Vicisitudes del tríptico del Salvador de Antoniazzo Romano: del Oratorio de Dominicos (de la ciudad de Ávila), de San Martín de Valdeiglesias, al Museo del Prado

Sonia Caballero Escamilla

doi:10.17398/2660-714X.41.209

Authors

Sonia Caballero Escamilla University of Granada https://orcid.org/0000-0003-2255-0356

DOI:

https://doi.org/10.17398/2660-714X.41.209

Keywords:

Disentailment of Mendizábal, monastery of Saint Thomas of Ávila, Trinity Museum, Dominican prayer room of San Martín de Valdeiglesias, Antoniazzo Romano

Abstract

This paper shows the journey of an artwork that was very significant in the exchanges between Spain and Italy during the Catholic Kings’ reign: The triptych of The Saviour, by Antoniazzo Romano, in The Prado Museum. This triptych came from the
Trinity Museum, so it’s considered to belong to one of the disappeared monasteries near Madrid during the Disentailment of Mendizábal. Basing on unpublished documents of the monastery of Saint Thomas, in Ávila, we provide the evidences of the real origin of the triptych.

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Author Biography

Sonia Caballero Escamilla, University of Granada

PhD in Art History from the University of Salamanca, she was awarded the Extraordinary Doctorate Prize in 2008. Her research work focuses on the Middle Ages. She is the author of several books, book chapters, articles and reviews. She has carried out research stays in centres of recognised national and international prestige. Her research interests include the uses and functions of images. She is currently Professor at the University of Granada.