DOI Page / Citation link:
https://doi.org/10.11588/diglit.68073#0283
SPANISH PAINTING
Spanish Painting developed slowly although there were schools
in all the provinces. Even in the Fourteenth Century little
I was known about Spanish Art in other countries. Stamina, who
spent nine years in Spain (having taken refuge from his part
in civil disturbances in Florence), painting pictures in the Escurial
for John of Castile, had much to tell when he returned to Florence in
1387 and introduced Spanish costumes into the frescoes he made in
the Carmine.
Other Italian painters followed Stamina and Italian ideas dominated
Spanish Art until the Emperor Charles V became King of Spain.
Charles, although heir of Maximilian and of the Holy Roman Empire,
was also a direct descendant of the Dukes of Burgundy, the great-
grandson of Charles the Bold. Charles V was born in Ghent and spent
his first sixteen years in the Netherlands, brought up by his aunt,
Margaret of Austria. Charles’s devotion to his birthplace is well-
known; and his pun that he could put the whole of Paris into his
Gant (glove), shows how far superior he considered Ghent to Paris.
Charles took with him to Spain a vast horde of artists and artisans
from the Low Countries; and he also imported the punctilious and
traditional etiquette of the old Burgundian Court, which, absorbed into
Spain, eventually became known as “Spanish etiquette.”
Spanish artists were profoundly affected with Flemish technique
and realism. The leading early Spanish painters are Bartolome
Vermejo, active in the late Fifteenth Century, a native of Cordova
in Andalusia, who combined Flemish and Arabian ideas with native
traditions; Pedro Berruguete (active 1483-1504); Luis de Vargas
(1502-1568); and Luis de Morales (1509?-! 586).
Then again an important foreigner arrived—Antonio Moro (or Mor),
who, after serving Cardinal Granvella, was sent by Mary of Hungary
to Madrid, where he became Court-Painter to the House of Hapsburg.
257
Spanish Painting developed slowly although there were schools
in all the provinces. Even in the Fourteenth Century little
I was known about Spanish Art in other countries. Stamina, who
spent nine years in Spain (having taken refuge from his part
in civil disturbances in Florence), painting pictures in the Escurial
for John of Castile, had much to tell when he returned to Florence in
1387 and introduced Spanish costumes into the frescoes he made in
the Carmine.
Other Italian painters followed Stamina and Italian ideas dominated
Spanish Art until the Emperor Charles V became King of Spain.
Charles, although heir of Maximilian and of the Holy Roman Empire,
was also a direct descendant of the Dukes of Burgundy, the great-
grandson of Charles the Bold. Charles V was born in Ghent and spent
his first sixteen years in the Netherlands, brought up by his aunt,
Margaret of Austria. Charles’s devotion to his birthplace is well-
known; and his pun that he could put the whole of Paris into his
Gant (glove), shows how far superior he considered Ghent to Paris.
Charles took with him to Spain a vast horde of artists and artisans
from the Low Countries; and he also imported the punctilious and
traditional etiquette of the old Burgundian Court, which, absorbed into
Spain, eventually became known as “Spanish etiquette.”
Spanish artists were profoundly affected with Flemish technique
and realism. The leading early Spanish painters are Bartolome
Vermejo, active in the late Fifteenth Century, a native of Cordova
in Andalusia, who combined Flemish and Arabian ideas with native
traditions; Pedro Berruguete (active 1483-1504); Luis de Vargas
(1502-1568); and Luis de Morales (1509?-! 586).
Then again an important foreigner arrived—Antonio Moro (or Mor),
who, after serving Cardinal Granvella, was sent by Mary of Hungary
to Madrid, where he became Court-Painter to the House of Hapsburg.
257