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thesaurus/cnp01238344 Pedro, de Alcántara

Pedro, de Alcántara

Record IDcnp01238344
URIhttp://data.cerl.org/thesaurus/cnp01238344
Biographical Data1499 - 1562
Last Edit2024-02-08

General Note

Francescano scalzo, nato a Sanabria nel 1499 e morto nel 1562. Il suo vero nome era Giovanni Garavito.

More Information

Further Biographical Data1499-1562
ActivityPersonen zu Kirchengeschichte, Systematischer und Praktischer Theologie, Kirche und Konfession (3.6p) (sswd)
Katholischer Theologe (gnd)
Ordensreformer
CountrySpanien
Geographic NoteES (iso3166)
NationalitySpanish
Online ResourceOnline Resource
Display the original Edit16 name's record

Related Entries

See alsoFranziskaner
Affiliation

Names

HeadingPedro, de Alcántara
used in: Integrated Authority File (GND), Germany
Variant NameAlcantara, Petrus ¬de¬
Alcantara, Petrus de [Sources: ADCAM]
Alcántara, Pedro ¬de¬
Alcántara, Pedro ¬de¬, santo
EDIT16-ID:CNCA21936
Alcántara, Pedro de [Sources: EUI; IBEPI]
Alcántara, Pierre ¬d'¬
Garavito, Giovanni, santo
EDIT16-ID:CNCA21934
Garavito, Pedro
Garavito, Pedro, santo
EDIT16-ID:CNCA21935
Pedro, Garavito
Pedro, von Alcantara
Pedro de Alcántara [Sources: NUC]
Peter, Garavito
Peter, of Alcantara, Saint
Peter Garavito, of Alcántara, saint [Sources: BLC]
Petrus, Garavito
Petrus, de Alcántara
Petrus, von Alcandra
Petrus, von Alcantara
LThK
Petrus de Alcantara
Petrus de Alcántara [Sources: BSBAK]
Pierre, d'Alcántara
Pierre d'Alcántara, saint [Sources: BNF]
Pietro d'Alcantara
Nome su edizioni
Pietro d'Alcántara [Sources: BISAN]
Pietro di Alcantara
Nome su edizioni
Peter, of Alcantara

Sources

Found inIBEPI. — EUI. — NUC. — BISAN. — BSBAK. — BNF. — ADCAM. — BLC. — NUC pre '56
Imprint SourcesPedro : A golden treatise of mentall praier. - 1632
Pedro : Instruction wol zu meditiren. - 1605
Pedro : Peters fall. - 1585
Pedro : Traité de la paix de l'âme. - 1663
depiction of ...
Painted wood sculpture from Spain in the 1600s involved a team of artisans working under a lead sculptor. The sculptor first carved numerous pieces of wood in complex forms. So the paint would stick properly, these fragments were delicately covered in gesso (a combination of white chalk and glue made from animal collagen), preserving the subtle woodcarving underneath. The rough surface of the saint's face-reflecting his age and hardships-came from texturing the gesso with a brush. The glass eyes, probably imported from Venice, were inserted from behind the face before the wood pieces were attached. Finally, the eyelashes were added for a further touch of realism. A painter created the appearance of coarse sackcloth in a distinctive style, with yellow strokes rising off the surface. Smoother brushstrokes form the flesh tones, even revealing the saint's five-o'clock shadow. Unlike other kinds of painting, sculpture from southern Spain at this time was usually not covered in varnish; sculptors prized the unvarnished paint for its realistic effect, although it makes the surface exceptionally delicate and susceptible to dust and dirt, which more easily sticks to the surface. The museum plans to clean the sculpture in the near future.

[
Pedro de Mena
/ https://clevelandart.org/art/2009.81 -- CC0 -- http://commons.wikimedia.org/wiki/File:Clevelandart 2009.81.jpg]

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