Con destino a Cartagena de Indias: mapa de ruta de un retablo sevillano pintado por Hernando de Esturmio (1550)

Elena Escuredo

doi:10.6092/issn.2240-7251/18927

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Elena Escuredo Universidad de Sevilla

Elena Escuredo has a doctorate in art history from the University of Seville, where she defended her thesis, Luis de Vargas en la encrucijada: de los modos de Flandes a la maniera moderna en la pintura sevillana del siglo XVI, which is currently under contract with the publisher Centro de Estudios Europa Hispánica. Her research focuses on 16^th-century Spanish painting, its connections with Italy, and the relationship between art and spirituality. Her articles have been published in prestigious and specialized journals, including «Archivo Español de Arte», «Goya», and «Storia dell'Arte». She has enjoyed research stays in Rome, Naples, and Los Angeles. In 2021, she coordinated and edited the book Imparilitas. Homenaje a la profesora Fátima Halcón. Recently, she has coordinated the book Crux Triumphalis. Calvarios y vigas de imaginería entre la Edad Media y el Concilio de Trento, with Diana Olivares and Pablo J. Pomar (2023, published by Universidad de León). She is part of the work team of the CIRIMA project Circulación de la imagen en la Geografía artística del mundo hispánico en la Edad Moderna, with Benito Navarrete Prieto as principal investigator. In June 2022, she travelled to Paris as a Margarita Salas postdoctoral fellow, with Cécile Vincent-Cassy (CY Cergy Paris Université) as mentor. In December 2022, she was co-organizer of the international conference Pacheco à la plume. Le maître de Velázquez ou la pensée de l'art, which was held at the College of Spain in Paris. Currently, she is an Assistant Professor in the Department of Art History at the University of Seville.

DOI:

https://doi.org/10.6092/issn.2240-7251/18927

Keywords:

Jorge de Quintanilla, Cartagena de Indias, Bartolomé de Ortega, Hernando de Esturmio, Andrés Morín

Abstract

The discovery of an unpublished document in the Archive of Notarial Protocols in Seville reveals the commission of the first altarpiece painted for the early cathedral of Cartagena de Indias. The patron Jorge de Quintanilla appointed the carver Bartolomé de Ortega, the painter Hernando de Esturmio and the gilder Andrés Morín to carry out the work. Quintanilla specified a precise iconography for the most relevant panel depicting Santa Catalina. His preferences may have been determined by his background and connected with the original location of the altarpiece. This case study is a meaningful example of the fertile circulation of images between Seville and the New World throughout the 16th century.

To Cartagena de Indias: Route Map for a Sevillian Altarpiece Painted by Hernando de Esturmio (1550)

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