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The Spanish Renaissance was a movement in Spain, emerging from the Italian Renaissance in Italy during the 14th century, that spread to Spain during the 15th and 16th centuries. [1]
This new focus in art, literature, quotes and science inspired by the Greco-Roman tradition of Classical antiquity, received a major impulse from several events in 1492:
The beginning of the Renaissance in Spain is closely linked to the historical-political life of the monarchy of the Catholic Monarchs. Its figures are the first to leave the medieval approaches that secured a feudal scheme of weak monarch over a powerful and restless nobility. The Catholic Monarchs unite the forces of the incipient state and ally with the principal families of the nobility to maintain their power. One of these families, the Mendoza, use the new style like distinction of its clan and, by extension, of the protection of the monarchy.
Little by little, the novel esthetic was introduced into the rest of the court and the clergy, mixing with purely Iberian styles, like the Nasrid art of the dying kingdom of Granada, the exalted and personal Gothic Castilian queen, and the Flemish tendencies in the official painting of the court and the Church. The assimilation of elements gave way to a personal interpretation of the orthodox Renaissance, which came to be called Plateresque. Therefore, secondary artists were brought in from Italy, apprentices were sent to the Italian shops, they brought designs, architectural plans, books and engravings, paintings, etc., of which portraits, themes and composition were copied.
King Charles I was more predisposed to the new art, paradoxically called the old way, remitted to the Classical antiquity. His direct patronage achieved some of the most beautiful works of the special and unique Spanish Renaissance style: the patronage of Almazan de Covarrubias, his commissions for Titian, who never agreed to relocate to Spain. Painters of great quality were, far from the courtier nucleus, Pedro Berruguete, Juan de Juanes, Paolo da San Leocadio, of whom the delicate Virgin of the Caballero de Montesa is highlighted, Yáñez de la Almazan and Gerardo de los Llanos.
The painting of the Spanish Renaissance is normally completed in oil. It realizes interiors perfectly subject to the laws of perspective, without over-emphasis of the people. The figures are all of the same size and anatomically correct.
The colors and the shading are applied in tonal ranges, according to the Italian teachings. To accentuate the Italian style, in addition, it is common to add elements directly copied from it, like the adornments a candelieri (borders of vegetables and cupids that surround the frames), or Roman ruins in the countrysides, including in scenes of the life of Christ.
The Spanish Golden Age was a period coinciding with the political rise of the Spanish Empire under the Catholic Monarchs of Spain and the Spanish Habsburgs when literature and the arts flourished in Spain. During this time, the greatest patron of Spanish art and culture was King Philip II (1556–1598), but the period is also more broadly associated with the reigns of Isabella I, Ferdinand II, Charles V, Philip II, Philip III, and Philip IV, when Spain was at the peak of its power and influence in Europe and the world.
Spanish art has been an important contributor to Western art and Spain has produced many famous and influential artists including Velázquez, Goya and Picasso. Spanish art was particularly influenced by France and Italy during the Baroque and Neoclassical periods, but Spanish art has often had very distinctive characteristics, partly explained by the Moorish heritage in Spain, and through the political and cultural climate in Spain during the Counter-Reformation and the subsequent eclipse of Spanish power under the Bourbon dynasty.
Sigüenza is a city in the Serranía de Guadalajara comarca, Province of Guadalajara, Castile-La Mancha, Spain.
Spanish Renaissance architecture was that style of Renaissance architecture in the last decades of the 15th century. Renaissance evolved firstly in Florence and then Rome and other parts of the Italian Peninsula as the result of Renaissance humanism and a revived interest in Classical architecture. In Spain, the Renaissance began to be grafted to Gothic forms as mathematicians and engineers rediscovered building as one of the technological sciences. In the time of King Felipe II (1556–1589), the Renaissance influence expanded throughout the territory thanks to the dissemination of architectural treatises.
The Real Academia de Bellas Artes de San Fernando, located on the Calle de Alcalá in the centre of Madrid, currently functions as a museum and gallery. A public law corporation, it is integrated together with other Spanish royal academies in the Instituto de España.
The National Museum of Sculpture is a museum in Valladolid, Spain, belonging to the Spanish Ministry of Culture. The museum has an extensive sculptural collection ranging from the Middle Ages to the 19th century. The collections come mostly from churches and monasteries in the Region of Castile, whose pieces of religious art were confiscated by the State in 1836, by order of Minister of Finance Mendizábal. Other parts of the collections come from particular donations, deposits or acquisitions by the State.
The Granadan school of sculpture or Granadine school of sculpture—the tradition of Christian religious sculpture in Granada, Andalusia, Spain—began in the 16th century and constituted a clear tradition of its own by the 17th century. The extraordinary artistic activity of Renaissance Granada brought artists to that city from various regions of Spain and from other parts of Europe.
Felipe Bigarny, also known as Felipe Vigarny, Felipe Biguerny or Felipe de Borgoña, etc. and sometimes referred to as El Borgoñón, was a sculptor born in Burgundy (France) but who made his career in Spain and was one of the leading sculptors of the Spanish Renaissance. He was also an architect.
Purism is an initial phase of Renaissance architecture in Spain, which took place between 1530 and 1560, after Isabelline Gothic and prior to the Herrerian architecture in the last third of the 16th century. The name "Prince Philip" refers to the period in which Philip II of Spain had not yet received the inheritance of the Spanish Monarchy by abdication of his father, the Emperor Charles V (1556). The name "Serlian" is due to the influential architect and treatise Sebastiano Serlio.
The Museu de Belles Arts de València is an art gallery in Valencia, Spain, founded in 1913. It houses some 2,000 works, most dating from the 14th–17th centuries, including a Self portrait of Diego Velázquez, a St. John the Baptist by El Greco, Goya's Playing Children, Gonzalo Pérez's Altarpiece of Sts. Ursula, Martin and Antony and a Madonna with Writing Child and Bishop by the Italian Renaissance master Pinturicchio. It houses a large series of engravings by Giovan Battista Piranesi.
The Parnaso Español: colección de poesías escogidas de los más célebres poetas castellanos, or simply Parnaso Español, is an anthology edited by Juan José López de Sedano. It was published in nine volumes, between 1768 and 1778. The first five volumes were printed by Joaquín Ibarra by request of Antonio de Sancha, who printed the remaining volumes in his newly inaugurated press.
The Hospital de Tavera, also known as the Hospital de San Juan Bautista, Hospital de afuera, or simply as Hospital Tavera, is an important building of Renaissance architecture located is in the Spanish city of Toledo. It was built between 1541 and 1603 by order of the Cardinal Tavera. This hospital is dedicated to John the Baptist and also served as pantheon for its patron, Cardinal Tavera. Initially it began to be constructed under the supervision of Alonso de Covarrubias, being succeeded by other architects, with Bartolomé Bustamante finishing the work.