Posodobljeno oktober 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 44 del v našem katalogu avtorja Mojster Mateo
Kratek opis
The disappeared façade at the end of the Camino (1211) je slika avtorja Mojster Mateo, ki pritegne največ pogledov; original se nahaja v muzeju The Catedral de Santiago Foundation, Santiago de Compostela. Nato se pogled smeri k Base of the mullion of the Portico of Glory (1188) in Trinity of the Portico of Glory (1188). Med 44 dela umetnika Mojster Mateo v našem katalogu so ta 44 najbolj znana; vsako je edinstven original, predstavljen z letnico nastanka, muzejem in razlogom za njegovo nečasenost.
The disappeared façade at the end of the Camino is a square format work by the sculptor Master Mateo. Created about 1211, this piece originates from the period when the artist was actively shaping the architectural identity of the Santiago de Compostela Cathedral in Spain.
To stand before the Portico of Glory is to witness a profound shift in the language of stone. This specific base of the mullion, carved around 1188, offers a glimpse into the transition from the rigid forms of the Romanesque to a more fluid, naturalistic sensibility. Here, the stone does not merely exist; it breathes. The sculptor, Master Mateo, utilized a technique known as trabajo vivo, layering limestone to create…
Divine Presence in Stone The capital features God the Father holding the Christ child upon his lap. Above them, the Holy Spirit takes form as a dove at the peak of the composition. Angels surround these central figures, carrying incense burners to complete the celestial scene. This sculptural arrangement uses the trabajo vivo technique, layering stone slabs to create textures that mimic flesh and fabric. The result is a sense…
In the hallowed atmosphere of the Santiago Cathedral, where history and spirituality converge, stands a figure of profound majesty: the Statue-column of King David. Carved by the legendary Master Mateo around 1188, this Romanesque masterpiece is far more than a mere architectural ornament; it is a window into the soul of the twelfth century. The sculpture captures the biblical monarch in a moment of eternal resonance, seated upon a cross-frame…
The Glory, Central Arch, Portico of Glory is a sculptural work by Master Mateo. It forms a primary component of the Portico of Glory, located at the Cathedral of Santiago de Compostela in Spain. This specific section of the portal was part of a complete three-piece set that reached its conclusion in 1211. The work is currently held at The Catedral de Santiago Foundation in Santiago de Compostela.
Within the sacred shadows of the Portico of Glory, a profound scene unfolds in stone. The Elders holding instruments, Central Arch, Portico of Glory emerges from the limestone, appearing as if caught in a moment of eternal preparation. This work, created by the hands of Master Mateo, brings the figures of the Apocalypse into a tangible, breathing presence. They sit amidst the radial archivolts, their bodies leaning toward one another…
These two stone voussoirs, titled Voussoirs with the punishment of lust, were executed by the sculptor Master Mateo. The carvings date to about 1188. They represent a specific sculptural program intended for the architectural framework of the cathedral's entrance.
The stone breathes under the soft, diffuse light of the cathedral, revealing a figure caught in a moment of eternal devotion. Here, within the central arch of the Portico of Glory, Saint Matthew sits with a quiet, heavy presence. He is a winged presence, his form emerging from the granite with a startling sense of life. He leans over a desk, his knees supporting the weight of his task, as…
The limestone relief of Saint Luke, carved around 1211, occupies a central position within the Portico of Glory at the Cathedral of Santiago de Compostela in Spain. The figure is depicted reclining on his right side, a posture that suggests both physical repose and deep introspection. In his left hand, he holds a book, while his head rests upon a lamb, a direct reference to his role as an Evangelist…
The relief known as Arma Christi, Central Arch, Portico of Glory is a sculptural work by the artist Master Mateo. This specific piece is situated within the Central Arch of the Portico of Glory. It was created in 1211. The work is part of a larger architectural and sculptural program located at the Santiago de Compostela Cathedral in Galicia, Spain.
Santo dos Croques of the Portico of Glory1200 · The Catedral de Santiago Foundation
12
Saint Matthew1200 · The Catedral de Santiago Foundation
13
Statues of David and Solomon1188 · The Catedral de Santiago Foundation
14
Portico de la Gloria1168 · Cathedral
15
Portico de la Gloria (detail)1168 · Cathedral
16
Portico de la Gloria1168 · Cathedral
17
Portico de la Gloria (detail)1168 · Cathedral
18
Right arch of the Portico of Glory. Iconography of the condemned1188 · The Catedral de Santiago Foundation
19
Right arch of the Portico of Glory1188 · The Catedral de Santiago Foundation
20
Left arch of the Portico of Glory1188 · The Catedral de Santiago Foundation
21
Right columns of the central arch of the Portico of Gloryh1188 · The Catedral de Santiago Foundation
22
Saint Marcus, Central Arch, Portico of Glory1211 · The Catedral de Santiago Foundation
23
Saint John, Central Arch, Portico of Glory1211 · The Catedral de Santiago Foundation
24
Ordo Prophetarum, The counter facade, Portico of Glory1211 · The Catedral de Santiago Foundation
25
The Sybil, The counter facade, Portico of Glory1211 · The Catedral de Santiago Foundation
26
Right arch of the Portico of Glory. Iconography of the blessed1211 · The Catedral de Santiago Foundation
27
Detail of the Elders, Central Arch, Portico of Glory1211 · The Catedral de Santiago Foundation
28
Tribune of Portico of Glory1211 · The Catedral de Santiago Foundation
29
Angels, The Tribune, Portico of Glory1211 · The Catedral de Santiago Foundation
30
Portico of Glory1211 · The Catedral de Santiago Foundation
31
Keystones from Portico of the Glory1211 · The Catedral de Santiago Foundation
32
Detail Maiestas Domini of The Portico of Glory1211 · The Catedral de Santiago Foundation
33
Arma Christi, Central Arch, Portico of Glory1211 · The Catedral de Santiago Foundation
34
The Just, Central Arch, Portico of Glory1211 · The Catedral de Santiago Foundation
35
Detail of the Elders, Central Arch, Portico of Glory1211 · The Catedral de Santiago Foundation
36
Detail of the Blessed, Central Arch, Portico of Glory1211 · The Catedral de Santiago Foundation
37
Central Arch of The Portico of Glory1211 · The Catedral de Santiago Foundation
38
Organistrum, Central Arch, Portico of Glory1211 · The Catedral de Santiago Foundation
39
Drawing José Vega y Verdugo (1656-1657) Archivo de la Catedral1657 · The Catedral de Santiago Foundation
40
Left arch of the Portico of Glory. Iconography1188 · The Catedral de Santiago Foundation
41
Estatuas-columna de dos profetas procedentes de la desaparecida fachada exterior del Pórtico de la Gloria\n\n- Isaac1188 · The Catedral de Santiago Foundation
42
Rose window1200 · The Catedral de Santiago Foundation
43
Stony choir reconstruction1211 · The Catedral de Santiago Foundation
44
Lintels Central Arch of The Portico of Glory1188 · The Catedral de Santiago Foundation
Četiri teme, ki se v teh originalih najpogosteje ponavljajo, vsaka z svojim vrhunskim primerom.
2 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Mojster Mateo | Slike iz tega seznama |
|---|---|---|---|
 The Catedral de Santiago Foundation |
Santiago de Compostela | 40 | The disappeared façade at the end of the Camino, Base of the mullion of the Portico of Glory, Trinity of the Portico of Glory |
 Cathedral |
Santiago de Compostela | 4 | Portico de la Gloria, Portico de la Gloria (detail), Portico de la Gloria |
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
To stand before the Portico of Glory is to witness a profound shift in the language of stone. This specific base of the mullion, carved around 1188, offers a glimpse into the transition from the rigid forms of the Romanesque to a more fluid, naturalistic sensibility. Here, the stone does not merely exist; it breathes. The sculptor, Master Mateo, utilized a technique known as trabajo vivo, layering limestone to create…
Santo dos Croques of the Portico of Glory is a sculptural portrait by the artist Master Mateo. This kneeling figure represents the sculptor himself, positioned at the foot of the central column of the Portico of Glory. It is located within the Santiago de Compostela Cathedral in Galicia, Spain. The work is dated about 1200.
The disappeared façade at the end of the Camino is a square format work by the sculptor Master Mateo. Created about 1211, this piece originates from the period when the artist was actively shaping the architectural identity of the Santiago de Compostela Cathedral in Spain.
The disappeared façade at the end of the Camino (1211), The Catedral de Santiago Foundation, Santiago de Compostela. Zatem sledeta Base of the mullion of the Portico of Glory (1188) in Trinity of the Portico of Glory (1188).
50 let: delo The disappeared façade at the end of the Camino iz leta 1211, Mojster Mateo pa je bil/a rojen/a leta 1161.
The disappeared façade at the end of the Camino, Base of the mullion of the Portico of Glory, Trinity of the Portico of Glory, Statue-column of king David, The Glory, Central Arch, Portico of Glory, The Elders holding instruments, Central Arch, Portico of Glory, Voussoirs with the punishment of lust, Saint Matthew, Central Arch, Portico of Glory, Saint Luke, Central Arch, Portico of Glory in Arma Christi, Central Arch, Portico of Glory. Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 44 del avtorja Mojster Mateo, datiranih od 1188 do 1211.
Večini v The Catedral de Santiago Foundation (Santiago de Compostela) in Cathedral (Santiago de Compostela). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1210s: 24 od 44 del na tej strani je bilo izdelovanih takrat, med njimi pa The disappeared façade at the end of the Camino.
Na tej strani je najstarejše delo iz Base of the mullion of the Portico of Glory (1188) in najstarejše iz The disappeared façade at the end of the Camino (1211).
Sculpture (6), Medieval art (5) in Stone (4), na 44 delih na tej strani.
Stone, za 11 od 44 del na tej strani.
Romanesque, glede na originala na tej strani.
The disappeared façade at the end of the Camino, Base of the mullion of the Portico of Glory in Trinity of the Portico of Glory: v muzeju The Catedral de Santiago Foundation, Santiago de Compostela se nahaja 40 del z te strani.
Mojster Mateo, kipar, whose ime ostaja venzmra, kljub njegove monumentalne prispevka k katedrali v Santiago de Compostela, stoji kot ena izmed najbolj spoštovanih postav romanske umetnosti v Španiji. Rodil se je okoli leta 1161 v Galiciji, čeprav so natančni podatki o njegovem življenju redki, je Mateojeva dediščina temeljita zasnovana na njegovem nepremagljivem dosežku: Portico de la Gloria. Ta zaprejščujoča arhitekturna čaestica domine fasadi katedrale in personificira duhovno vročino twelfth stoletja. Kot kipar se je pojavil v obdobju, ki so zaznamovale močna religijska predanost in umetniška inovacija, v svet, kjer je zgolj pot do Santiagoja že bila transformativno potovanje za tisoče duš.
Njegovo največje del se je začelo oblikovati okoli leta 1188, ko je bil naličen naligo, da bi nadzoroval ustvarjanje trojnih preboja, ki se bo postal njegov magnum opus. Sam projekt katedrale je bil zasnovan že desetletja prej, pod vodstvom kralja Alfonse VIII in z močjo izjemnega verskega pomena tega mesta. V tem svetem je Mojster Mateo ne le rezbaril kamen; on mu je vdihnil življenje. Njegov prispevek k Portico de la Adamant je bil božanski podjem, ki je strukturno nujnost spremil v teološko pripoved, ki še vedno očarjava romje in zgodovinske raziskovalce.
Matejeva skulpturalna estetika je značilna zaradi izjemnega realizma, ki predstavlja globoko odklon od prejšnjih, bolj strogih romanskih konvencij. Medtem ko so se njegovi sodobniki pogosto zanašali na stilizirane, ploščate figure, je Mojster Mateo skrbno študiral človeško anatomijo in kompleksno vedenje draperij, pri čemer je dosegel presunljivo natančnost v svojih prikazih. Njegovo mojstvo rezbarjenja apnenca je bilo neprimerljivo, zlasti skozi uporabo tehnike, znane kot trabajo vivo. Ta metoda je vključevala plastno disusunje kamnenskih plošč za ustvarjanje tekstriranih površin, ki so imitirale videz sluznice in tkanine, s čimer so statičnemu mediju podali občutek gibanja in vitalnosti.
Ta inovativni pristop mu je omogočil premostitev vrzine med zemeyskim in božimskim. Ob opazovanju njegovega dela lahko vidimo, kako je večno mojsko uporabil svetlobo in senco za poudarjanje globine svojih reliefov. Njegova sposobnost manipulacije kamnom, da bi nakazil mehkobo svetnikovih oblačil ali mišično napetost biblijskih postaci, je njegovo hantstvo dvignila na raven sofisticiranosti, ki se je v srednjem veku redko pojavljala. Ta tehnična briljantnost je zagotovila, da njegove figure niso bile le simboli, temveč opoljčene prisotnosti v vhodu katedrale.
Portico de la Gloria služi kot vrhunsko pričevilo Mateojeve umetniške in duhovne vizije. Njegove centralne plošče prikazujejo globoke scene iz evangelijov—vključnoj Jelovstvo, Annunciacijo in Križanje—razporejene tako, da gledalca vodijo skozi sveto zgodovino. Ikonografija je obsežna in kompleksna, ter vključuje:
S temi deli je Mojster Mateo dosegel stopnjo zgodovinskega pomena, ki presega obdobje njegovega rojstva. Preoblikoval je romanski slog v smer vzrastajoče elegance gotike in pustil dediščino, ki ostaja srčni utrip Santiago de Compostela. Njegovo del stoji kot trajna premostitev med srednjem checklistom in večnošću, kar zagotavlja, da tudi stoletja po njegovi smrti leta 1217 njegova kamnena simfonija še vedno budi občutek čudenja.
