Ortoneda, Pasqual

Chronological framework


Geographical Framework

Tarragona, Zaragoza, Huesca, Monzón, Barbastro


Painting on wood (Tempera)

Profile and historiographical debate

Traditionally, Pascual Ortoneda, who was documented in Aragon from 1423 to 1460, has been identified as his brother Mateo Ortoneda, to whom Pasqual gave a representational power in 1421. Nevertheless, there is a certain chronological distance between them since Mateo Ortoneda lived and worked between c. 1377 and 1433. On the other hand, the common stylistic features shared by their works have led most of the scholars to the conclusion that there might be a relation between both painters. It is unclear the fact they were brothers while Pascual was most probably Mateo’s nephew. All the evidence points to the fact that Pascual was probably trained in Mateo’s workshop, which was placed in Tarragona, before establishing in Huesca, where he is documented in 1423.

Besides some other works, Pascual probably made the twill of the Virgin and Child for Huesca’s Cathedral. Then, he moved to Zaragoza, where he lived from 1433 and was hired for making some of his best works (vid. Infra) as the paintings in the sculpted altarpiece of Tarazona, which was sculpted by Pere Joan (1437). Dalmau de Mur, who came from Tarragona and was archbishop of Zaragoza between 1431 and 1456, probably committed the altarpiece of Tarazona. Dalmau de Mur might have known artists as Pascual Ortoneda and Pere Joan in Tarragona. After Dalmau’s death, Pascual Ortoneda moved to Monzon and later to Barbastro.

His catalogue raisonné includes the only documented and preserved work that could be undoubtedly attributed to the painter: the panel from the altarpiece depicting the Virgin, St. Blas and St. Anthony Abbot from Embid de la Ribera (MNAC, inv. n. 065783-000). Most scholars have associated this work with the abovementioned twill from Huesca. Francesc Ruiz Quesada identified Pascual Ortoneda’s contribution in the scene of the Dormition of the Virgin (RUIZ QUESADA 2014). On the other hand, most scholars identify Pascual Ortoneda as the Master of Secuita, whose catalogue raisonné includes the altarpiece of Secuita and the painted table of St. Margaret. Nevertheless, J. Gudiol insisted in differentiating both masters. Recently, Francesc Ruiz Quesada has attributed to Pascual Ortoneda the altarpiece of Vilafranca del Penedès on the basis of Post’s ideas.


Preserved and documented works

  • Panel from the altarpiece of the Virgin, St. Blas and St. Anthony Abbot, from Embid de la Ribera (Zaragoza), MNAC inv. n. 065783-000; it was commissioned (1437) by Martín de Alpartil, prior of the Cathedral of Zaragoza and private chamber of Benedicto XIII.

Documented and not preserved works

  • Work commissioned by Bartomeu Domingo? In 1428 the painter, who lived in Huesca, stated he had received 25 golden florins of Barcelona from Bartomeu Domingo (vid. infra) (LACARRA 1987, p. 23).
  • Altarpiece for the chapel of Santa María del del Pilar of Zaragoza (1435), which was commissioned by Antón de Pertusa and the archdeacon Biendicho Saliellas, who were both will executors of María de Aranda.
  • Altarpiece of the Cathedral Tarazona (1437-1441), which was commissioned by Juan de Mur, who was lord of Alfajarín and Osera. Pascual Ortoneda collaborated with Pere Joan and Antoni Dalmau. The central panel of the altarpiece by Pere Joan is still preserved.
  • Altarpiece from Villanueva de Gállego? (c. 1440)? This work has been attributed to Pascual Ortoneda not with any doubts. The painter Juan Alinz was hired for making this work in 1437 even if he possibly did not finish it. In 1440 Pascual Ortoneda paid 10 florins from the total amount of 30 florins he owed to the painter Jaume Romeu since this last painter had helped him finishing 12 stories for the altarpiece.  
  • Altarpiece of Nuestra Señora de los Ángeles from the church of Paniza (1441), which was commissioned by the notary Johan Exquierdo, as well as a painted Calvary on a curtain that was donated by the citizens of the village in order to protect the altarpiece.  
  • Altarpiece of Alberite de San Juan (1442).
  • Coffin of Gracia de Alcalá (1443).
  • Doors and bench of the Triptych of Pentecost, which was made by Pere Joan for the chapel of the Casa de la Ciudad de Zaragoza, and commissioned by Gonzalvo de la Cavallería.
  • Unknown work for Pedro Ximénez, who was lord of Bárboles (1443).
  • Altarpiece for the Council of Bierge (1460).

 Attributed works

  • Twill from the Cathedral of Huesca, which was commissioned by the canon Juan de Alguinyero.
  • Altarpiece of the Mare de Déu de la Secuita (Museu Diocesà de Tarragona, inv. n. 0854).
  • Panel from an altarpiece depicting St. Margaret of Antioquia (Museu Diocesà de Tarragona, inv. n. 867).
  • Altarpiece of the Virgin (Museu de Vilafranca del Penedès).
  • Contribution in the scene of the Dormition of the Virgin (private collection). 



  • Bartomeu Domingo, shopkeeper and citizen of Zaragoza? (vid. supra, Documented and preserved works).
  • Antón de Pertusa and the archdeacon Biendicho Saliellas, executors of the will of María de Aranda.
  • Juan de Mur, lord of Alfajarín and Osera.
  • Notary Johan Exquierdo.
  • Will executors of Gracia de Alcalá.
  • Gonzalvo de la Cavallería.
  • Pedro Ximénez, lord of Bárboles.
  • Council of Bierge.
  • Canon Juan de Alguinyero.

Documentary Sources

  • Documented between 1423 (or 1421, vid. profile and historiographical debate) and 1460, as it is shown by bibliography (vid. infra).
  • The painter is documented as “Pascual Ortoneda, pintor”, and sometimes as: “Pascual Ortelano, pintor” (1435); “pascual Dortoneda pintor” (1442); “Pascual Dortoneda pintor” (1443).

Text: Montse Barniol


CAPDEVILA 1935: 111; POST 1935: 602-605; POST 1938: 750-751; BALAGUER SÁNCHEZ 1951: 169; GUDIOL RICART 1971: 75; LACARRA DUCAY 1981: 149-160; GUDIOL-ALCOLEA 1986: 108; MAIRAL DOMÍNGUEZ 1987: 534-545; LACARRA DUCAY 1987: 19-28; ALCOY PEDRÓS 1993: 32-47; LACARRA DUCAY 1993: 86-87; ALCOY PEDRÓS 1998: 32-47; LACARRA DUCAY 1998: 155-173; MATA DE LA CRUZ 2005: 158-161; RUIZ QUESADA 2005: 149-151; MACÍAS, FAVÀ,CORNUDELLA  2011: 115-117; RUIZ QUESADA 2014.