The imagery in the history in the panorama of world sculpture, the imagery is often forgotten or relegated to a second term, when actually it is part of the global artistic and symbolic world of the story. The Baroque religious sculpture, for example, offers a very clear trend and general. It ignores previous accents Renacentismo, to make pure and simply human quality with pathetic accents. This is characteristic of the sensitivity of the Baroque, which flees from the classical forms of human invention, and is thrilled with the flaming shapes and visions of death, misery, heroism and glory. The transition from death to glory is represented by blood-stained scenes of martyrdom. Never became a sculpture that is directed at promoting and evoke the feeling of so direct mode.
Valladolid and Sevilla were their two large pockets, though it is typical of all Spain, which then felt a fervent emotion to exultant external manifestations of religiousness. In Seville there are for example, the most important artisans still today. In really, it is not difficult to find Carver Seville workshops. Holds the Summit of Seville religious sculpture of the 17TH century a great sculptor who was friend of Velazquez, Juan Martinez Montanes, born in 1568 in Alcala la Real (Jaen), but formed in Seville. Between their crucifixes which gave the Archdeacon Vazquez de Leca in 1614 to the Cartuja de las Cuevas, is famous and which is today stored in the sacristy of the calyxes of the Cathedral; Another very important image of yours is the Nazarene, carrying the cross, the Lord’s passion. But Montanes was another type of works in carving, as the altarpiece of Santiponce, and between their images of the Virgin Mary, stands out his conception of the Seville Cathedral. Disciple of Montanes in sculpture and painting of Pacheco, master and father-in-law of Velazquez, was the Granada and multifaceted Alonso Cano: architect, sculptor and painter.