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Spanish cedar that was used for the most difficult part of the sculptures which were the hands. After obtaining the materials Pedro used a technique that is known throughout the artistic world which is hollowing the section of wood. Roldan with smaller pieces of the wood would work on the feet. When she was done carving the feet she worked on the face. Luisa Roldán created the face and beard in a unique way by carving from a block of wood a mask that will eventually be joined with the back of the head. Finally, she added details, such as leaves and other patterns, to the base of the sculpture. The sculpture was then given to the painter, Tomás de los Arcos.
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708:. However, in the eighteenth century it was discovered that more than ninety names of women were active artists that contributed to the art in Spain and Portugal. There were many other women artists that were being discovered at the time Roldán published her artwork. This created tension and controversy with the idea that Roldán being one of the best known Spanish women artists. On the other hand, she paved the way for new innovational art that focused on terracotta imagery and sculptures.
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from 1686 to 1688. She established her own workshop, together with her husband and her brother-in-law, Tomás de los Arcos, to create religious polychromed wooden sculptures. Roldán was the principal sculptor, while her husband helped with his expertise in flesh painting and gilding. He was also
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Luisa Roldán influenced several women artists in
Seville, Cadiz and Madrid through her sculptures and artistic innovation. Women artists were seen as belonging to a "private" sphere and men to a "public" sphere. When Roldan created her sculptures she made her work public and changed the way art
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Roldán's works are strongly characterized as possessing "clearly delineated profiles, thick locks of hair, billowing draperies, and mystical faces with delicate eyes, knitting brows, rosy cheeks, and slightly parted lips." The "knitted brows" that are sometimes noted in her terracotta angels are not
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stable, yet light in weight by utilizing materials from different places in the world. They had to carefully choose materials that would help the stability of the statue. For example: they used the
Mediterranean cypress which is a wood that came from through the Mediterranean. Then there is the
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Roldán had seven children, two of whom survived to adulthood. Of the five who died, the cause of death in two cases was malnutrition. During her time working for
Charles II, Roldán, her husband, and their children all suffered from hunger owing to a general shortage of food during the country's
278:("Penitent"), but, following Charles's death, this remained in the artist's workshop. Her husband tried to have the sculpture sent to Rome through the recommendation of influential contacts, but it proved not to be to the liking of the intended recipient.
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Roldán's style of art was created through her point of view of the world, her access to resources and the materials she used to cultivate her detailed sculptures. She used three different types of wood to create certain sculptures, like the
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Also working within the workshop was Luis
Antonio de los Arcos, who Roldán married when she was 19. The marriage was against her father's wishes. Santiago Montoto, writing in 1920, went so far as to characterize it as an "abduction"
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She was a prolific sculptor. Much of her work comprised religious sculptures for churches. For example, the sculptures of the holy saints, Archangel Saint
Michael and Mary Magdalene. While living in Madrid she also made small
166:. She is the earliest woman sculptor documented in Spain. Roldán is recognized in the Hispanic Society Museum for being "one of the few women artists to have maintained a studio outside the convents in Golden Age Spain".
188:, she struggled financially. Like many artists of her time she died poor, signing a declaration of poverty shortly before her death. On the day of her death, Roldan was given the title of "Academician Merit" from the
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and his wife Teresa de Ortega. She was taught by her father, alongside her siblings, how to draw, utilize clay to shape figures and finally sculpt or carve in wood. She became an apprentice in her father's workshop.
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for help. The queen responded by sending money, but it proved insufficient. Luisa's husband, Tomás de Arcos hoped to improve matters by applying for a position at court, but was unsuccessful.
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Her arrival there can be dated some time before 28 February 1688, when her daughter María
Bernarda was baptized in the parish church of San Bernardo, Madrid. Catherine Hall van den Elsen.
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wood, 165 cm. The date was confirmed by a document found in its interior during a restoration by J.M. Sánchez Peña in 1984. The head, arms, hands and torso to hip height were made in
217:"), perhaps reflecting his lack of understanding of marriage customs of the period. The chosen partnerships of two of her sisters and one brother also met with parental disapproval.
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was perceived in the 1600s. She is a female artist that is known as the
Spanish sculptor that created her own name. Through her artwork, she was able to earn a royal title as "
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Khandekar, Narayan; Schilling, Michael (2001). "A Technical
Examination of a Seventeenth-Century Polychrome Sculpture of St. Gines de la Jara by Luisa Roldan".
359:. The smaller works could be used for personal devotion and took the forms of religious scenes, human forms and animals. Her pieces were widely distributed in
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appeared in several
Catholic Churches and appealed to many people from different social classes. In Cadiz, works by her include statues of
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Bassett, Jane (2011). ""Process and
Collaboration in a Seventeenth-Century Polychrome Sculpture: Luisa Roldán and Tomás de Los Arcos"".
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Liana, De Girolami Cheney (2005). "Luisa Ignacia Roldán 'La Roldana': New Attributions to the First Sculptress of Spain, 1652–1706".
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Although her dates of birth and death were established some years ago, many websites and publications still contain incorrect dates.
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Roldán's husband did play a part in marketing her work and extending her reputation. Charles II commissioned a sculpture titled of
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Casey, Gardonio-Foat (2010). "Daughters of Seville: Workshops and Women Artists in Early Modern Andalucía".
876:"Gendered Representations of the Militant Church Ana Caro's and Luisa Roldan's Rhetoric of War and Religion"
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Taggard, Mindy Nancarrow (1998). "Luisa Roldán's 'Jesus of Nazareth': The Artist as Spiritual Medium".
858:. Translated by Jennings & A. E. Suffield, Nicola. Madrid: Coll & Cortés. pp. 4–22, 42–48.
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Lenaghan, Patrick (1 January 2020). "Luisa Roldán's Virgin of Solitude (Virgen De La Soledad)".
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Luisa Ignacia Roldán "La Roldana": New Attributions to the First Sculptress of Spain, 1652–1706
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usually seen in her works in wood, which are characterized by open, evenly arched brows. Her
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She tried to improve her financial situation by appealing to Charles II's second wife, Queen
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Bray, Xavier; Lenaghan, Patrick; Luis Romero Torres, Jose; Fontoira, Helene (2016).
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Estrella, Felipe Serrano (2013). "State gift or strategy? La Roldana's Nazareno".
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The following are among her most noted works that remain in Spanish churches:
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statues whose creation can be safely attributed to her include statues of the
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Birth date is based on baptismal certificate. Catherine Hall van den Elsen.
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Exhibition: La Roldana's Saint Ginés: The Making of a Polychrome Sculpture
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as "Sculptor to the King". Roldán created a terracotta piece called the
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Roldán and her father, Pedro were able to make their sculptures, the
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1294:. Vol. 2. London: Fitzroy Dearborn. pp. 1192–1195.
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Luisa Roldan (1650–1704) Artwork Images, Exhibitions, Reviews
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154:(8 September 1652 – 10 January 1706), known also as
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She created wooden sculptures as well as statues for the
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Biography of Luisa Roldán from the J. Paul Getty Museum
704:". Roldán was able to illustrate her own entray called
375:), New York, London, Ontario, Los Angeles and Chicago.
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Life Stories of Women Artists, 1550–1800: An Anthology
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in Cádiz was destroyed by fire at the outbreak of the
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Carved wooden figures of San Servando and San Germán,
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considered her as important a sculptor as her father,
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Luisa I. Roldán, La Roldana: Breve Reseña Biográfica
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Other notable works are in collections and museums:
260:, to which she was admitted at the end of her life.
1243:. ResearchGate: Coll & Cortés. pp. 20–41.
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Lives of the Eminent Spanish Painters and Sculptors
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1241:Luisa Roldán: Court Sculptor to the Kings of Spain
1229:, patrimoniohistoricoclm.es. Retrieved 2010-04-30.
856:Luisa Roldán: Court Sculptor to the Kings of Spain
229:, which means specialist in painting flesh tones.
1054:(4th ed.). New York: Abbeville. p. 51.
1001:2007. Junta de Andalucía, Consejería de Cultura.
728:2007. Junta de Andalucía, Consejería de Cultura.
240:, and in 1692 was later awarded the position of "
519:), Iglesia de las Hermanas Nazarenas, Sisante
8:
1128:– via The University of Chicago Press.
832:: CS1 maint: multiple names: authors list (
1310:Fuerza e Intimismo: Luisa Roldan, escultora
236:and the town council. In 1688 she moved to
147:, 1688, Iglesia de la Victoria, Puerto Real
1364:Oxford Bibliographies Online: Luisa Roldán
600:La Virgen niña con San Joaquín y Santa Ana
281:Roldán died in poverty in Madrid in 1706.
184:, or Court Sculptor, to the Habsburg King
20:
1345:. Los Angeles: Getty Publications, 2021.
1106:Bulletin of the Detroit Institute of Arts
244:" or "Sculptor to the Chamber", serving
424:, Iglesia de San Antonio de Padua, Cádiz
1220:Cámara de las Maravillas de Guadalajara
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1323:Hall-van den Elsen, Catherine (2021).
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1052:Women Artists: An Illustrated History
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969:, Getty Museum. Retrieved 2010-04-30.
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1201:, 2007. Junta de Andalucía. p. 174.
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169:Because of the quality of her work,
428:Our Lady of Sorrows of the Remedies
73:Parish Church of San Andrés, Madrid
1239:Lenaghan, Patrick (January 2016).
572:Death or Ecstasy of Mary Magdalene
553:St. Michael Overwhelming the Demon
311:, made around 1692, is now at the
294:St. Michael Overwhelming the Demon
204:, Spain, the daughter of sculptor
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632:The Virgin Appears to Saint James
1018:Liana De Girolami Cheney (2005)
458:, Cádiz Cathedral. 1684. Carved
1341:Catherine, Hall-Van den Elsen.
812:. Routledge. pp. 196–198.
412:, Iglesia de San Antonio, Cádiz
1430:17th-century Spanish sculptors
1308:Hall-van den Elsen, Catherine
567:Museum of Fine Arts of Seville
418:, Iglesia de Santa Cruz, Cádiz
1:
1022:Mediterranean Studies 14: 150
874:García-Martín, Elena (2012).
466:, and the rest including the
256:, and donated it to the
220:Afterwards, Roldán worked in
1187:: 148–168 – via JSTOR.
1087:"Cádiz Cofrade - Imaginería"
387:María Santísima del Silencio
16:Spanish sculptor (1652–1706)
1292:Dictionary of Women Artists
787:Hispanic Society of America
688:Saint Joseph with the Child
659:The Education of the Virgin
608:Los primeros pasos de Jesús
580:Hispanic Society of America
576:Marriage of Saint Catherine
447:), Iglesia de la Victoria,
180:Although Roldán became the
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1445:17th-century women artists
1327:. London: Lund Humphries.
1275:: 21–27 – via JSTOR.
999:Roldana, Andalucía Barroca
726:Roldana, Andalucía Barroca
653:Metropolitan Museum of Art
635:Victoria and Albert Museum
532:Metropolitan Museum of Art
1435:Spanish Baroque sculptors
1290:Gaze, Delia, ed. (1997).
1199:Roldana Andalucía Barroca
1050:Heller, Nancy G. (2002).
808:Dabbs, Julia, K. (2009).
596:and the Virgin as a Child
557:Royal Collections Gallery
383:Most Holy Mary of Silence
298:Royal Collections Gallery
649:The Entombment of Christ
610:), Museum of Fine Arts,
528:The Entombment of Christ
432:Dolorosa de los Remedios
363:, as well as in Madrid,
1460:Female Catholic artists
1450:Spanish women sculptors
1197:Antonio Torrejón Díaz:
981:Studies in Conservation
355:works popular with the
331:. Her sculpture of the
1312:, 2018, Madrid, CSIC.
934:10.1086/grj.3.23005385
922:Getty Research Journal
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422:Saint John the Baptist
416:Saint Anthony of Padua
345:Servandus and Cermanus
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130:Saint Ginés de la Jara
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1181:Mediterranean Studies
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495:Fregenal de la Sierra
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258:Accademia di San Luca
190:Accademia di San Luca
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1091:www.cadizcofrade.net
677:St. Ginés de la Jara
618:Royal Ontario Museum
504:Las Palmas Cathedral
487:Christ of the Pardon
445:Virgen de la Soledad
436:Jerez de la Frontera
333:Virgen de la Soledad
321:Virgen de la Soledad
308:St. Ginés de la Jara
152:Luisa Ignacia Roldán
134:J. Paul Getty Museum
1425:People from Seville
1384:World Wide Arts bio
1269:Woman's Art Journal
1141:Woman's Art Journal
892:10.1086/EMW23617532
702:escultora de camara
242:escultora de camara
200:Roldán was born in
119:Museum of Fine Arts
1455:Catholic sculptors
1225:2010-10-02 at the
965:2013-03-13 at the
944:– via JSTOR.
880:Early Modern Women
789:. 25 November 2015
760:2016-10-18 at the
612:Guadalajara, Spain
604:Jesus' First Steps
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441:Virgin of Solitude
373:Province of Cuenca
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254:Virgen con el Nino
234:Cathedral of Cadiz
182:Escultor de Cámara
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145:Virgin of Solitude
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1351:978-1-60606-732-1
1318:978-84-00-10377-4
1250:978-0-9935643-0-7
1218:Fernando Aguado,
1207:978-84-8266-717-1
1061:978-0-789-20768-5
1037:Sculpture Journal
1007:978-84-8266-717-1
734:978-84-8266-717-1
543:Spanish Civil War
491:Cristo del Perdón
357:petty bourgeoisie
264:economic crisis.
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1420:1706 deaths
1415:1652 births
1147:(1): 9–15.
987:(1): 23–34.
783:"Sculpture"
655:, New York.
460:polychromed
449:Puerto Real
285:Major works
164:Baroque Era
78:Nationality
1409:Categories
1392:La Roldana
1301:1884964214
886:: 69–100.
793:8 December
745:Gaze 1997.
353:terracotta
269:Maria Anna
248:and later
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545:in 1936.
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103:Sculpture
88:Education
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663:LACMA
464:cedar
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329:Jesus
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