrate numerous episodes from the Carthusians’ history and tradition. It was the most complete commission ever dedicated to this order, a series of fifty-four large canvases and two more of a smaller size with the coats of arms of the king and the order. This project was originally conceived by Father Juan de Baeza (d. 1641), a fundamental figure for the Carthusians’ spirituality and organization who closely controlled compliance with that order’s postulates. Juan de Baeza furnished Carducho with the episodes to be included in the series, many of which were unpublished or barely known and previously unrepresented in Spain. In terms of its narrative content, the group was organized in two parts: the first twenty-seven canvases illustrate the life of the order’s founder, Saint Bruno of Cologne (1035-1101), from the moment he decided to abandon public life and retire to the Grande Chartreuse Valley, north of Grenoble, through this death and first posthumous miracle. The second group glosses meaningful episodes in the order’s history, which took place in the principle European charterhouses between the 11th and 16th centuries. This group reveals the order’s strong founding drive, as well as some of its identity traits, including withdrawal to solitary and very beautiful settings, and a life of humility, mortification and penance, dedicated to study and prayer. The second group closes with a set of heroic scenes that represent episodes of persecution and martyrdom suffered by some Carthusian communities during the 15th and 16th centuries -images that seek to strengthen the monks’ faith while depicting Europe’s religious and territorial conflicts at that time. The series was painted between 1626 and 1632, following a laborious creative process that included the production of numerous drawings and sketches, as well as the necessary participation of some assistants. Like most 16th and 17th -century cloister series, this project was originally conceived by Carducho as a mural group. Over the course of his extensive career, he had already demonstrated his mastery of fresco painting, which was the most characteristic and, a priori, appropriate for this type of narrative cycle -at least in Italy, where every detail of this technique was known. However, the complexity of the project, the location of El Paular, and the order’s rigorous cloistering probably argued against the use of that technique. The large canvases have a semicircular arch at the top to fit the gothic segments of the cloister designed by Juan de Egas between 1484 and 1486.

This canvas marks the beginning of the final part of the series, which is dedicated to 16th-century martyrs and thus closer in time to this cycle. Here, the setting is the oldest charterhouse of the Germanic Roman Empire, in Seiz -now Slovenia- where, in 1529, Turkish troops entered the compound and killed the entire community of twenty. This painting depicts the martyrdom of Father Andrés, prior of Seiz, while another Carthusian brother is being put to death in the background (Text drawn from Ruiz, L. en: La recuperación de El Paular, 2013, pp. 185-190).

Technical data

Inventory number
P005459
Author
Carducho, Vicente
Title
The Martyrdom of Father Andrés, Prior of the Seiz Charterhouse
Date
1626 - 1632
Technique
Oil
Support
Canvas
Dimension
Height: 336.5 cm.; Width: 297 cm.
Series
Historia de la Orden de los Cartujos. Cartuja de El Paular, Rascafría, Madrid
Provenance
Rascafría (Madrid), Cartuja de Santa María de El Paular, cloister; Museo de la Trinidad.

Bibliography +

Cruzada Villaamil, Gregorio, Catálogo provisional, historial y razonado del Museo Nacional de Pinturas, Madrid, 1865, pp. 14.

Angulo Íñiguez, D.; Pérez Sánchez, A. E., Historia de la pintura española: escuela madrileña del primer tercio del siglo XVII, Instituto Diego Velázquez, Madrid, 1969.

Museo Nacional del Prado, Museo del Prado: inventario general de pinturas, II. Museo de la Trinidad, Museo del Prado, Espasa Calpe, Madrid, 1991.

Beutler, Werner, Vicente Carducho : Der Grosse Kartauserzyklus in el Paular, Institut Fur Anglistik Und Amerikan, Salzburgo, 1997, pp. 234,235.

Orihuela, Mercedes y Cenalmor, Elena, El ''Prado disperso''. Obras depositadas en Valladolid y Palencia. Valladolid. Ayuntamiento, Boletín del Museo del Prado, 24, 2006, pp. 121.

Gayo, Mª Dolores; Jover de Celis, Maite, Evolución de las preparaciones en la pintura sobre lienzo de los siglos XVII y XVIII en España., Boletín del Museo del Prado, XXVIII, 2010, pp. 39-59.

Ruiz Gómez, Leticia, 'La recuperación de la serie cartujana de El Paular' En:, La recuperación de El Paular, Ministerio de Educación, Cultura y Deporte, Madrid, 2013, pp. 186-202.

'Los Carduchos del Museo del Prado de la Cartuja de El Paular. Secuencia ordenada de la serie de V.Carducho para El Paular' En:, La recuperación de El Paular, Ministerio de Educación, Cultura y Deporte, Madrid, 2013, pp. 217-233 [230 f.423].

de Carlos Varona, Mª Cruz, 'Vicente Carducho en El Paular, la elaboración de un imaginario cartujano' En:, La recuperación de El Paular, Ministerio de Educación, Cultura y Deporte, Madrid, 2013, pp. 203-216.

Pascual Chenel, Á. Rodríguez Rebollo, A., Vicente Carducho. Dibujos Catálogo razonado, Biblioteca Nacional de España - Centro de Estudios Europa Hispánica, Madrid, 2015, pp. 337-440 [408-411 f.121].

Other inventories +

Inv. Museo de la Trinidad, Pintura. Núm. 39.
39. / Martirio de san Bruno / en primer término el santo suspendido por las manos con una cuerda qe pasa pr una polea teniendo colgada de los pies una piedra de mucho peso a la derecha una figura sentada teniendo un perro a los pies en el suelo otros instrumentos de martirio en segundo término a la derecha una graderia para subir á un balcón por el cual se ve a san Bruno sufriendo otro martirio diferente figuras de cuerpo entero y tamaño natural / Firmado Vicente Carducho / Rdo alto 3,43; ancho 3,01. / Lo mismo qe el anterior sin moldura sin colgar en la sala de restauracion. / Nª 56 C.B.

Catálogo Museo de la Trinidad, 1865. Núm. 39.
39. Martirio de un cartujo. / Amarradas las manos con un cordel, que pasa por una polea, y del cual tiran unos soldados, es suspendido en el aire un fraile cartujo, que además tiene atada á los piés una enorme cuerda. Por una ventana, se ve al mismo fraile cartujo en el momento de ser muerto á cuchilladas y palos por los verdugos en presencia de gente del pueblo y de un turco de larga barba que parece ser el ordenador del martirio. Este cuadro es sumamente caliente de color.

There are no temporary exhibitions related to this work

Location +

(Deposit)

Displayed objects +

Weapons / Arms

Update date: 06-05-2019 | Registry created on 28-04-2015

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