[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-155557-en":3,"doc-seo-155557-105":30,"detail-sidebar-cat-0-en-105":91},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":11,"is_deleted":4,"is_public":20,"is_downloadable":20,"audit_status":20,"page_count":21,"language":22,"language_code":23,"site_id":24,"html_lang":23,"table_of_contents":25,"faqs":26,"seo_title":27,"seo_description":14,"update_tm":28,"read_time":29},155557,549758252649,"Ivy","https://ap-avatar.wpscdn.com/avatar/8000253669c5317157?_k=1778319167496531819",2,"Literature","A Madonna of the Rose by Lorenzo de Ávila - Carlos Herrero Starkie","A scholarly essay examines an attributed small panel depicting the Virgin and Child with distinctly Umbrian resonances, assessing its pictorial quality and the scholarly dilemma between elevating Lorenzo de Ávila’s traditional attribution or seeking a heavier alternative. The text situates the work within early 16th-century Castilian Renaissance painting, drawing on restorations, comparative models of Umbrian masters, and documentary references to Ávila’s exceptional drawing skills and hypothesized Italian connections. It surveys prior scholarship and major commissions to contextualize authorship claims and influence.","Fig 1 LORENZO DE ÁVILA,(1473-1570), Virgin of the rose. H. 1540, oil on panel. 25,5 x 17,5 cm.  \nA MADONNA OF THE ROSE BY LORENZO DE ÁVILA, THE ARTIST WHO INTRODUCED UMBRIAN RENAISSANCE PAINTING TO SPAIN  \nCarlos Herrero Starkie  \nDirector del IOMR  \nNovember 2021  \nThere are works which, after meticulous restoration, reveal a pictorial quality that gives rise to the dilemma between either elevating to new heights the master traditionally held to have created them, or searching fora new and weightier attribution to match the excellence of their art; a field open to debate among scholars in Spanish and Italian Renaissance painting that should enrich the study of our masterpiece. (Fig.1)  \nThis small panel attributed to Lorenzo de Ávila by Matías Díaz Padrón, Aida Padrón (1) , Irune Fiz Fuertes(2) and Juan Carlos Pascual de Cruz(3), depicting a Virgin and Child of markedly Umbrian resonances, falls within this category of work as, on the one hand, it constitutes a paradigmatic example (unknown to date) of artistic quality as might befit a master whose scholars credit with having enriched the sober artistic environment of the Castilian Renaissance and its profound Flemish roots with the Italian sweetness of the school of Signorelli, Perugino(Fig.2) or Raphael (Fig.3) ; on the other hand, it also invites us to explore other attributions within the scope of influence of Umbrian painting from the first half of the 16th century.  \nLorenzo de Ávila is a painter who was rescued from oblivion by J. Navarro Talegón (1980) (4) and Irune Fiz Fuertes (2003) and studied in depth more recently by Juan Carlos Pascual de Cruz in his 2012 monograph Lorenzo de Ávila, una ilusión renacentista. His work blossomed within the orbit of such acclaimed masters as Pedro Berruguete and Juan de Borgoña, evolving alongside the careers of Alonso Berruguete and Correa deVivar, exuding an exaggerated Italianate style manifested in the sweetness of his figures, the meticulous design of his compositionsand the masterful draughtsmanship. All of this led Pascual de Cruz to posit a hypothetical journey to Italy at the end of the 15th century, based on a gap in information on the work of Lorenzo de Ávila in Castile during that period, and the discovery of a document referring to an assistant of Luca Signorelli from Ávila, working with him in the abbey of Monte Olivetto Maggiore in 1499.  \nFig 3 Raffael Sanzio, Madonna Conestabile, Hermitage Museum, Palatine Gallery, Florence.  \n3  \nFig. 2 Pietro Perugino, Our Lady, Infant Jesus and the angels, detail, Paletine Gallery, Florence.  \n4  \nThis hypothesis is borne out further by the insistence with which the documentary sources refer to his excellent drawing skills, something not expressly mentioned in the case for Fernando Gallego, Juan de Flandes, Pedro Berruguete or Juan de Borgoña, and mention him asa principal artist who made compositional drawings, only painting the main figures in his works, although he always kept a close eye on his collaborators to ensure the final results were of the highest standard. (5) This prevalence of the\"disegno\" as opposed to the pictorial execution, this consideration of the Master as being someone gifted with intellect, is a matter that in the late 15th century could only be assimilated in Italy. It is as such that his having been Luca Signorelli’s assistant from Ávila might explain his undeniable talent for drawing asa vehicle with which to express his ideas, as well as his proven ability to set up a workshop following models conceived of by him that could be easily replicated by his collaborators.  \nFig 4 Lorenzo de Ávila, Martidom of Saint Eugene, Fig 5 Lorenzo de Ávila Christ’s Descent into Limbo, High altarpiece, Ávila Cathedral.  \ndesign, Manga del Corpus, Toledo Cathedral.  \nAccording to the testimony of a document dated 1570, which claimshe was 97 (6) , Lorenzo de Ávila was born in about 1473. Following Pascual de Cruz’s theory, he would have embarked on his artistic career at","cbCairycC6lHoKiD","https://ap.wps.com/l/cbCairycC6lHoKiD","pdf",2632648,1,12,"English","en",105,"# A Madonna of the Rose by Lorenzo de Ávila\n## Restoration and attribution debate\n## Umbrian influences and comparative models\n## Documentary sources and drawing skills\n## Biographical reconstruction and commissions","[{\"question\":\"Why does the article focus on attribution dilemmas after restoration?\",\"answer\":\"Restoration reveals a pictorial quality that forces scholars to choose between reinforcing the traditional attribution or proposing a new, weightier one to match the artwork’s excellence.\"},{\"question\":\"What artistic traits connect the panel to Umbrian influence?\",\"answer\":\"The Virgin and Child are described as showing markedly Umbrian resonances, linked to the Italian sweetness and compositional/drawing qualities associated with Umbrian masters in the early 16th century.\"},{\"question\":\"How do documentary sources support Lorenzo de Ávila’s authorship and skills?\",\"answer\":\"Sources are said to insist on his excellent drawing skills and describe him as a principal artist responsible for compositional drawings, which suggests an intellect-centered “disegno” approach consistent with Italian assimilation.\"}]","A Madonna of the Rose by Lorenzo de Ávila - Carlos Herrero Starkie | PDF",1787914560,18,{"code":4,"msg":31,"data":32},"ok",{"site_id":24,"language":23,"slug":33,"title":13,"keywords":34,"description":14,"schema_data":35,"social_meta":86,"head_meta":88,"extra_data":90,"updated_unix":28},"a-madonna-of-the-rose-by-lorenzo-de-avila-carlos-herrero-starkie","",{"@graph":36,"@context":85},[37,53,68],{"@type":38,"itemListElement":39},"BreadcrumbList",[40,44,47,50],{"item":41,"name":42,"@type":43,"position":20},"https://docshare.wps.com","Home","ListItem",{"item":45,"name":46,"@type":43,"position":11},"https://docshare.wps.com/document/","Document",{"item":48,"name":12,"@type":43,"position":49},"https://docshare.wps.com/document/literature/",3,{"item":51,"name":13,"@type":43,"position":52},"https://docshare.wps.com/document/a-madonna-of-the-rose-by-lorenzo-de-avila-carlos-herrero-starkie/155557/",4,{"url":51,"name":13,"@type":54,"author":55,"headline":13,"publisher":57,"fileFormat":60,"inLanguage":23,"description":14,"dateModified":61,"datePublished":62,"encodingFormat":60,"isAccessibleForFree":63,"interactionStatistic":64},"DigitalDocument",{"name":9,"@type":56},"Person",{"url":41,"name":58,"@type":59},"DocShare","Organization","application/pdf","2026-09-06","2026-08-28",true,{"@type":65,"interactionType":66,"userInteractionCount":11},"InteractionCounter",{"@type":67},"ViewAction",{"@type":69,"mainEntity":70},"FAQPage",[71,77,81],{"name":72,"@type":73,"acceptedAnswer":74},"Why does the article focus on attribution dilemmas after restoration?","Question",{"text":75,"@type":76},"Restoration reveals a pictorial quality that forces scholars to choose between reinforcing the traditional attribution or proposing a new, weightier one to match the artwork’s excellence.","Answer",{"name":78,"@type":73,"acceptedAnswer":79},"What artistic traits connect the panel to Umbrian influence?",{"text":80,"@type":76},"The Virgin and Child are described as showing markedly Umbrian resonances, linked to the Italian sweetness and compositional/drawing qualities associated with Umbrian masters in the early 16th century.",{"name":82,"@type":73,"acceptedAnswer":83},"How do documentary sources support Lorenzo de Ávila’s authorship and skills?",{"text":84,"@type":76},"Sources are said to insist on his excellent drawing skills and describe him as a principal artist responsible for compositional drawings, which suggests an intellect-centered “disegno” approach consistent with Italian assimilation.","https://schema.org",{"og:url":51,"og:type":87,"og:title":13,"og:site_name":58,"og:description":14},"article",{"robots":89,"canonical":51},"index,follow",{"doc_id":7,"site_id":24},{"code":4,"msg":5,"data":92},[93,97,100,104,109,114,119,124,129,132,136],{"id":20,"doc_module":4,"doc_module_name":46,"category_name":94,"show_sort_weight":95,"slug":96},"Story & Novel",90,"story-novel",{"id":11,"doc_module":4,"doc_module_name":46,"category_name":12,"show_sort_weight":98,"slug":99},80,"literature",{"id":52,"doc_module":4,"doc_module_name":46,"category_name":101,"show_sort_weight":102,"slug":103},"Exam",70,"exam",{"id":105,"doc_module":4,"doc_module_name":46,"category_name":106,"show_sort_weight":107,"slug":108},5,"Comic",60,"comic",{"id":110,"doc_module":4,"doc_module_name":46,"category_name":111,"show_sort_weight":112,"slug":113},6,"Technology",50,"technology",{"id":115,"doc_module":4,"doc_module_name":46,"category_name":116,"show_sort_weight":117,"slug":118},7,"Healthcare",40,"healthcare",{"id":120,"doc_module":4,"doc_module_name":46,"category_name":121,"show_sort_weight":122,"slug":123},8,"Research & Report",30,"research-report",{"id":125,"doc_module":4,"doc_module_name":46,"category_name":126,"show_sort_weight":127,"slug":128},9,"Religion & Spirituality",20,"religion-spirituality",{"id":127,"doc_module":4,"doc_module_name":46,"category_name":130,"show_sort_weight":127,"slug":131},"World Cup","world-cup",{"id":133,"doc_module":4,"doc_module_name":46,"category_name":134,"show_sort_weight":133,"slug":135},10,"Lifestyle","lifestyle",{"id":137,"doc_module":4,"doc_module_name":46,"category_name":138,"show_sort_weight":105,"slug":139},19,"General","general"]