Pedro de Mena

Pedro de Mena y Medrano was born on 20 August 1628 in Granada, Andalusia. Pedro was the son of Alonso de Mena, a sculptor, and Juana de Medrano y Cabrera, from the powerful and noble House of Medrano. He was baptized on 20 August 1628 at the parish of Santiago in Granada. Under the guidance of his father, Alonso, he mastered the art of sculpture. Following his father's passing in 1646, he assumed leadership of the family workshop, which was the leading establishment of its kind in Granada at the time. == Marriage ==

In 1647, he wed Catalina de Vitoria y Urquijo, and together they had many descendants, including five who joined religious orders. == Career ==

As the leading sculptor in the Iberian Peninsula, the high demand for commissions at his workshop required the addition of another sculptor, Bernardo de Mora (1614–1684), with whom Pedro worked closely, further honing his sculptural techniques. Working alongside Cano, Pedro embraced innovative techniques, more sophisticated methods, and fresh aesthetic and formal ideas. However, he maintained his commitment to realism in facial expressions rather than fully adopting Cano’s idealized and refined artistic vision. During this time, Pedro’s output was remarkably prolific. His reputation and prominence continued to rise, not diminishing in Cano’s presence but rather flourishing. His mentor and collaborator entrusted him with a significant portion of commissions that Cano himself was unable to complete due to other obligations. This piece was ultimately completed in Málaga in 1679, as noted in the sculptor’s will. While in Madrid, he secured multiple commissions, as recorded by Palomino and Ceán. Among these, Prince Doria entrusted him with crafting a Crucifix, which received high praise, even in Italy. Statue of Saint Francis . c. 1663 Following his stay in Madrid, Pedro traveled to Toledo, where the Cathedral Chapter commissioned a statue of Saint Francis. His exceptional craftsmanship, according to Ceán, led to his appointment as the Chapter’s official sculptor on May 7, 1663. Leading sculptor in the Iberian Peninsula , Madrid, c. 1673 Following Alonso Cano’s death in 1667, Pedro remained the most prominent sculptor in the Iberian Peninsula. The high regard for his work led to his sculptures commanding higher prices than those of most of his contemporaries. From that point onward, the volume of commissions he received increased significantly, forcing him to rely more heavily on his workshop, which ultimately led to a decline in the quality of many pieces produced during this period. His entrepreneurial endeavors in 1670 extended to providing services beyond sculpture for the Cathedral Chapter of Granada. He played a key role in procuring goods that arrived at the port of Málaga, including essential materials such as wax. His strong ties with the Granada Chapter may have contributed to his being awarded the commission for the praying statues of the Catholic Monarchs in the cathedral—an opportunity that might have otherwise gone to José de Mora (1642–1724), who was already appointed Sculptor to the King and well established in his craft. The commission, valued at 3,000 ducats, was formalized on August 10, 1675, and was likely completed by January 1677, when Pedro de Mena y Medrano was documented to be in Granada. Statue of Saint John (1682) Fortunately, Pedro recovered, and in gratitude for the care he received from the hospitaller brothers of Saint John of God, he sculpted an image of the saint. This work was completed and delivered to the hospital on February 15, 1682. == Death ==

Pedro never fully regained his health, which led him to rely more heavily on his workshop. In May 1688, feeling gravely ill, he granted power of attorney to his wife to manage his estate. A few months later, on October 13, 1688, he died in Málaga, surrounded by his wife, his niece, and three enslaved individuals. His remains were interred in the Convent of the Cistercians, near the home where he had lived and died. == Works ==

Granada • San Juanito, Church of San Antón, Granada, c. 1650 • San Pedro Apóstol, Church of San Antón, Granada, 1650 • San Pablo, Church of San Antón, Granada, 1650 • Santa Ana, Church of San Matías, Granada, 1650 • San Joaquín, Church of San Matías, Granada, 1650 • San Francisco de Asís, Church of San Matías, Granada, 1650 • San Matías, Church of San Matías, Granada, 1650 • San José con el Niño Jesús, created for the Convent of the Holy Guardian Angel, Granada, 1650 • Virgen de Belén, Cathedral Museum, Granada, 1651 • San Juan Evangelista, Church of Santos Justo y Pastor, Granada, c. 1651-1675 • San Lucas, Church of Santos Justo y Pastor, Granada, c. 1651-1675 • San Marcos, Church of Santos Justo y Pastor, Granada, c. 1651-1675 • San Mateo, Church of Santos Justo y Pastor, Granada, c. 1651-1675 • San Antonio de Padua, with A. Cano, Museum of Fine Arts, Granada, c. 1653-1657 • San Diego de Alcalá, with A. Cano, Museum of Fine Arts, Granada, c. 1653-1657 • San José con el Niño, with A. Cano, Museum of Fine Arts, Granada, c. 1653-1657 • San Antonio, with A. Cano, Museum of Fine Arts, Granada, c. 1653-1657 • San Pedro de Alcántara, Museum of Fine Arts, Granada, c. 1655-1657 • Inmaculada Concepción, Parish Church, Alhendín, Granada, 1656 • Inmaculada Concepción, Archbishop Emeritus José Méndez Asensio’s Oratory in the Convent of the Servants of the Gospel, created for the Convent of the Holy Guardian Angel, Granada, 1658 • Santa Clara, Convent of the Holy Guardian Angel, Granada, 1658 • Fernando el Católico, Chapel of the Virgen de los Reyes, Cathedral, Granada, 1675 • Isabel la Católica, Chapel of the Virgen de los Reyes, Cathedral, Granada, 1675 • Retratos de los Reyes Católicos Isabel y Fernando, Main Chapel, Cathedral, Granada, 1675-1676 Málaga • Sillería de Coro, Cathedral, Málaga, 1658 • Cristo de la Buena Muerte, Church of Santo Domingo, Málaga, c. 1663-1664 (lost) • Cristo atado a la columna, Private Collection, Málaga, c. 1670-1688 • San José, Cathedral Treasury, Málaga, 1675 • Cabeza de San Juan de Dios, Provincial Museum of Fine Arts, Málaga, 1682 Madrid • Magdalena penitente, Prado Museum, Madrid, 1664 • Dolorosa, Descalzas Reales, Madrid, 1673 • Ecce Homo, Descalzas Reales, Madrid, c. 1673 • Dolorosa, Descalzas Reales, Madrid, c. 1673 • San Pedro de Alcántara, Trinitarian Convent, Madrid, 1679 • Inmaculada Concepción, Discalced Carmelites, Madrid, 1686 • San José con el Niño Jesús, Discalced Carmelites, Madrid, 1686 • La Virgen adorando al Niño, Private Collection, Madrid, 1684 Córdoba • San Francisco Solano, Parish Church of Santiago, Montilla (Córdoba), 1647 • San José con el Niño Jesús, Cathedral, Córdoba, c. 1651 • San Pedro de Alcántara, Church of San Francisco, Córdoba, 1673 • Inmaculada Concepción, Cathedral, Córdoba, 1679 • Santa Ana, Cathedral, Córdoba, 1679 • San Joaquín, Cathedral, Córdoba, 1679 • San José con el Niño Jesús, Cathedral, Córdoba, 1680 Valladolid , Valladolid. • San Pedro de Alcántara, National Sculpture Museum, Valladolid, c. 1663 • Ecce Homo, Diocesan and Cathedral Museum, Valladolid, 1673-1679 • Dolorosa, Diocesan and Cathedral Museum, Valladolid, 1673-1679 • Dolorosa, National Sculpture Museum, Valladolid, c. 1680 (attrib.) • Inmaculada Concepción, Museum of the Church of San Antolín, Tordesillas, Valladolid, c. 1686 Toledo • San Francisco de Asís, Cathedral, Toledo, 1662 • Inmaculada Concepción, Convent of the Benitas, Toledo, c. 1651-1675 Zaragoza • Inmaculada Concepción, Parish Church, Longares, Zaragoza, c. 1665-1670 • Inmaculada Concepción, Parish Church of Moros, Zaragoza, 1676 Seville • San Juan Bautista, Museum of Fine Arts, Seville, 1674 Murcia • San José, Church of San Nicolás, Murcia, 1675 • Inmaculada Concepción, Parish of San Nicolás, Murcia, 1676 Ávila • Inmaculada Concepción, Museum of the Convent of San José, Ávila, c. 1670 Guadalajara • Ecce Homo, Parish Church of Budia, Guadalajara, 1674 • Dolorosa, Parish Church of Budia, Guadalajara, 1674 Salamanca • Dolorosa, Monastery of Nuestra Señora de la Asunción, Salamanca, c. 1670-1680 Cuenca • Virgen de Belén, Cathedral, Cuenca, 1683 Zamora • Dolorosa, Convent of the Conceptionist Mothers, Zamora, c. 1676-1685 • Ecce Homo, Convent of the Conceptionist Mothers, Zamora, c. 1676-1685 == Artistic development ==

Pedro’s artistic journey can be divided into distinct phases, shaped by both his creative development and life events. The first phase extends from his father’s passing in 1646 to Alonso Cano’s arrival in Granada in 1652. During this early period, he continued the realistic sculptural style inherited from his father. However, his work gradually exhibited greater fluidity and expressive intensity in the figures, along with the emergence of his signature long, taut folds in drapery. Notable examples from this stage include sculptures of Saint Anne, Saint Joachim, Saint Francis, and Saint Matthias for the Church of Saint Matthias in Granada, as well as Saint John the Baptist for the Church of Saint Anthony. The second phase of his artistic development was shaped by the strong influence of Alonso Cano. This period spans from Cano’s arrival in Granada in 1652 to Mena’s relocation to Málaga in 1658 to work on the cathedral’s choir stalls. During this time, the expressions in his sculptures became more refined, and the drapery transitioned from long, taut folds to smaller, more fragmented ones. Cano’s impact is especially evident in Mena’s interpretation of certain subjects, most notably the Inmaculada Concepción. The third phase of his career began with his move to Málaga in 1658 and continued through his time at court between 1662 and 1663. The fourth phase represents his artistic maturity, spanning from his return to Málaga around 1664 until the late 1660s. The final phase, often regarded as a period of artistic decline or mannerist tendencies, began after his serious illness in 1679 and continued until his death in 1688. Pedro predominantly worked with wood, which he skillfully carved using gouges and rasps. Legacy His sculptural legacy had a lasting impact on 18th- and 19th-century artists in Málaga and Granada, particularly José Risueño (1665–1732) and Fernando Ortiz (1717–1771), who carried forward his stylistic techniques and artistic principles. Pedro and José Mora may be regarded as artistic descendants of Juan Martínez Montañés and Alonso Cano, but in technical skill and the expression of religious motive his statues are unsurpassed in the sculpture of Spain. His skill to sculpt nude figures was remarkable. Like his immediate predecessors, he excelled in the portrayal of contemplative figures and scenes. == Bibliography ==