Pedro de Obregón and Toledanian miniaturism in the middle of the 17th century

Abstract

Throughout the sixteenth century the Cathedral of Toledo continued its patronage program related to commission of illuminated manuscripts for its liturgical ceremonies. The Missal Rico de Cisneros, which marked the beginning of the century under the aesthetics of the School of Ghent and Bruges, opened the way to the incorporation of the all’antica repertoires developed in the last quarter of the century, under the multiple variants of the grutesco and the new Renaissance compositions. The seventeenth century began with the latest works for the Cardinal Quiroga’s Missal, in which Juan de Salazar worked as the main illuminator, influenced by Mannerist aesthetics; although, we soon noticed a lower production of illuminated manuscripts, with large periods without works. The documentary investigation reveals the presence of the painter Pedro de Obregón, born in Madrid, as one of the last miniaturists in the service of the primated cathedral, whose work presents the main characteristics of the Baroque style, as well as a progressive decline of miniature works.