Juan Bautista Vázquez the Younger

Juan Bautista Vázquez the Younger (Spanish: Juan Bautista Vázquez el Mozo) was a Spanish sculptor, active in the late 16th century and early 17th century, son of Juan Bautista Vázquez the Elder, and a member of the Sevillian school of sculpture.

Vázquez the Younger followed in his father's profession, inheriting his style and clientele. Together with Isidro de Villoldo, his father initiated the style identified as the Sevillian school of sculpture. He learned his art in his father's studio and with such sculptors as Jerónimo Hernández, with whom it appears he worked as an oficial (a person who would be left in charge of operations in the master's absence), and with others who also followed his father's style.

He worked in Seville between 1578 and 1600, and had died by 1610. He married in 1579 to Lucía de Chaves, sister of his stepmother Isabel de Valdés (his father's third wide). It is quite unlikely that he would have been the same person as the Bautista Vázquez who was a notable sculptor before 1590 in the province of León. Artistically, he was not particularly known for individual personality nor originality. His work is overshadowed by his father's, and blends into the prevailing mannerism of his time. The documents from which we know of his artistic production always reflect partnerships or transfers of assignments to other artists, perhaps with greater artistic merits but with less reputation. If the critical attributions of his work are accurate, his style represented a transition into the Baroque, but lacking the aplomb and plasticity shown by his father, his work lacks the classical serenity that linked his father's work to the Renaissance in a manner directly opposed to the tempestuous style of Alonso Berruguete.

According to the known documents, in 1585 he contracted, together with Jerónimo Hernández, to produce an altarpiece for the parish church of Santa María in Arcos de la Frontera (province of Cádiz), taking charge of the side of the epistle. In 1588 he contracted the collaboration of Diego López Bueno in the carving and architectural adornment; in 1590 he passed the remaining work on to Miguel de Adán. Based on stylistic resemblance to the work of his father, all that is believed to be by his own hand are the reliefs of the evangelists Saint Luke and Mark, and the base of the altarpiece. It is unlikely that he executed the relief of the Visitation, which Adán claimed to have carved.

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