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Name Iberian Peninsula

Associated Records

Image of 58.23 - Mor, Antonis

58.23 - Mor, Antonis

Though portrait painting can trace its roots back to antiquity, Antonis Mor's (North Netherlandish painter, born 1512-1516, died ca. 1576) portrait of Charles shows the royal patronage to which artists attached themselves, rather than continuing to work in the guild system. Mor's success as an artist was analogous to his rise in society, and being more socially prominent than his Netherlandish contemporaries, he enjoyed patronage that allowed him access to the political world. His master, Jan van Scorel (1495-1562), had nurtured much of Mor's success, including his knowledge of classical antiquity and associations with royalty and high clergy. Rivaled in skill by Titian at the time (ca. 1488-

Image of 59.134 -

59.134 -

This elaborately dressed male figure has been identified as a papal saint. He is in the midst of offering a blessing to his viewers, as is evident in the gesture of his right hand; his left would have most likely held a crosier or staff. The papal tiara he wears evolved from a pointed round cap in the 11th century to the ornate triple-crowned headpiece in the 16th century, with variations still being used by the papacy today. Spain had great interest in the artistic styles of Northern Europe, including the continuation of some medieval themes. Visual representations of saints both in painting and sculpture continued to be popular through the early modern period. 1500-1599 AD The continuit

Image of 59.179 - Gris, Juan

59.179 - Gris, Juan

Juan Gris's use of well-defined angular outlines, of line rather than mass, and of maximum expression in his drawing, are related to the stylizations of Art Nouveau. He became aware of Art Nouveau in German magazines such as "Simplicissimus" and "Ueberbrettl," and through the popular graphic arts and posters of the French artist Henri de Toulouse-Lautrec. In 1906, a number of Gri's drawings appeared in the Spanish periodical, "Blanco y Negro." Gris's style in these works was influenced by Lautrec's treatment of form, as in the Cirque Fernando (The Equestrienne). Like Lautrec, Gris displays a detached and impersonal attitude toward his subject; both artists subscribed to the dictum "art for