!["Floreció la vara de Jesé” [Jesse's rod flourished], terracotta, wood and metals. The title of this 2001 work goes back to the miracle of the flowering of the rod thanks to which Joseph prevailed over the other younger suitors of the Virgin Mary. According to the French historian Louis Réau "it is an evident copy of the account of the appointment of Aaron as high priest, which is in the Pentateuch (Numbers, 17)". The bust was modeled in fired clay. The detail of the right arm and forearm that appears to be mobile and held with a window hatchet is inspired by an image of Mary in polychrome carving for dressing in the Cathedral of La Laguna. The thumb screws are visible on both heads as a reminder that they wore goldsmith crowns. The bust is attached to a wooden bell-shaped structure that in the language of Spanish polychrome sculpture is known as a "candelero" or "rueca". The uncovered head looks like it is ready to receive a wig. These mechanisms, hidden from the eyes of the faithful, are interpreted in sculptural language. In the modeling of the bust, wood carving was imitated using gouges and textures of fabrics in a state of deterioration were reproduced in allusion to a past of splendor. On the back there is an inscription in the old Castilian sense that reads as follows: HÍZOLA MIGUEL ÁNGEL MARTÍN FOR THE MANY DEVOTION THAT HE HAD. YEAR OF 2001 (Cf. catalogues EL FRACASO DE ADÁN [THE FAILURE OF ADÁN]. Edition of the Caja de Canarias Cultural Center, CICCA, Las Palmas de Gran Canaria, 2002; TIMETE DEVM, Abguss-Sammlung Antiker Plastik, Berlin, 2003. Edition of the City Council of La Laguna, cover photo.
MIGUEL ÁNGEL MARTÍN IN ABGUSS-SAMMLUNG ANTIKER PLASTIIK. BERLIN.
By Dr. Klaus Stemmer Museum director
[…] “M. Á. Martin represents a very characteristic aspect in the broad spectrum of modern art in his country. His work, which at first glance stands in stark contrast to antiquity in its neo-baroque appearance, is nonetheless of special interest for a visitor to the cast collection ─also a child of the Baroque since it was founded in 1695─ beyond the stimulating sensual experience: In a similar way to how the Greek ideal sculpture was created as a cult and votive statue in a religious background, it reflects in a very knowledgeable, often and probably especially in Catholic Spain provocative, but always witty way the almost mystical experience of physical pain and religious rapture in traditional Spanish plastic. The ecstatic and mannerist sculptures of the Counter-Reformation are questioned and explored by Martín for their propaganda statement. The crude hyperrealism of the baroque sculpture is recognized in its surreal effect and translated into a modern language of surface configuration by means of cracks and scars and reinterpreted for the present”.
[Text for exhibition TIMETE DEVM, Abguss-Sammlung Antiker Plastik, Berlin, February 28 - April 20, 2003].
MIGUEL ÁNGEL MARTÍN IN THE SIEGBURG CITY MUSEUM
By Dr. Gert Fischer Museum director
[…] "Martín's presentation "Kyrie Eleison" finds its place in the "Forum" of the museum. From here, the visitor's gaze falls on different levels of the museum and parts of the permanent exhibition become visible. The part of the permanent collection that is dedicated to the most important sacred building in Siegburg, the abbey on Michaelsberg, extends in the immediate vicinity. Here, in large format, the precious book paintings that brought about by the medieval heyday of the monastery are shown. The eye also falls on a cast of the "Siegburger Madonna", which is considered to be the most important small Romanesque sculpture in the Rhineland. On the other side of the "forum" there are medieval basement rooms - preserved on the spot - in their original place - and on them the theme of the second significant and sacred historical construction of the city is developed: the Servatius Church. From above, six Gothic gargoyles from the church choir look down on the exhibition space, and a Gothic tracery window has been recreated in your neighbourhood. Finally, through the shed glazing of the forum, the view falls outside, on the steeple of the Servatius Church.
It is in this environment where the sculptures by Miguel Ángel Martín can be found again. At first glance, they are all continuations of the sacred leitmotif that dominates the environment of the "forum". Romanesque, Gothic and next to the -apparent- neo-renaissance; and also next to that: the -apparent- neo-baroque by Miguel Ángel Martín. Is it a logical addition, a continuation of past epochs in art history that does not correspond to the zeitgeist? The answer is no. Of course, the sculptor - this is clearly recognizable - has deliberately dealt with the sacred sculpture of the early modern era; works with its formal language, even cites it. But what he takes on, he breaks simultaneously. He does this not only visually, superficially, so to speak, by dismantling, hollowing out, occasionally recomposing new figures; he also does it in a figurative sense. His exhibition is not only to be seen as a contribution to the sculpture of contemporary art, it is also an intellectual historical examination of the content of the iconography of the past. Sometimes with irony, but sometimes with bitterness, he gives answers to questions that only at first glance belong to a bygone era. In reality it is about the present. Just as the art of the Middle Ages - correctly questioned - makes a contribution to contemporary art, the questions of meaning that have haunted past generations are not out-dated today. They just have to be set differently. Miguel Ángel Martín does it. And his works find an ideal place in the forum of the municipal museum".
[Text for exhibition KYRIE ELEISON, Municipal Museum, Siegburg (Germany). July 31 - September 4, 2003].](https://images.saatchiart.com/saatchi/985024/art/8043408/additional_9ae7575132949850eb2846710484f29cfb595f59-AICC2-22.jpg)
!["Floreció la vara de Jesé” [Jesse's rod flourished], terracotta, wood and metals. The title of this 2001 work goes back to the miracle of the flowering of the rod thanks to which Joseph prevailed over the other younger suitors of the Virgin Mary. According to the French historian Louis Réau "it is an evident copy of the account of the appointment of Aaron as high priest, which is in the Pentateuch (Numbers, 17)". The bust was modeled in fired clay. The detail of the right arm and forearm that appears to be mobile and held with a window hatchet is inspired by an image of Mary in polychrome carving for dressing in the Cathedral of La Laguna. The thumb screws are visible on both heads as a reminder that they wore goldsmith crowns. The bust is attached to a wooden bell-shaped structure that in the language of Spanish polychrome sculpture is known as a "candelero" or "rueca". The uncovered head looks like it is ready to receive a wig. These mechanisms, hidden from the eyes of the faithful, are interpreted in sculptural language. In the modeling of the bust, wood carving was imitated using gouges and textures of fabrics in a state of deterioration were reproduced in allusion to a past of splendor. On the back there is an inscription in the old Castilian sense that reads as follows: HÍZOLA MIGUEL ÁNGEL MARTÍN FOR THE MANY DEVOTION THAT HE HAD. YEAR OF 2001 (Cf. catalogues EL FRACASO DE ADÁN [THE FAILURE OF ADÁN]. Edition of the Caja de Canarias Cultural Center, CICCA, Las Palmas de Gran Canaria, 2002; TIMETE DEVM, Abguss-Sammlung Antiker Plastik, Berlin, 2003. Edition of the City Council of La Laguna, cover photo.
MIGUEL ÁNGEL MARTÍN IN ABGUSS-SAMMLUNG ANTIKER PLASTIIK. BERLIN.
By Dr. Klaus Stemmer Museum director
[…] “M. Á. Martin represents a very characteristic aspect in the broad spectrum of modern art in his country. His work, which at first glance stands in stark contrast to antiquity in its neo-baroque appearance, is nonetheless of special interest for a visitor to the cast collection ─also a child of the Baroque since it was founded in 1695─ beyond the stimulating sensual experience: In a similar way to how the Greek ideal sculpture was created as a cult and votive statue in a religious background, it reflects in a very knowledgeable, often and probably especially in Catholic Spain provocative, but always witty way the almost mystical experience of physical pain and religious rapture in traditional Spanish plastic. The ecstatic and mannerist sculptures of the Counter-Reformation are questioned and explored by Martín for their propaganda statement. The crude hyperrealism of the baroque sculpture is recognized in its surreal effect and translated into a modern language of surface configuration by means of cracks and scars and reinterpreted for the present”.
[Text for exhibition TIMETE DEVM, Abguss-Sammlung Antiker Plastik, Berlin, February 28 - April 20, 2003].
MIGUEL ÁNGEL MARTÍN IN THE SIEGBURG CITY MUSEUM
By Dr. Gert Fischer Museum director
[…] "Martín's presentation "Kyrie Eleison" finds its place in the "Forum" of the museum. From here, the visitor's gaze falls on different levels of the museum and parts of the permanent exhibition become visible. The part of the permanent collection that is dedicated to the most important sacred building in Siegburg, the abbey on Michaelsberg, extends in the immediate vicinity. Here, in large format, the precious book paintings that brought about by the medieval heyday of the monastery are shown. The eye also falls on a cast of the "Siegburger Madonna", which is considered to be the most important small Romanesque sculpture in the Rhineland. On the other side of the "forum" there are medieval basement rooms - preserved on the spot - in their original place - and on them the theme of the second significant and sacred historical construction of the city is developed: the Servatius Church. From above, six Gothic gargoyles from the church choir look down on the exhibition space, and a Gothic tracery window has been recreated in your neighbourhood. Finally, through the shed glazing of the forum, the view falls outside, on the steeple of the Servatius Church.
It is in this environment where the sculptures by Miguel Ángel Martín can be found again. At first glance, they are all continuations of the sacred leitmotif that dominates the environment of the "forum". Romanesque, Gothic and next to the -apparent- neo-renaissance; and also next to that: the -apparent- neo-baroque by Miguel Ángel Martín. Is it a logical addition, a continuation of past epochs in art history that does not correspond to the zeitgeist? The answer is no. Of course, the sculptor - this is clearly recognizable - has deliberately dealt with the sacred sculpture of the early modern era; works with its formal language, even cites it. But what he takes on, he breaks simultaneously. He does this not only visually, superficially, so to speak, by dismantling, hollowing out, occasionally recomposing new figures; he also does it in a figurative sense. His exhibition is not only to be seen as a contribution to the sculpture of contemporary art, it is also an intellectual historical examination of the content of the iconography of the past. Sometimes with irony, but sometimes with bitterness, he gives answers to questions that only at first glance belong to a bygone era. In reality it is about the present. Just as the art of the Middle Ages - correctly questioned - makes a contribution to contemporary art, the questions of meaning that have haunted past generations are not out-dated today. They just have to be set differently. Miguel Ángel Martín does it. And his works find an ideal place in the forum of the municipal museum".
[Text for exhibition KYRIE ELEISON, Municipal Museum, Siegburg (Germany). July 31 - September 4, 2003].](https://images.saatchiart.com/saatchi/985024/art/8043408/additional_9aa99979065f64c86193e3ebe5f8a29a60205944-AICC2-22.jpg)
!["Floreció la vara de Jesé” [Jesse's rod flourished], terracotta, wood and metals. The title of this 2001 work goes back to the miracle of the flowering of the rod thanks to which Joseph prevailed over the other younger suitors of the Virgin Mary. According to the French historian Louis Réau "it is an evident copy of the account of the appointment of Aaron as high priest, which is in the Pentateuch (Numbers, 17)". The bust was modeled in fired clay. The detail of the right arm and forearm that appears to be mobile and held with a window hatchet is inspired by an image of Mary in polychrome carving for dressing in the Cathedral of La Laguna. The thumb screws are visible on both heads as a reminder that they wore goldsmith crowns. The bust is attached to a wooden bell-shaped structure that in the language of Spanish polychrome sculpture is known as a "candelero" or "rueca". The uncovered head looks like it is ready to receive a wig. These mechanisms, hidden from the eyes of the faithful, are interpreted in sculptural language. In the modeling of the bust, wood carving was imitated using gouges and textures of fabrics in a state of deterioration were reproduced in allusion to a past of splendor. On the back there is an inscription in the old Castilian sense that reads as follows: HÍZOLA MIGUEL ÁNGEL MARTÍN FOR THE MANY DEVOTION THAT HE HAD. YEAR OF 2001 (Cf. catalogues EL FRACASO DE ADÁN [THE FAILURE OF ADÁN]. Edition of the Caja de Canarias Cultural Center, CICCA, Las Palmas de Gran Canaria, 2002; TIMETE DEVM, Abguss-Sammlung Antiker Plastik, Berlin, 2003. Edition of the City Council of La Laguna, cover photo.
MIGUEL ÁNGEL MARTÍN IN ABGUSS-SAMMLUNG ANTIKER PLASTIIK. BERLIN.
By Dr. Klaus Stemmer Museum director
[…] “M. Á. Martin represents a very characteristic aspect in the broad spectrum of modern art in his country. His work, which at first glance stands in stark contrast to antiquity in its neo-baroque appearance, is nonetheless of special interest for a visitor to the cast collection ─also a child of the Baroque since it was founded in 1695─ beyond the stimulating sensual experience: In a similar way to how the Greek ideal sculpture was created as a cult and votive statue in a religious background, it reflects in a very knowledgeable, often and probably especially in Catholic Spain provocative, but always witty way the almost mystical experience of physical pain and religious rapture in traditional Spanish plastic. The ecstatic and mannerist sculptures of the Counter-Reformation are questioned and explored by Martín for their propaganda statement. The crude hyperrealism of the baroque sculpture is recognized in its surreal effect and translated into a modern language of surface configuration by means of cracks and scars and reinterpreted for the present”.
[Text for exhibition TIMETE DEVM, Abguss-Sammlung Antiker Plastik, Berlin, February 28 - April 20, 2003].
MIGUEL ÁNGEL MARTÍN IN THE SIEGBURG CITY MUSEUM
By Dr. Gert Fischer Museum director
[…] "Martín's presentation "Kyrie Eleison" finds its place in the "Forum" of the museum. From here, the visitor's gaze falls on different levels of the museum and parts of the permanent exhibition become visible. The part of the permanent collection that is dedicated to the most important sacred building in Siegburg, the abbey on Michaelsberg, extends in the immediate vicinity. Here, in large format, the precious book paintings that brought about by the medieval heyday of the monastery are shown. The eye also falls on a cast of the "Siegburger Madonna", which is considered to be the most important small Romanesque sculpture in the Rhineland. On the other side of the "forum" there are medieval basement rooms - preserved on the spot - in their original place - and on them the theme of the second significant and sacred historical construction of the city is developed: the Servatius Church. From above, six Gothic gargoyles from the church choir look down on the exhibition space, and a Gothic tracery window has been recreated in your neighbourhood. Finally, through the shed glazing of the forum, the view falls outside, on the steeple of the Servatius Church.
It is in this environment where the sculptures by Miguel Ángel Martín can be found again. At first glance, they are all continuations of the sacred leitmotif that dominates the environment of the "forum". Romanesque, Gothic and next to the -apparent- neo-renaissance; and also next to that: the -apparent- neo-baroque by Miguel Ángel Martín. Is it a logical addition, a continuation of past epochs in art history that does not correspond to the zeitgeist? The answer is no. Of course, the sculptor - this is clearly recognizable - has deliberately dealt with the sacred sculpture of the early modern era; works with its formal language, even cites it. But what he takes on, he breaks simultaneously. He does this not only visually, superficially, so to speak, by dismantling, hollowing out, occasionally recomposing new figures; he also does it in a figurative sense. His exhibition is not only to be seen as a contribution to the sculpture of contemporary art, it is also an intellectual historical examination of the content of the iconography of the past. Sometimes with irony, but sometimes with bitterness, he gives answers to questions that only at first glance belong to a bygone era. In reality it is about the present. Just as the art of the Middle Ages - correctly questioned - makes a contribution to contemporary art, the questions of meaning that have haunted past generations are not out-dated today. They just have to be set differently. Miguel Ángel Martín does it. And his works find an ideal place in the forum of the municipal museum".
[Text for exhibition KYRIE ELEISON, Municipal Museum, Siegburg (Germany). July 31 - September 4, 2003].](https://images.saatchiart.com/saatchi/985024/art/8043408/additional_b565f33846d9854ee7a2044291e72fb4cf93e5c1-AICC2-22.jpg)
VIEW IN MY ROOM
"Floreció la vara de Jesé" Sculpture
Spain
Sculpture, Ceramic on Ceramic
Size: 22 W x 61.4 H x 12.6 D in
Ships in a Crate
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About The Artwork
"Floreció la vara de Jesé” [Jesse's rod flourished], terracotta, wood and metals. The title of this 2001 work goes back to the miracle of the flowering of the rod thanks to which Joseph prevailed over the other younger suitors of the Virgin Mary. According to the French historian Louis Réau "it is an evident copy of the account of the appointment of Aaron as high priest, which is in the Pentateuch (Numbers, 17)". The bust was modeled in fired clay. The detail of the right arm and forearm that appears to be mobile and held with a window hatchet is inspired by an image of Mary in polychrome carving for dressing in the Cathedral of La Laguna. The thumb screws are visible on both heads as a reminder that they wore goldsmith crowns. The bust is attached to a wooden bell-shaped structure that in the language of Spanish polychrome sculpture is known as a "candelero" or "rueca". The uncovered head looks like it is ready to receive a wig. These mechanisms, hidden from the eyes of the faithful, are interpreted in sculptural language. In the modeling of the bust, wood carving was imitated using gouges and textures of fabrics in a state of deterioration were reproduced in allusion to a past of splendor. On the back there is an inscription in the old Castilian sense that reads as follows: HÍZOLA MIGUEL ÁNGEL MARTÍN FOR THE MANY DEVOTION THAT HE HAD. YEAR OF 2001 (Cf. catalogues EL FRACASO DE ADÁN [THE FAILURE OF ADÁN]. Edition of the Caja de Canarias Cultural Center, CICCA, Las Palmas de Gran Canaria, 2002; TIMETE DEVM, Abguss-Sammlung Antiker Plastik, Berlin, 2003. Edition of the City Council of La Laguna, cover photo.
Details & Dimensions
Sculpture:Ceramic on Ceramic
Original:One-of-a-kind Artwork
Size:22 W x 61.4 H x 12.6 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships in a Crate
Shipping & Returns
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a wooden crate for additional protection of heavy or oversized artworks. Crated works are subject to an $80 care and handling fee. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:Spain.
Customs:Shipments from Spain may experience delays due to country's regulations for exporting valuable artworks.
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Contemporary Spanish sculptor, born on the Canarian Island La Palma (1959). As a sculptor he focuses on a critical review of Spanish sacred art. After exhibiting in Canarian institutions such as Círculo de Bellas Artes ("O vos omnes qvi transitis per viam", 1989), CajaCanarias ("Divino Maniquí", 1991), Municipal Museum of Santa Cruz de Tenerife ("Kyrie Eleison") and CICCA de Las Palmas de Gran Canaria ("El fracaso de Adán” [The Failure of Adam], 2002), his interest in locating his sculptures in places that might suggest an enriching dialogue from the iconographic point of view leads him to exhibit them in places as diverse as the Collection Museum of reproductions of ancient art at the Free University of Berlin, where his exhibition "Timete Deum" confronts the Greek models of Christian iconography; at the Siegburg Municipal Museum, specializing in medieval sacred art, his exhibition "Kyrie Eleison" (2003) is exhibited at the foot of Mount St. Michael, and at the Lübeck Cathedral, a former Catholic cathedral, now Protestant, the exhibition "Skulpturen im Dom”, composed of sculptures of counter-reformist roots, acquires special significance. Finally there is “EENS” (2005) in the Casa de las Conchas in Salamanca (in front of the Clergy), which is part of the commemoration of the bicentennial of its Plaza Mayor. He is interested in the iconography of Christian art, its roots in the East and the West, its sociocultural influence, as well as its political instrumentalization in the conquest and colonization of the Canary Islands. He dedicated his thesis, articles and his doctoral thesis to this. He studied outstanding images of the island of La Palma, from which he is a native, which later led him to study foreign sculptors such as Lorenzo Mercadante from Brittany, with a work attributed to La Palma. He has published two books: "Miguel, el Arcángel de Dios en Canarias: Aspectos socio-culturales y artísticos" [Miguel, the Archangel of God in the Canary Islands: Socio-cultural and artistic aspects]. Foreword by Víctor Nieto Alcaide. Ed. Aula de Cultura del Excmo. Cabildo Insular de Tenerife, Scientific Publications, in the colección Arte e Historia [Art and History collection], nº 19, Santa Cruz de Tenerife, 1991. "El imaginero Lorenzo Mercadante. Estudio de la obra y claves de su huella en la Virgen de las Nieves de la isla canaria de La Palma" [Imagineer Lorenzo Mercadante.
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