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Romana, Pedro

Córdoba, ca. 1460 - Córdoba, 1536

This Spanish painter from the early Andalusian Renaissance was trained in the Spanish-Flemish style but later drew on Italian models present in Cordoba, where he had his workshop from at least 1496. That is the year when Alejo Fernández's presence in that city was first documented. The first reference to Pedro Romana is from 1488, when he was commissioned to make part of an altarpiece for the convent of San Agustín in Cordoba. His style can be identified through one of the panels on an altarpiece at the church in Espejo (Cordoba), an Adoration of the Magi that must have been made after 1504, when the chapel was finished. It already shows the influence of Italian quattrocento practice in its architecture and thus reflects the artist's debt to the work of Alejo Fernández. Over the course of his career, Pedro Romana collaborated with various painters from Cordoba, from From Alejo Fernández's father-in-law, Pedro Fernández, to Luis Fernández, with whom he worked from the very beginning on the San Agustín altarpiece. He continued to collaborate with Luis Fernández through the end of his career, for example in 1527, when he was contracted to make the Morente altarpiece now at the Episcopal palace in Cordoba. Pedro Romana's success as a painter—especially after Alejo Fernández moved to Seville in 1508—is reflected in his appointment in 1515 as overseer of the Cordoba Painters' Guild. The style of his signed Adoration of the Magi for the church in Espejo ( Museo de Córdoba), has been used as the basis for attributing other works to him, and there his personal style is clear. His figures are not as graceful as Alejo Fernández's, nor do they convey their feelings with the naturalness and delicacy of Alejo's. Romana reflects his early Spanish-Flemish training in his unstable arrangement of self-absorbed figures with rather artificial postures that contrast with the balance and spatial breadth brought to his compositions by the presence of Renaissance architecture. These elements appear to be indirectly indebted to Alejo's Umbrian style. Among the works attributed to Pedro Romana are a Virgin and Child (Museo de Córdoba) that stands out for its broad perspective and greater balance, given the monumental character of its depiction of Mary on her throne. Others include a Visitation at Castro del Río, which was attributed to him by Post, and the Calling of Saint Catherine of Sienna (Museo del Prado).

Artworks (1)

The Calling of Saint Catherine of Sienna
Oil on panel, First third of the Último cuarto del siglo XV - XVI century
Romana, Pedro

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