Montañes......España

El mayor escultor español del 17 , conocido como 'el dios de la madera' (Dios de madera) debido a su dominio como un tallista. 

Trabajó para la mayor parte de su carrera larga y productiva en Sevilla (Pacheco a menudo pintaba sus cifras), su trabajo más famoso que es Cristo de la Clemencia (1603-06) en la catedral allí, que muestra el nuevo naturalismo que trajo a la estatua de madera policromada. En esto ocupó un papel comparable a Gregorio Fernández en Valladolid, pero Montáñez era más aristocrático en el estilo, atenuando el sentimentalismo Barroco con un sentido clásico de la dignidad.

En 1635-36 estaba en Madrid para emprender su único trabajo secular registrado, una cabeza del retrato (ahora perdido) de Philip IV para servir del modelo para la estatua ecuestre del rey ejecutado por Pietro Tacca en Florencia, y estaba en esta ocasión que Velázquez pintó su retrato famoso de Montañés (Prado, Madrid). Su trabajo influyó en pintores como Velázquez y Zurbarán así como escultores como Cano (a quien enseñó), y su estilo fue extendido por su taller 

The greatest Spanish sculptor of the 17th century, known as 'el dios de la madera' (the god of wood) on account of his mastery as a carver. He worked for most of his long and productive career in Seville (Pacheco often painted his figures), his most famous work being the Christ of Clemency (1603-06) in the cathedral there, which shows the new naturalism he brought to the polychromed wooden statue. In this he occupied a role comparable to Gregorio Fernández in Valladolid, but Montáñez was more aristocratic in style, tempering Baroque emotionalism with a classical sense of dignity.

In 1635-36 he was in Madrid to undertake his only recorded secular work, a portrait head (now lost) of Philip IV to serve as model for the equestrian statue of the king executed by Pietro Tacca in Florence, and it was on this occasion that Velázquez painted his well-known portrait of Montañés (Prado, Madrid). His work influenced painters such as Velázquez and Zurbarán as well as sculptors such as Cano (whom he taught), and his style was spread by his fluorishing workshop.