Od svih djela Master Mateo, The disappeared façade at the end of the Camino (1211) je najpoznatije; nalazi se u muzeju The Catedral de Santiago Foundation, Santiago de Compostela. Samo iza njih slijede Base of the mullion of the Portico of Glory (1188) i Trinity of the Portico of Glory (1188). Od 44 djela umjetnika Master Mateo u našem katalogu, ovih 44 najpoznatijih je, a svako je prikazano s datumom nastanka, muzejom i pričanom.
Rangirano prema našoj ocjeni popularnosti, koja objedinjuje broj pretraživanja, posjeta i narudžbi za svako djelo. Ažurirano Listopad 2026. Svaku sliku s ove stranice možete naručiti kao ručno oslikano ulje na lanenom platnu ili kao umjetničku štampu, izrađenu prema odabranoj veličini.
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 Glory is a sculptural portrait by the artist Master Mateo. This kneeling figure represents the sculptor himself, positioned at the foot…
Master Mateo and his team also worked on the construction of the choir in the first 4 sections of the cathedral
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The narthex (or antechamber) of the Portico of Glory had a western facade that served as the gable of Santiago Cathedral, as well as completing it. The facade…
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The Portico of Glory of Santiago de Compostela Cathedral is a Romanesque portico and the cathedral
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The crypt, also known as the
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In the Glory as well, beside the evangelists Saint Luke and Saint Marcus, we can find a series of angels that carry the “arma Christi”, the instruments used…
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In the delicate, monochromatic strokes of the drawing Drawing José Vega y Verdugo (1656-1657) Archivo de la Catedral, we are invited to step into a vanished era of…
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This last scene, commonly from Byzantine art, does not come from the Bible but from one of the apocryphal gospels, the Nicodemus. It is told that when Christ…
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The work to the cathedral facade between 1519 and 1521 involved its 3 doors, and it was necessary to take down the column statues and reliefs added by…
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Items made by Master Mateo in the cathedral collections include significant pieces from the great western facade that completed the Portico of Glory. This facade was first modified…
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Master Mateo and his team also worked on the construction of the choir. It was closely related to the Portico of Glory as both focus on sharing the…
Neka je naslika ručno from $178 →
In the lintels where the Portico of Glory settles can be found Master Mateo’s commemorative inscription of its placement the 1st of April of 1188. This epigraph, one…
Neka je naslika ručno from $178 →Četiri teme koje se najčešće pojavljuju na ovim platnima, svaka uz svoj najomiljeniji primjer.
2 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora Master Mateo | Slike iz ovog popisa |
|---|---|---|---|
 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 |
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…
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…
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…
The disappeared façade at the end of the Camino (1211), The Catedral de Santiago Foundation, Santiago de Compostela. Prate ih Base of the mullion of the Portico of Glory (1188) i Trinity of the Portico of Glory (1188).
Master Mateo, rođen/a 1161, imao/la je 50 godina: The disappeared façade at the end of the Camino datira iz 1211.
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 i Arma Christi, Central Arch, Portico of Glory. Svako platno u gornjem rangiranju sadrži godinu nastanka i naziv muzeja.
U našem katalogu nalazi se 44 djela umjetnika Master Mateo, datiranih od 1188 do 1211.
Većinom u The Catedral de Santiago Foundation (Santiago de Compostela) i Cathedral (Santiago de Compostela); gornji popis navodi svaki muzej i njegova platna.
U 1210s, koji obuhvaća 24 od ukupno 44 djela na ovoj stranici, među njima je i The disappeared façade at the end of the Camino.
Najstarije platno ovdje je iz Base of the mullion of the Portico of Glory (1188) godine; najnovije je iz The disappeared façade at the end of the Camino (1211) godine.
Sculpture (6), Medieval art (5) i Stone (4), kroz svih 44 djela na ovoj stranici.
Stone, korišteno u 11 od 44 djela na ovoj stranici.
Romanesque, kao što pokazuju platna na ovoj stranici.
Muzej The Catedral de Santiago Foundation, Santiago de Compostela posjeduje 40 djela s ove stranice, među kojima su i The disappeared façade at the end of the Camino, Base of the mullion of the Portico of Glory i Trinity of the Portico of Glory.
Da. Svaku sliku s ove stranice možete naručiti sa njezine vlastite stranice kao ručno oslikano ulje na platnu ili kao umjetničku štampu, u veličini koju odaberete.
Master Mateo, kipar čije ime ostaje obavijeno misterijom unatoč njegovom monumentalnom doprinosu katedrali Santiago de Compostela, stoji kao jedna od najpoštovanijih figura romaničke umjetnosti u Španjolskoj. Rođen oko 1161. godine u Galiciji, iako su detalji o njegovom životu rijetki, Mateoovo naslijeđe počiva prvenstveno na njegovom neusporedivom postignuću: Portico de la Gloria. Ovo nevjerojatno arhitektonsko čudo dominira fasadom katedrale i utjelovljuje duhovni žar dvanaestog stoljeća. Pojavio se kao kipar u razdoblju obilježenom snažnom religioznom odanošću i umjetničkim inovacijama, zakoračivši u svijet u kojem je put prema Santiagou već bio transformativno putovanje za tisuće duša.
Genesis njegovog najvećeg djela započeo je oko 1188. godine, kada mu je povjeren nadzor nad izradom trostrukog portala koji će postati njegovo opus magnum. Sam projekt katedrale osmišljen je desetljećima ranije, pod poticajem kralja Alfonsa VIII. i potaknut ogromnim religijskim značajem mjesta. U tom sakralnom kontekstu, Master Mateo nije samo rezbario kamen; on mu je odisao život. Njegov doprinos Portico de la Adamant bio je božanski poduhvat, pretvarajući strukturnu nužnost u teološku naraciju koja i danas očarava hodočasnike i povjesničare umjetnosti.
Master Mateoov kiparski stil odlikuje izniman realizam koji je predstavljao duboki odmak od ranijih, rigidnijih konvencija romaničke umjetnosti. Dok su se njegovi suvremenici često oslanjali na stilizirane, plosne figure, Master Mateo je marljivo proučavao ljudsku anatomiju i složeno ponašanje draperija, postigavši nevjerojatnu točnost u svojim prikazima. Njeglo majstorstvo u rezbarljenju vapnenca bilo je neusporedivo, osobito kroz upotrebu tehnike poznate kao trabajo vivo. Ova metoda uključivala je slojevitost kamenih ploča kako bi se stvorile teksturirane površine koje su oponašale izgled mesa i tkanine, dajući osjećaj pokreta i vitalnosti statičkom mediju.
Ovaj inovativni pristup omogućio mu je da premosti jaz između zemaljskog i božanskog. Gledajući njegovo djelo, može se vidjeti kako je vješto koristio svjetlost i sjenu kako bi naglasio dubinu svojih reljefa. Njegova sposobnost manipulacije kamenom kako bi sugerirao mekoću svetog haljina ili mišićnu napetost biblijskog lika podigla je njegovo umeće na razinu sofisticiranosti rijetko viđenu u srednjem vijeku. Ta tehnička briljantnost osigurala je da njegove figure ne budu samo simboli, već opipljiva prisutnost na samom ulazu katedrale.
The Portico de la Gloria služi kao vrhunsko svjedočanstvo umjetničke i duhovne vizije koju je imao Master Mateo. Njegovi središnji paneli prikazuju duboke scene iz Evanđelja—uključujući Roditeljstvo, Objavu i Raspeće—uređene na način koji vodi promatrača kroz sakralnu povijest. Ikonografija je golem i složena, a ističu se:
Kroz ova djela, Master Mateo je postigao razinu povijesnog značaja koja nadilazi eru njegovog rođenja. Prenio je romanički stil prema rastućoj eleganciji gotike, ostavljajući za sobom naslijeđe koje ostaje srce Santiago de Compostele. Njegovo djelo stoji kao trajni most između srednjovjekovnog uma i vječnosti, osiguravajući da čak i stoljećima nakon njegove smrti 1217. godine, slava njegove kamene simfonije i dalje budi divljenje.
