Joan Gasco (c1470 - c1529). Juan Gascó, also known as Joan Gascó, Joan Gascon and Joan Navarro, was a painter from the kingdom of Navarra who was active in Catalonia during the 16th century. There is no exact news of the date of his birth, which occurred in the city of Tafalla. His stay in Tudela and his possible friendship with Pedro Díaz de Oviedo are known, without documentary references, only for stylistic similarity has he been attributed the possibility that he worked alongside that master and even helped in the painting of the main altarpiece of the cathedral from Tudela. José Gudiol Ricart was one of the historians who tried to attribute this collaboration to Gascó before his transfer to Catalonia. It is documented in the early sixteenth century established in Vich, where he set up a painting workshop, dedicated especially to the production of altarpieces. In this workshop he was later helped by his eldest son Perot who accompanied his father in his work in the Vallés, and it already appears together with him, in a notarial deed from 1523 of the parish of Llissá de Munt as magister painters, civitatis Vicensis. The rest of his male children, in a total of four, were added to the paternal workshop, news obtained by the partition, declared by his father in his will, which must be made in equal parts of les mostres de paper et tot el arreu del offici equibus partibus »among his four sons Pere, Francesc, Sebastià, legitimate sons and a natural son also named Francesc. At the time of making a will, these were to be the surviving sons along with three daughters and his wife Joana whom he declares heirs. His death occurred in this same city of Vich in the year 1529, between March 18, the date he issued his will, and November 8, when his daughter appointed a procurator to collect the paternal inheritance that corresponded to her. It can be seen in the works carried out by this author, some differences between his early style of Gothic-Germanic filiation of great lavishness and warm tones - present in the altarpiece of San Juan de Fábregues by Rupit and Pruït, to the evolution later more italianizing and closer to the Renaissance with softer and more elegant forms, from the altarpiece of Sant Pedro de Vilamajor or the tabla de Santa Bárbara, preserved in the Episcopal Museum of Vich. This fact has already been observed and described by José Gudiol: especially in ornamentation as it was incorporating the new motifs of the Renaissance». Likewise, it is known that in his workshop oil was used, with which he achieved degrading chromatic hues. They also used engravings by Alberto Dürer and Martin Schongauer for iconography. In the last decade of Juan Gascó's life, the weight of the workshop work fell on his son Perot Gascó and he dedicated himself to supervising and contracting these works.