Philip II in Armour | |
---|---|
Artist | Titian |
Year | c. 1551 |
Medium | oil on canvas |
Dimensions | 193 cm× 111 cm(76 in× 44 in) |
Location | Museo del Prado, Madrid |
Philip II in Armour is a portrait of Philip II of Spain by Titian, painted in 1551 when they were both in Augsburg. It is held at the Museo del Prado, in Madrid. [1]
The painting presents plenty of symbols of royal majesty, such as the column, the table covered with a velvet mantle and, above all, the superb armour of Prince Philip, the future king of Spain. Just as he had done a couple of years before with the portrait of his father, Equestrian Portrait of Charles V (1548), Titian succeeded in stylising the figure of the prince.
In May 1551, Philip sent a replica or second copy of the portrait to his aunt Mary of Hungary, which is no longer extant. According to a letter from Philip himself, he was not entirely satisfied with the portrait: while he liked the image of majesty projected, he was not fully convinced by the depiction of his face, considering that it had been painted too quickly. This shows that Philip was not yet familiar with the Venetian style of painting practised by Titian. However, the original in the Prado is now considered to be of the highest quality and to have a remarkable degree of resolution in the armour, that the prince's objections would rather refer to the replica painted for his aunt, surely with a more hurried brushstroke than the original currently known. [2]
Since 1600, the portrait appears in the inventories made in the Royal Alcázar of Madrid, where it was copied by Peter Paul Rubens, in 1628. It was moved to the Prado, in 1827.
An old copy of this portrait is preserved in the palace of La Quinta (Cudillero), in Asturias; some sources attribute it to Rubens, since it is known that the Flemish painter copied several paintings by Titian from the Spanish royal collections. [3]
Diego Rodríguez de Silva y Velázquez, was a Spanish painter, the leading artist in the court of King Philip IV of Spain and Portugal, and of the Spanish Golden Age.
Tiziano Vecellio, Latinized as Titianus, hence known in English as Titian, was an Italian Renaissance painter, the most important artist of Renaissance Venetian painting. He was born in Pieve di Cadore, near Belluno. During his lifetime he was often called da Cadore, 'from Cadore', taken from his native region.
The Museo del Prado, officially known as Museo Nacional del Prado, is the main Spanish national art museum, located in central Madrid. It houses collections of European art, dating from the 12th century to the early 20th century, based on the former Spanish royal collection, and the single best collection of Spanish art. Founded as a museum of paintings and sculpture in 1819, it also contains important collections of other types of works. The numerous works by Francisco Goya, the single most extensively represented artist, as well as by Hieronymus Bosch, El Greco, Peter Paul Rubens, Titian, and Diego Velázquez, are some of the highlights of the collection. Velázquez and his keen eye and sensibility were also responsible for bringing much of the museum's fine collection of Italian masters to Spain, now one of the largest outside of Italy.
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, António Mouro, Anthony More, etc., but signed most of his portraits as Anthonis Mor.
Alonso Sánchez Coello was an Iberian portrait painter of the Spanish and Portuguese Renaissance. He is mainly known for his portrait paintings executed in a style which combines the objectivity of the Flemish tradition with the sensuality of Venetian painting. He was court painter to Philip II.
Juan Pantoja de La Cruz was a Spanish painter, one of the best representatives of the Spanish school of court painters. He worked for Philip II and Philip III. The Museo del Prado contains examples of his severe portraiture style.
Juan Bautista Martínez del Mazo was a Spanish Baroque portrait and landscape painter, the most distinguished of the followers of his father-in-law Velázquez, whose style he imitated more closely than did any other artist. A fine painter himself, Mazo was a master of landscape, as proven by his most celebrated work View of Saragossa.
Gaspar de Guzmán, Count-Duke of Olivares, on Horseback is an oil on canvas painting by Spanish painter Diego Velázquez, made around the year 1636. It has been in the Museo del Prado in Madrid since its inauguration in 1819.
Sir Peter Paul Rubens was a Flemish artist and diplomat. He is considered the most influential artist of the Flemish Baroque tradition. Rubens' highly charged compositions reference erudite aspects of classical and Christian history. His unique and immensely popular Baroque style emphasised movement, colour, and sensuality, which followed the immediate, dramatic artistic style promoted in the Counter-Reformation. Rubens was a painter producing altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects. He was also a prolific designer of cartoons for the Flemish tapestry workshops and of frontispieces for the publishers in Antwerp.
A composition of Venus and Adonis by the Venetian Renaissance artist Titian has been painted a number of times, by Titian himself, by his studio assistants and by others. In all there are some thirty versions that may date from the 16th century, the nudity of Venus undoubtedly accounting for this popularity. It is unclear which of the surviving versions, if any, is the original or prime version, and a matter of debate how much involvement Titian himself had with surviving versions. There is a precise date for only one version, that in the Prado in Madrid, which is documented in correspondence between Titian and Philip II of Spain in 1554. However, this appears to be a later repetition of a composition first painted a considerable time earlier, possibly as early as the 1520s.
The Portrait of Isabella of Portugal is an oil-on-canvas portrait of Isabella of Portugal, Holy Roman Empress by Titian dating to 1548. It was part of the Spanish royal collection and is now in the Museo del Prado, in Madrid.
The Fall of Man is a painting of the Fall of Man or story of Adam and Eve by the Venetian artist Titian, dating to around 1550 and now in the Prado in Madrid. It is influenced by Raphael's fresco of the same subject in the Stanza della Signatura in the Vatican, which also had a seated Adam and standing Eve, as well as Albrecht Dürer's engraving Adam and Eve for smaller details. Owned at one point by Philip II of Spain's secretary, Antonio Pérez, and perhaps first commissioned by his father, in 1585 it entered the Spanish royal collection, where it was copied by Rubens between 1628 and 1629 for his own version of the subject.
The Adoration of the Magi is a very large oil painting by the Flemish Baroque painter Peter Paul Rubens. He first painted it in 1609 and later gave it a major reworking between 1628 and 1629 during his second trip to Spain. It is now in the Museo del Prado in Madrid.
Peeter Symons or Peeter Simons was a Flemish painter only known for his collaboration with Rubens in 1636 on the commission from the Spanish king Philip IV of Spain to create a series of mythological paintings to decorate the Torre de la Parada, a hunting lodge of the king near Madrid.
Perseus and Andromeda is a painting by the Italian Renaissance artist Titian, now in the Wallace Collection in London. It was painted in 1554–1556 as part of a series of mythological paintings called "poesie" ("poetry") intended for King Philip II of Spain. The paintings took subjects from the Roman poet Ovid's Metamorphoses, in this case Book IV, lines 663–752, and all featured female nudes.
Ixion is a 1632 oil painting, signed and dated by Jusepe de Ribera. It shows a scene from Classical mythology, of Ixion being tortured as the eternal punishment meted out by Zeus. It is one of a series of four paintings by Ribera of the four "Furies" or "Condemned" from Greek mythology. It is held by the Museo del Prado in Madrid, along with Ribera's painting of Tityos; the other two, of Sisyphus and Tantalus, are lost.
The Spanish royal collection of art was almost entirely built up by the monarchs of the Habsburg family who ruled Spain from 1516 to 1700, and then the Bourbons. They included a number of kings with a serious interest in the arts, who were patrons of a series of major artists: Charles V and Philip II were patrons of Titian, Philip IV appointed Velázquez as court painter, and Goya had a similar role at the court of Charles IV.
Salome, also known as Salome with the Head of John the Baptist, is an oil painting by the Venetian painter Titian, made in about 1550, and currently in the collection of the Museo del Prado in Madrid. It is not to be confused with other compositions of Salome and Judith by Titian.
Portrait of John Frederick I, Elector of Saxony is an oil on canvas painting by the Venetian painter Titian, made in late 1550 or early 1551. The painting is in the collection of the Kunsthistorisches Museum, in Vienna.
Portrait of Charles V or Portrait of a Man Wearing the Order of the Golden Fleece is an oil on canvas painting by Titian, from c. 1549. It is held now in the Museo di Capodimonte, in Naples.