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Although mostly active in Italy, particularly in Naples, José de Ribera (1591–1652) considered himself Spanish, and his style is sometimes used as an example of the extremes of Counter-Reformation Spanish art. His work was very influential (largely through the circulation of his drawing and prints throughout Europe) and developed significantly through his career. |
Being the gateway to the New World, Seville became the cultural centre of Spain in the 16th Century, and attracted artists from across Europe, drawn by lure of commissions for the growing empire, and for the numerous religious houses of the wealthy city. Starting from a strongly Flemish tradition of detailed and smooth brushwork, as revealed in the works of Francisco Pacheco (1564–1642), over time a more naturalistic approach developed, with the influence of Juan de Roelas (c. 1560–1624) and Francisco Herrera the Elder (1590–1654). This more naturalistic approach, influenced by Caravaggio, became predominant in Seville, and formed the training background of three Golden Age masters: Cano, Zurbarán and Velázquez. |
Francisco de Zurbarán (1598–1664) is known for the forceful, realistic use of chiaroscuro in his religious paintings and still lifes. Although seen as limited in his development, and struggling to handle complex scenes. Zurbarán's great ability to evoke religious feelings made him very successful in receiving commissions in conservative Counter-Reformation Seville. |
Sharing the same painting master – Francisco Pacheco – as Velázquez, Alonso Cano (16601–1667) was also active in sculpture and architecture. His style moved from the naturalism of his early period, to a more delicate, idealistic approach, revealing Venetian and van Dyck influences. |
Velázquez |
Diego Velázquez (1599–1660) was the leading artist in the court of King Philip IV. In addition to numerous renditions of scenes of historical and cultural significance, he created scores of portraits of the Spanish royal family, other notable European figures, and commoners. In many portraits, Velázquez gave a dignified quality to less fortunate members of society like beggars and dwarfs. In contrast to these portraits, the gods and goddesses of Velázquez tend to be portrayed as common people, without divine characteristics. Besides the forty portraits of Philip by Velázquez, he painted portraits of other members of the royal family, including princes, infantas (princesses), and queens. |
Later Baroque |
Later Baroque elements were introduced as a foreign influence, through visits to Spain by Rubens, and the circulation of artists and patrons between Spain and the Spanish possessions of Naples and the Spanish Netherlands. Significant Spanish painters taking up the new style were Juan Carreño de Miranda (1614–1685), Francisco Rizi (1614–1685) and Francisco de Herrera the Younger (1627–1685), son of Francisco de Herrera the Elder an initiator of the naturalist emphasis of the Seville School. Other notable Baroque painters were Claudio Coello (1642–1693), Antonio de Pereda (1611–1678), Mateo Cerezo (1637–1666) and Juan de Valdés Leal (1622–1690). |
The pre-eminent painter of the period – and most famous Spanish painter prior to the 19th century appreciation of Velázquez, Zurbarán and El Greco – was Bartolomé Esteban Murillo (1617–1682). Working for most of his career in Seville, his early work reflected the naturalism of Caravaggio, using a subdued, brown palette, simple but not harsh lighting, and religious themes that are portrayed in a natural or domestic setting, as in his Holy Family with a Little Bird (c. 1650). Later he incorporated elements of the Flemish Baroque from Rubens and Van Dyck. In the Soult Immaculate Conception, a brighter and more radiant colour range is used, the swirling cherubs bringing all the focus upon the Virgin, whose heavenward gaze and diffuse and warmly glowing halo make it an effective devotional image, an important component of his output; the Immaculate Conception of the Virgin theme alone was represented about twenty times by Murillo. |
18th century |
The beginning of the Bourbon dynasty in Spain under Philip V led to great changes in art patronage, with the new French-oriented court favoring the styles and artists of Bourbon France. Few Spanish painters were employed by the court – a rare exception being Miguel Jacinto Meléndez (1679–1734) – and it took some time before Spanish painters adapted to the new Rococo and Neoclassical styles. Leading European painters, including Giovanni Battista Tiepolo and Anton Raphael Mengs, were active and influential. |
Restricted from royal sponsorship, many Spanish painters continued the Baroque style in religious compositions. This was true of Francisco Bayeu y Subias (1734–1795), a skilled fresco painter, and of Mariano Salvador Maella (1739–1819) who both developed in the direction of the severe Neoclassicism of Mengs. Another important avenue for Spanish artists was portraiture, which was an active sphere for Antonio González Velázquez (1723–1794), Joaquín Inza (1736–1811) and Agustín Esteve (1753–1820). But it is in the genre of the still life that royal patronage was also successfully found, in the works by artists such as the court painter Bartolomé Montalvo (1769–1846) and Luis Egidio Meléndez (1716–1780). |
Continuing in the Spanish still life tradition of Sánchez Cotán and Zurbarán, Meléndez produced a series of cabinet paintings, commissioned by the Prince of Asturias, the future King Charles IV, intended to show the full range of edible foods from Spain. Rather than being merely formal studies in Natural History, he used stark lighting, low viewpoints and severe compositions to dramatise the subjects. He showed great interest and attention to the details of reflections, textures and highlights (such the highlight on the patterned vase in Still Life with Oranges, Jars, and Boxes of Sweets) reflecting the new spirit of the age of Enlightenment. |
Goya |
Francisco Goya was a portraitist and court painter to the Spanish Crown, a chronicler of history, and, in his unofficial work, a revolutionary and a visionary. Goya painted the Spanish royal family, including Charles IV of Spain and Ferdinand VII. His themes range from merry festivals for tapestry, draft cartoons, to scenes of war, fighting and corpses. In his early stage, he painted draft cartoons as templates for tapestries and focused on scenes from everyday life with vivid colors. During his lifetime, Goya also made several series of grabados, etchings which depicted the decadence of society and the horrors of war. His most famous painting series are the Black Paintings, painted at the end of his life. This series features works that are obscure in both color and meaning, producing uneasiness and shock. |
He is considered the most important Spanish artist of late 18th and early 19th centuries and throughout his long career was a commentator and chronicler of his era. Immensely successful in his lifetime, Goya is often referred to as both the last of the Old Masters and the first of the moderns. |
19th century |
Various art movements of the 19th Century influenced Spanish artists, largely through them undertaking training in foreign capitals, particularly in Paris and Rome. In this way Neo-classicism, Romanticism, Realism and Impressionism became important strands. However, they were often delayed or transformed by local conditions, including repressive governments, and by the tragedies of the Carlist Wars. Portraits and historical subjects were popular, and the art of the past - particularly the styles and techniques of Velázquez - were significant. |
Early years were still dominated by the academicism of Vincente López (1772–1850) and then the Neoclassicism of the French painter, Jacques-Louis David, as in the works by José de Madrazo (1781–1859), the founder of an influential line of artists and gallery directors. His son, Federico de Madrazo (1781–1859), was a leading figure in Spanish Romanticism, together with Leonardo Alenza (1807–1845), Valeriano Bécquer and Antonio María Esquivel. |
The later part of the century saw a strong period of Romanticism represented in history paintings, as in the works of Antonio Gisbert (1834–1901), Eduardo Rosales (1836–1873) and Francisco Pradilla (1848–1921). In these works the techniques of Realism were frequently used with Romantic subjects. This can clearly be seen in Joan the Mad, a famed early work by Pradilla. The composition, facial expressions, and stormy sky reflect the dramatic emotion of the scene; yet the precise clothing, the texture of the mud, and other details, show great realism in the artist's attitude and style. Mariano Fortuny(1838–1874) also developed a strong Realist style, after earlier being influenced by the French Romantic Eugène Delacroix, and became Spain's famous artist of the century |
Joaquín Sorolla (1863–1923) excelled in the dexterous representation of the people and landscape under the sunlight of his native land, thus reflecting the spirit of Impressionism in many paintings, particularly his famous seaside paintings. In Children on the beach he makes the reflections, shadows and gloss of the water and skin his true subject. The composition is very daring, with the horizon omitted, one of the boys cut off, and strong diagonals leading to the contrasts and increased saturation of the upper-left of the work. |
20th century |
During the first half of 20th century many leading Spanish artists were working in Paris, where they contributed to – and sometimes led – developments in the Modernist art movement. As perhaps the most important example of this, Picasso, working together with the French artist Braque, created the concepts of Cubism; and the sub-movement of Synthetic Cubism has been judged to have found its purest expression in the paintings and collages of Madrid-born Juan Gris. In a similar way, Salvador Dalí became a central figure of the Surrealist movement in Paris; and Joan Miró was influential in abstract art. |
Picasso's Blue Period (1901–1904), which consisted of somber, blue-tinted paintings was influenced by a trip through Spain. The Museu Picasso in Barcelona features many of Picasso's early works, created while he was living in Spain, as well as the extensive collection of Jaime Sabartés, Picasso's close friend from his Barcelona days who, for many years, was Picasso's personal secretary. There are many precise and detailed figure studies done in his youth under his father's tutelage, as well as rarely seen works from his old age that clearly demonstrate Picasso's firm grounding in classical techniques. Picasso presented the most durable homage to Velázquez in 1957 when he recreated Las Meninas in his characteristically cubist form. While Picasso was worried that if he copied Velázquez's painting, it would be seen only as a copy and not as any sort of unique representation, he proceeded to do so, and the enormous work—the largest he had produced since Guernica in 1937—earned a position of relevance in the Spanish canon of art. Málaga, Picasso's birthplace, houses two museums with significant collections, the Museo Picasso Málaga and Birthplace Museum. |
Salvador Dalí was a central artist within the Surrealist movement in Paris. Although Dalí was criticized for accommodating Franco's regime, André Breton, the Surrealist leader and poet, asked him to represent Spain at the 1959 Homage to Surrealism Exhibition which celebrated the fortieth anniversary of Surrealism. In line with the Surrealist movement's objectives, Dalí stated that his artistic aim was that "the world of imagination and of concrete irrationality may be as objectively evident ... as that of the exterior world", and this goal can be seen in one of his most familiar paintings, The Persistence of Memory. Here he paints with a precise, realistic style, based on studies of Dutch and Spanish masters, but with a subject that dissolves the boundaries between organic and mechanical and is more akin to the nightmarish scenes of the Netherlandish painter Hieronymus Bosch, whose Garden of Earthly Delights provided the model for the central, sleeping figure of Dalí's work. |
Joan Miró was also closely associated with the Surrealists in Paris, who particularly approved of his use of automatism in composition and execution, designed to expose the subconscious mind. Although his later and more popular paintings are refined, whimsical and apparently effortless, his influential period in the 1920s and 1930s produced works that were provocative in their sexual symbolism and imagery, and employing rough, experimental materials, including sandpaper, unsized canvases, and collage. In mature period painting, La Leçon de Ski, his characteristic language of signs, figures and black linear forms against more textured and painterly background is evident. |
Ignacio Zuloaga and José Gutiérrez Solana were other significant painters of the first half of 20th century. |
Post WW2 |
In the post-War period, the Catalan artist Antoni Tàpies became famous for his abstract works, many of which use very thick textures and the incorporation of non-standard materials and objects. Tàpies has won several international awards for his works. |
Sculpture |
The Plateresque style extended from beginnings of the 16th century until the last third of the century and its stylistic influence pervaded the works of all great Spanish artists of the time. |
Alonso Berruguete (sculptor, painter and architect) is called the "Prince of Spanish sculpture" because of the grandeur, originality, and expressiveness achieved in his works. |
His main works were the upper stalls of the choir of the Cathedral of Toledo, the tomb of Cardinal Tavera in the same Cathedral, and the altarpiece of the Visitation in the church of Santa Úrsula in the same locality. |
Other notable sculptors were Bartolomé Ordóñez, Diego de Siloé, Juan de Juni and Damián Forment. |
Another period of Spanish Renaissance sculpture, the Baroque, encompassed the last years of the 16th century and extended into the 17th century until reaching its final flowering the 18th, developing a truly Spanish school and style, of sculpture, more realistic, intimate and independently creative than that of the previous one which was tied to European trends, especially those of the Netherlands and Italy. There were two Schools of special flair and talent: the Seville School, to which Juan Martínez Montañés belonged (called the Sevillian Fidias), whose most celebrated works are the Crucifix in the Cathedral of Seville, another in Vergara, and a Saint John; and the Granada School, to which Alonso Cano belonged, to whom an Immaculate Conception and a Virgin of Rosary, are attributed. |
Another notable Andalusian Baroque sculptors were Pedro de Mena, Pedro Roldán and his daughter Luisa Roldán, Juan de Mesa and Pedro Duque Cornejo. |
The Valladolid school of the 17th century (Gregorio Fernández, Francisco del Rincón) was succeeded in the 18th century, although with less brilliance, by the Madrid School, and it was soon transformed into a purely academic style by the middle of the century. In turn, the Andalusian school was replaced by that of Murcia, epitomised in the person of Francisco Salzillo, during the first half of the century. This last sculptor is distinguished by the originality, fluidity, and dynamic treatment of his works, even in those representations of great tragedy. More than 1,800 works are attributed to him, the most famous products of his hand being the Holy Week floats (pasos) in Murcia, most notable amongst which are those of the Agony in the Garden and the Kiss of Judas. |
In the 20th century the most important Spanish sculptors were Julio González, Pablo Gargallo, Eduardo Chillida and Pablo Serrano. |
Spanish collectors and museums of art |
The Spanish royal collection was accumulated by Spanish monarchs beginning with Isabel the Catholic, Queen of Castile (1451–1504), who accumulated large and impressive collections of objets d'art, 370 tapestries, and 350 paintings, a number by important artists including Rogier van der Weyden, Hans Memling, Hieronymus Bosch, Juan de Flandes, and Sandro Botticelli. However many of these were dispersed by auction after her death in 1504. Isabel's grandson, Charles I, the first Habsburg king of Spain, was a patron and collector of art, as was his sister, Mary of Hungary. Both admired works by Titian. When the siblings died, the art passed to Philip II of Spain, Charles's son, an even keener collector. Philip IV (1605–1665) followed in the family tradition as a passionate art collector and patron. During his reign, Velázquez, Zurbarán and others produced many works of art. Philip commissioned works and purchased others, sending his representatives to acquire works for the monarch's collection. One of Philip IV's major contributions to art in Spain was to entail his collection, preventing their sale or other dispersal. Under the Spanish Bourbon monarch, Charles IV, the notion of bringing together major works from other repositories in Spain took shape, probably not for the public to view but for artists to study. The Prado Museum in Madrid became the main repository for that art. |
The Royal Academy of Fine Arts of San Francisco, founded in 1744, now functions also as a museum in Madrid. The Museum of the Americas in Madrid has a collection of casta paintings and other art brought back to Spain from the Americas, as well as sculpture and archeological artifacts. |
Other artistic disciplines |
Architecture |
Cinematography |
Music |
References |
Further reading |
Alcolea Blanch, Santiago. The Prado. Translated from the Spanish by Richard-Lewis Rees and Angela Patricia Hall. New York: Harry N. Abrams, Inc. Publishers 1991. |
The Art of medieval Spain, A.D. 500-1200. New York: The Metropolitan Museum of Art. 1993. ISBN 0870996851. |
Berg Sobré, Judith. Behind the Altar Table: The Development of the Painted Retablo in Spain, 1350-1500. Columbia, Miss. 1989. |
Brown, Jonathan, Painting in Spain, 1500-1700 (Pelican History of Art), Yale University Press, 1998, ISBN 0300064748 |
Dodds, Jerrilynn D. (ed.) Al-Andalus: The Art of Islamic Spain. New York 1992. |
Gardner's: Art Through The Ages - International Edition, Brace Harcourt Jovanovich, 9th Edn. 1991 |
Gudiol, José, The Arts of Spain, 1964, Thames and Hudson |
Jiménez Blanco, María Dolores, ed. The Prado Guide, Madrid: Museo National del Prado, English 2nd Revised Edition, 2009 |
McDonald, Mark (2012). Renaissance to Goya : prints and drawings from Spain. London: The British Museum. ISBN 9780714126807. |
Moffitt, John F. The Arts in Spain. London: Thames & Hudson 1999.ISBN 0-500-20315-6 |
O'Neill, John P. (ed.), The Art of Medieval Spain, AD 500-1200. New York 1993. |
Palol, Pedro and Max Hirmer. Early Medieval Art in Spain. New York 1966. |
Sánchez Pérez, Alfonso E. (1992). Jusepe de Ribera, 1591-1652. The Metropolitan Museum of Art. ISBN 9780870996474. (full text resource that contains information on Ribera as well as a number of other Spanish artists) |
Tomlinson, Janis, From El Greco to Goya: Painting in Spain 1561–1828, Abrams Art History, 1997 |
Williams, John. Early Spanish Manuscript Illumination. New York 1977. |
Young, Eric. Bartolomé Bermejo: The Great Hispano-Flemish Master. London 1975. |
External links |
Media related to Art in Spain at Wikimedia Commons |
Switzerland lies at the crossroads of several major European cultures. Three of the continent's major languages, German, French and Italian, are national languages of Switzerland, along with Romansh, spoken by a small minority. Therefore, Swiss culture is characterized by diversity, which is reflected in a wide range of traditional customs. The 26 cantons also account for the large cultural diversity. |
Not withstanding the regional disparities, the Alps have played an essential role in shaping the history and culture of Switzerland. The region of the Gotthard Pass became the nucleus of the Swiss Confederacy in the early 14th century. Nowadays, all mountain areas of Switzerland have a strong skiing and mountaineering culture and are associated with folk arts such as the alphorn and yodeling. Other Swiss cultural icons include Swiss chocolate, Swiss cheese, watches, cowbells, banking, and the Swiss Army knives. |
Folk arts |
Folk art is kept alive in organizations all over the country. In Switzerland, it is mostly expressed in music, dance, poetry, wood carving and embroidery. There are also many regional and local rites demarcating times of the year. Yodeling, despite being stereotypical for Switzerland, is not widespread and is limited to only some mountain areas. The same is true for the accordion, which is sometimes called by the name Schwiizerörgeli, implying that it was a Swiss musical instrument, rather than the German Handorgel. |
The alphorn, or the alpenhorn, is a trumpet-like musical instrument made of wood. The use of the alphorn is seen mainly in mountainous regions, can be very popular in some areas, and like yodeling or the accordion, it has become an emblem of traditional Swiss music. |
The melodies of folk music vary between regions. Generally those in pastoral areas are floating and wide-ranging. In the inner and southern Alps, however, the melodies are more songlike, and of more limited range. Common and popular themes are about love and the homeland, but patriotic and pastoral themes, as well as hunting themes, are also commonplace. |
The Alpine folk culture is characterized by very expressive dances. Small musical ensembles can be found in the more mountainous areas, particularly in the French-speaking part of Switzerland. |
The most common form of woodcarving is chip carving. Such carving is normally for the decoration of everyday objects, such as milk stools, neckbands for bells, wooden spoons, or walking sticks. Figure carving is also common, particularly of Nativity figures. In some areas, the façades of houses are richly decorated using woodcarving. This is widespread in the Bernese Oberland region where Protestant Christianity predominates. In Roman Catholic regions, this is far less common. |
Embroidery is common on traditional clothing, particularly women's clothing. Embroidery is often limited to prominent points, such as cuffs, hats and scarves. Embroidery is also used for the decoration of fabric. In the past, embroidery was a home industry in the northeast and the east of Switzerland. Nowadays, embroidery is confined to tourism, as traditional clothes are no longer in use. |
On certain autumn nights, children's processions with lanterns are common in Alemannic Switzerland. Lanterns (called Rääbeliechtli "turnip light") are hand-carved from root vegetables, generally turnips, by removing the interior and putting a candle inside. The Rääbeliechtli is carved with designs such as the traditional sun, moon and stars. The lantern is then suspended by three chains. The children walk through the streets of their town with the lanterns and sing traditional songs. The custom originates with thanksgiving traditions at the end of harvest in November. This tradition is very similar to the tradition of carving turnip lanterns for halloween in Ireland, Scotland, the Isle of Man (where they call halloween Hop-tu-Naa, and have traditional songs), and parts of England and Wales. There the celebration is on 31 October to celebrate the eve of the Celtic New Year. |
Architecture |
There is a strong architectural tradition in Switzerland. The Romanesque style of the 12th century can be found in the cathedrals of Basel, Sion, Chur, Geneva, Zürich and Schaffhausen. This style, which is rich in expression, can also be found on many castles and fortresses around the country, many of which preserved in a good condition. The cathedrals of Lausanne and Bern are in the Gothic style, and the churches of Einsiedeln and St. Gallen are in the Baroque style. |
During the Renaissance, a large number of architectural masters gave their talents to Italy. Most of these came from the southern canton of Ticino. The Prisons near the Doge's Palace in Venice and the Rialto Bridge in Venice were built by Antonio da Ponte. The Bridge of Sighs in Venice was built by Antonio Contino, and Domenico Fontana (1543–1607) designed the entire Lateran Palace in Naples as well as the façade of the St. John Lateran Church and the Royal Palace in the same city. Fontana's nephew Carlo Maderno was an architect to Pope Paul V. San Carlo alle Quattro Fontane, the gallery of the Palazzo Spada and the Filippini monastery were built by Francesco Borromini, and Carlo Fontana was responsible for the façade of San Marcello al Corso and the Montecitorio Palace; Baldassare Longhena, from Maroggia, built the church of Santa Maria della Salute, the Rezzonico and the Widmann palaces; all in Venice. |
Gilardi and Oldelli families from Ticino set up architecture practices in Russia. Giovanni Giliardi built The Orphanage in Moscow, and his son Domenico Giliardi was in charge of the rebuilding Moscow public buildings, including the University, after the Great Fire of 1812. Domenico Trezzini built many places in St. Petersburg by the orders of Peter the Great; Pietro Trezzini (not related to Domenico) continued the tradition in the 1740s. |
Early in the 20th century, a new movement, called the Style Sapin, was created by the architect and painter Charles l'Eplattenier in the city of La Chaux-de-Fonds. It was a variation of Art Nouveau, and it became popularly known as the Style Sapin, or pine tree style, since l'Eplatennier insisted that the best model for art and architecture in the region was the pine tree, along with the other native plants and trees of the Jura mountains. Le Corbusier (Charles-Edouard Jeanneret), was a student of l'Eplattenier, and at the age of eighteen built his first house, a chalet with a pine tree decorative design, in La Chaux-de-Fonds. He became a major force in western modern architecture in the 20th century. |
Distinctive architecture of high quality can be found around Switzerland. It is often considered as particularly innovative modern architecture. Mario Botta is a famous architect who influenced modern architecture. The architects Jacques Herzog and Pierre de Meuron from Basel received the Pritzker Architecture Prize in 2001, in 2009 the prize was awarded to Swiss architect Peter Zumthor, and in 2021, Anne Lacaton a Professor at ETH Zurich, won the prize with her partner Jean-Philippe Vassal. |
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