JORDAN, Esteban - b. ~1529 León, d. ~1598 Valladolid - WGA

JORDAN, Esteban

(b. ~1529 León, d. ~1598 Valladolid)

Spanish sculptor. He was one of the leading sculptors in the second half of the 16th century based in Valladolid. He probably trained in León, and the classical style apparent in his works may have been derived from Gaspar Becerra, who was in Valladolid in 1557. Jordán’s first documented work is a retable (1556–62) at Paredes de Nava, on which he collaborated with Inocencio Berruguete (fl 1540–63). He received commissions from other centres such as Medina del Campo, Alaejos, León, Avila and Monserrat. From about 1577 to 1590 he completed the retable started by Juan de Juni, who was an important influence on him, in the church of S Maria del Mediavilla, Medina de Ríoseco. Jordán was also responsible for the alabaster reliefs and wood figures on the trascoro (completed 1585) of León Cathedral. His commissions in Valladolid include the alabaster tomb of Don Juan de Ortega in Santi Spiritus, which was commissioned in conjunction with the retable of the Annunciation in the same church in about 1582.

His masterpiece is the main altar in the Santa Maria de Alaejos.

Main Altar
Main Altar by

Main Altar

Esteban Jordan was a painter and sculptor, perhaps trained first in Italy and then in Berruguete’s workshop. He was a Romanist of the Castilian school, representing the official art patronized by Philip II. In 1571 he began work on the main altarpiece of the church of St Mary Magdalen in Valladolid. The architectural structure of the altarpiece is orderly and well-balanced, and the use of sculpture restrained. This Italianate Mannerist composition, however, suffers from a dryness that indicates a workshop production rather than the creation of a master.

Main Altar (detail)
Main Altar (detail) by

Main Altar (detail)

The picture shows Sts Peter and Paul from the main altar in the church of St Mary Magdalen at Valladolid.

The group of St Peter and St Paul appealed to Esteban Jordan, who represented it several times. These sculptures reveal the artist’s dilemma: attracted at the same time by the expressionism of Juni and the grandeur of Michelangelo, he produced works either lifeless or pretentious. The conventional attitudes, the artificial draperies, show no epic inspiration, no classic harmony. The remarkable development of Spanish sculpture languished towards the end of the 16th century, but Italian artists summoned by Philip II, such as Pompeo Leoni, were to revive it.

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