Cristóvão Lopes

Last updated
Portrait of Queen Catherine (kneeling) by Cristovao Lopes. National Museum of Ancient Art. CristLopes2.jpg
Portrait of Queen Catherine (kneeling) by Cristóvão Lopes. National Museum of Ancient Art.

Cristóvão Lopes (c.15161594) was a Portuguese painter.


Cristóvão Lopes was the son and disciple of royal painter Gregório Lopes, who died in 1550. Cristóvão succeeded his father as the royal painter of King John III in 1551. Since no works are known by him before the death of his father, it is assumed that up to this time Cristóvão worked in his father's workshop.

Few paintings are certainly by his hand, since he did not sign his works. Cristóvão Lopes' painting style suggest that he may have worked with Dutch portrait painter Antonis Mor (also known as Antonio Moro) who had come to Portugal in the 1550s to paint the royal family.

Cristóvão Lopes is the painter of an altarpiece for the Convent of Madre de Deus in Lisbon, in the high choir of the church, which carry portraits of the royal couple, John III and his wife Catherine of Austria (or Habsburg). Other royal portraits attributed to him are now on display in the National Museum of Ancient Art, in Lisbon. He is also the painter of an allegory of Mercy for the Misericórdia Church in Sesimbra.

Anthology of major works

Since Lopes did not sign his works, many of these paintings are only attributed to him (or to his workshop). Many were copies of the works of others, such as of Antonis Mor.

Related Research Articles

Antonis Mor painter from the Northern Netherlands

Sir Anthonis Mor, also known as Anthonis Mor van Dashorst and Antonio Moro, was a Netherlandish portrait painter, much in demand by the courts of Europe. He has also been referred to as Antoon, Anthonius, Anthonis or Mor van Dashorst, and as Antonio Moro, Anthony More, etc., but signed most of his portraits as Anthonis Mor.

Vila Franca do Campo Municipality in Azores, Portugal

Vila Franca do Campo is a town and municipality in the southern part of the island of São Miguel in the Portuguese Autonomous Region of the Azores. The population of the municipality was 11,229 in 2011, in an area of 77.97 km². The town proper, which incorporates the urbanized parishes São Miguel and São Pedro, has 4100 inhabitants.

Paderne (Albufeira) Civil parish in Algarve, Portugal

Paderne is a civil parish in the municipality (concelho) of Albufeira, in the Portuguese subregion of the Algarve. The population in 2011 was 3,304, in an area of 52.56 km².

Gregório Lopes Portuguese artist

Gregório Lopes was one of the most important Renaissance painters from Portugal.

Jorge Afonso Portuguese Renaissance painter

Jorge Afonso was an important Portuguese Renaissance painter.

Josefa de Óbidos Portuguese artist

Josefa de Óbidos was a Spanish-born Portuguese painter. Her birth name was Josefa de Ayala Figueira, but she signed her work as, "Josefa em Óbidos" or, "Josefa de Ayalla". All of her work was executed in Portugal, her father's native country, where she lived from the age of four. Approximately 150 works of art have been attributed to Josefa de Óbidos, making her one of the most prolific Baroque artists in Portugal.

Cristóvão de Figueiredo was a Portuguese Renaissance painter.

Garcia Fernandes was a Portuguese Renaissance painter. Like many of painters of the time, Garcia Fernandes was a pupil in the Lisbon workshop of Jorge Afonso, who was the court painter of King Manuel I.

The year 1551 in art involved some significant events and new works.

Gilded woodcarving in Portugal

Gilded woodcarving in Portugal is, along with tile, one of the country's most original and rich artistic expressions. It is usually used in the interior decoration of churches and cathedrals and of noble halls in palaces and large public buildings. An impressive collection of altarpieces are found in Portuguese churches. Originating in the Gothic era, Portuguese gilded woodcarving assumed a nationalist character during the 17th century and reached its height in the reign of King D. João V. In the 19th century it lost its originality and began to disappear with the end of the revival era.

Francisco de Holanda Portuguese artist

Francisco de Holanda was a Portuguese court painter, architect, and sculptor for King João III of Portugal, and later for Sebastian of Portugal. He is considered to be one of the most important figures of the Portuguese Renaissance. Francisco was also an essayist, architect and historian. He represented the intelligible reality of the Holy Trinity through a "hypothetical" syntax of geometrical figures. He insisted on the contrast between the ideal plane, the incorporeal form and the "imperfect copy in the terrestrial zone". His visual language demonstrated a mixture of Neoplatonism, Christian Kabbalah and finally Lullism. In education, Francisco de Holanda emphasized mathematics and geometry, subsequently anticipating Clavius's reforms of the late 16th century. Sylvie Deswarte said that "Francisco de Holanda gives a privileged place to cosmography and astrology in the education of the painter. On par with geometry, mathematics and perspective, he recommended them [...] in order to reach the heavens in the hope of one day arriving to the Empyrean and realizing celestial works."

Penha de França Civil parish in Lisboa, Portugal

Penha de França is a freguesia and district of Lisbon, the capital of Portugal. Located in the historic center of Lisbon, Penha de França is east of São Vicente, south of Arroios and Areeiro, and west of Beato. The population in 2011 was 27,967,

Albufeira Municipality in Algarve, Portugal

Albufeira is a city, seat and municipality in the district of Faro, in the southernmost Portuguese region of the Algarve. The municipality population in 2011 was 40,828, in an area of 140.66 square kilometres. The city proper had a population of 13,646 in 2001. It is 250 kilometres (160 mi) from Lisbon, and is within close proximity of Paderne Castle. Lagos is located 30 kilometres (19 mi) to the west, and Faro 45 kilometres (28 mi) to the south-east. A tourist destination, Albufeira expands to approximately 300,000 residents during the summer and during the Christmas and New Year celebrations, owing to the number of hotels and lodgings in the district, that includes marina facilities, golf courses, restaurants and bars for the annual flood of visitors.

National Museum of the Azulejo museum in Lisbon

The Museu Nacional do Azulejo, occasionally known in English as the National Tile Museum, is an art museum in Lisbon, Portugal dedicated to the azulejo, traditional tilework of Portugal and the former Portuguese Empire, as well as of other Iberophone cultures. Housed in the former Madre de Deus Convent, the museum's collection is one of the largest of ceramics in the world.

Portuguese Renaissance

The Portuguese Renaissance refers to the cultural and artistic movement in Portugal during the 15th and 16th centuries. Though the movement coincided with the Spanish and Italian Renaissances, the Portuguese Renaissance was largely separate from other European Renaissances and instead was incredibly important in opening Europe to the unknown and bringing a more worldly view to those European Renaissances, as at the time the Portuguese Empire spanned the globe.

Cristóvão de Morais was a 16th-century Portuguese court painter for the kings John III of Portugal and Sebastian I of Portugal. He painted numerous portraits for the kings, queens, and princes of Portugal.

Convent of Caloura

The Convent of Caloura is a Portuguese 16th-century convent located in the civil parish of Água de Pau, in the municipality of Lagoa, on the island of São Miguel in the archipelago of the Azores.


  1. Annemarie Jordan, Retrato de Corte em Portugal. O Legado de António Moro (1552-1572) (Lisbon: Quetzal Editores, 1994), pp. 137, 158.
  2. Joaquim Oliveira Caetano, Pintura. Colecção de Pintura da Misericórdia de Lisboa, Século XVI ao Século XX (Lisbon: Museu de São Roque, 1998), vol. 1, pp. 24-25.
  3. Jordan, pp. 138, 160.
  4. Caetano, Pintura, vol. 1, pp. 26-27.
  5. Jordan, pp. 139, 158.
  6. Jordan, pp. 140, 160.
  7. Jordan, pp. 147, 158.
  8. Jordan, pp. 148, 160.