Works of Art Across a Broad Range of Media From 1900 to the Present in Spanish

History of art of Spain from Ancient Iberia to the present

Castilian art has been an important correspondent to Western fine art and Spain has produced many famous and influential artists including Velázquez, Goya and Picasso. Spanish fine art was specially influenced by France and Italian republic during the Baroque and Neoclassical periods, but Spanish art has often had very distinctive characteristics, partly explained by the Moorish heritage in Kingdom of spain (especially in Andalusia), and through the political and cultural climate in Spain during the Counter-Reformation and the subsequent eclipse of Spanish ability under the Bourbon dynasty.

The prehistoric fine art of Spain had many important periods-it was one of the main centres of European Upper Paleolithic art and the rock fine art of the Castilian Levant in the subsequent periods. In the Iron Historic period large parts of Kingdom of spain were a heart for Celtic art, and Iberian sculpture has a distinct way, partly influenced by littoral Greek settlements. Spain was conquered past the Romans by 200 BC and Rome was rather smoothly replaced past the Germanic Visigoths in the 5th century AD, who soon Christianized. The relatively few remains of Visigothic art and architecture show an attractive and distinct version of wider European trends. With the Umayyad conquest of Hispania in the eighth century there was a notable Moorish presence in fine art specially in Southern Iberia. Over the following centuries the wealthy courts of Al-Andalus produced many works of infrequent quality, culminating in the Alhambra in Granada, correct at the end of Muslim Spain.

Meanwhile, the parts of Kingdom of spain remaining Christian, or that were re-conquered, were prominent in Pre-Romanesque and Romanesque art. Belatedly Gothic Spanish art flourished under the unified monarchy in the Isabelline Gothic and Plateresque styles, and the already strong traditions in painting and sculpture began to benefit from the influence of imported Italian artists. The enormous wealth that followed the flood of American gilded saw lavish spending on the arts in Espana, much of it directed at religious art in the Counter-Reformation. Spanish control of the leading centre of North European art, Flanders, from 1483 and besides of the Kingdom of Naples from 1548, both ending in 1714, had a great influence on Spanish fine art, and the level of spending attracted artists from other areas, such as El Greco, Rubens and (from a safety distance) Titian in the Spanish Gilt Age, as well as great native painters such as Diego Velázquez, José de Ribera, Francisco de Zurbarán and Bartolomé Esteban Murillo.

Spanish Baroque architecture has survived in large quantity, and has both strains marked by exuberant extravagance, as in the Churrigueresque style, and a rather severe classicism, every bit in the piece of work of Juan de Herrera. It was more often than not the former which marked the emerging art and Spanish Colonial architecture of the Spanish Empire outside Europe, as in Latin America (New Castilian Baroque and Andean Baroque), while the Baroque Churches of the Philippines are simpler. The decline of the Habsburg monarchy brought this menstruation to an end, and Spanish fine art in the 18th and early on-19th century was generally less heady, with the huge exception of Francisco Goya. The balance of 19th-century Spanish art followed European trends, by and large at a conservative step, until the Catalan movement of Modernisme, which initially was more a course of Art Nouveau. Picasso dominates Spanish Modernism in the usual English language sense, but Juan Gris, Salvador Dalí and Joan Miró are other leading figures.

Ancient Iberia [edit]

The early on Iberians have left many remains; northern-western Spain shares with south-western France the region where the richest Upper Paleolithic art in Europe is found in the Cave of Altamira and other sites where there are cavern paintings fabricated between 35,000 and 11,000 BC.^[one] The Stone art of the Iberian Mediterranean Bowl (equally UNESCO term it) is from the eastern side of Spain, probably dating from almost 8000-3500 BC, and shows animal and hunting scenes often developed with a growing feeling for the whole composition of a big scene.^[two] Portugal in particular is rich in megalithic monuments, including the Almendres Cromlech, and Iberian schematic art is stone sculpture, petroglyphs and cave paintings from the early metal ages, plant all over the Iberian peninsula, with both geometric patterns, but besides a higher usage of simple pictogram-like human figures than is typical of comparable art from other areas.^[3] The Casco de Leiro, a late Bronze Historic period gold ritual helmet, may relate to other golden hats found in Deutschland, and the Treasure of Villena is a huge hoard of geometrically decorated vessels and jewellery, maybe from the 10th century BC, including 10 kilos of gold.

Iberian sculpture before the Roman occupation reflects the contacts with other avant-garde ancient cultures who gear up small coastal colonies, including the Greeks and Phoenicians; the Sa Caleta Phoenician Settlement on Ibiza has survived to exist excavated, where most now lie nether big towns, and the Lady of Guardamar was excavated from some other Phoenician site. The Lady of Elche (probably 4th century BC) possibly represents Tanit, but also shows Hellenistic influence, as do the 6th century Sphinx of Agost and Biche of Balazote. The Bulls of Guisando are the nearly impressive examples of verracos, which are large Celtiberian brute sculptures in stone; the 5th century BC Bull of Osuna is a more developed single example. Some decorated falcata, the distinctive curving Iberian sword, have survived, and large numbers of statuary statuettes used as votive offerings. The Romans gradually conquered all of Iberia between 218 BC and 19 AD.^[4]

As elsewhere in the Western Empire, the Roman occupation largely overwhelmed native styles; Iberia was an important agronomical area for the Romans, and the elite acquired vast estates producing wheat, olives and vino, with some later emperors coming from the Iberian provinces; many huge villas have been excavated. The Aqueduct of Segovia, Roman Walls of Lugo, Alcántara Bridge (104–106 AD), and the Tower of Hercules lighthouse are among a number of well-preserved major monuments, impressive remains of Roman engineering if not always art. Roman temples survive adequately complete at Vic, Évora (now in Portugal), and Alcántara, as well as elements in Barcelona and Córdoba. In that location must accept been local workshops producing the high-quality mosaics found, though most of the ameliorate free-standing sculpture was probably imported.^[5] The Missorium of Theodosius I is an important Belatedly Antique argent dish that was establish in Spain simply was probably made in Constantinople.

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Early Medieval [edit]

The Christianized Visigoths ruled Iberia later on the collapse of the Empire, and the rich 7th century Treasure of Guarrazar, probably deposited to avoid annexation in the Muslim Conquest of Spain, is now a unique survival of Christian votive crowns in gold; though Castilian in style, the class was probably then used past elites across Europe. Other Visigothic art in the form of metalwork, mostly jewellery and buckles, and stone reliefs, survives to give an idea of the culture of this originally barbarian Germanic people, who kept themselves very largely separate from their Iberian subjects, and whose rule crumbled when the Muslims arrived in 711.^[vii]

The jewelled crux gemmata Victory Cantankerous, La Cava Bible and the Agate Catafalque of Oviedo are survivals from the 9-tenth century of the rich Pre-Romanesque civilization of the Asturias region in north-western Spain, which remained under Christian rule; the Santa María del Naranco banqueting house overlooking Oviedo, completed in 848 and later surviving as a church, is a unique survival in Europe. The Codex Vigilanus, completed in 976 in the region of Rioja, shows a complex mixture of several styles.^[8]

Muslim and Mozarab Spain [edit]

The boggling palace-city of Medina Azahara near Córdoba was congenital in the 10th century for the Ummayad Caliphs of Córdoba, intended as the capital of Islamic Andaluz, and is nonetheless being excavated. A considerable amount of the highly sophisticated decoration of the main buildings has survived, showing the enormous wealth of this very centralized state. The palace at Aljafería is afterwards, from after Islamic Spain split into a number of kingdoms. Famous examples of Islamic architecture and its decoration are the Cathedral–Mosque of Córdoba, whose Islamic elements were added in stages between 784 and 987, and the Alhambra and Generalife palaces in Granada from the concluding periods of Muslim Spain.^[9]

The Pisa Griffin is the largest known Islamic sculpture of an fauna, and the most spectacular of a grouping of such figures from Al-Andalus, many made to concord up the basins of fountains (as at the Alhambra), or in smaller cases as perfume-burners and the similar.

The Christian population of Muslim Spain (the Mozarabs) adult a manner of Mozarabic art whose best known survivals are a serial of illuminated manuscripts, several of the commentaries on the Book of Revelation by the Asturian Saint Beatus of Liébana (c. 730 – c. 800), which gave subject matter that allowed the brightly coloured primitivist style full telescopic to demonstrate its qualities in manuscripts of the 10th century like the Morgan Beatus, probably the earliest, the Gerona Beatus (illuminated by a female person artist Ende), Escorial Beatus and the Saint-Sever Beatus, which was actually produced some distance from Muslim rule in France. Mozarabic elements, including a background of brightly coloured strips, can be seen in some later Romanesque frescos.^[x]

Hispano-Moresque ware pottery began in the south, presumably mainly for local markets, but Muslim potters were after encouraged to drift to the Valencia region, where the Christian lords marketed their luxury lustrewares to elites all over Christian Europe in the 14th and 15th centuries, including the Popes and the English courtroom. Castilian Islamic ivory carving and textiles were likewise very fine; the continuing industries producing tiles and carpets in the peninsula owe their origins largely to the Islamic kingdoms.^[11]

Later on the expulsion of the Islamic rulers during the Reconquista, considerable Muslim populations, and Christian craftsmen trained in Muslim styles, remained in Espana, and Mudéjar is the term for work in art and architecture produced by such people. The Mudéjar Architecture of Aragon is recognised equally a UNESCO World Heritage Site, and the 14th century Patio de las Doncellas congenital for Peter of Castile in the Alcázar of Seville is another outstanding example. The style could harmonize well with Christian European medieval and Renaissance styles, for instance in elaborate wood and stucco ceilings, and Mudéjar work often connected to exist produced for some centuries after an area passed to Christian dominion.^[12]

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Painting [edit]

Romanesque [edit]

In Spain, the art of the Romanesque period represented a smooth transition from the preceding Pre-Romanesque and Mozarabic styles. Many of the best surviving Romanesque church frescos that were at the time constitute all over Europe come from Catalonia with good examples in the churches of the Vall de Boí surface area; many of these were just uncovered during the 20th Century.^[13] Some of the best examples have been moved to museums, especially the Museu Nacional d'Art de Catalunya in Barcelona, which has the famous Cardinal Apse from Sant Climent in Taüll and the frescos from Sigena. The finest examples of Castillian Romanesque frescoes are considered to be those in the San Isidoro in Leon, the paintings from San Baudelio de Berlanga, at present mostly in various museums including the Metropolitan Museum of Art in New York, and those from Santa Cruz de Maderuelo in Segovia.^[fourteen] In that location are also a number of chantry frontals painted on wood and other early console paintings.

Gothic [edit]

The Gothic art of Spain represented a gradual development from previous Romanesque styles, being led past external models, first from France, and then afterwards from Italy. Some other distinctive attribute was the incorporation of Mudejar elements. Eventually the Italian influence, which transmitted Byzantine stylistic techniques and iconography, entirely displaced the initial Franco-Gothic style^[xv] Catalonia continued to be a prosperous area which has left many fine altarpieces; however the region went into decline subsequently the accent of trade moved to the Atlantic after the American colonies opened upwardly, which partly accounts for so many medieval survivals there, as there was not the money for Renaissance and Baroque renovations to churches.

Early on Renaissance [edit]

Due to important economic and political links between Espana and Flanders from the mid-15th century onwards, the early Renaissance in Spain was heavily influenced by Netherlandish painting, leading to the identification of a Hispano-Flemish school of painters. Leading exponents included Fernando Gallego, Bartolomé Bermejo, Pedro Berruguete and Juan de Flandes.

Renaissance and Mannerism [edit]

Overall the Renaissance and subsequent Mannerist styles are hard to categorise in Spain, due to the mix of Flemish and Italian influences, and regional variations.^[16]

The chief centre for Italian Renaissance influence inbound Spain was Valencia due to its proximity and shut links with Italian republic. This influence was felt via and so import of artworks, including 4 paintings by Piombo and many prints by Raphael, the arrival of the Italian Renaissance artist Paolo de San Leocadio,^[17] and too by Castilian artists who spent time working and preparation there. Such artists included Fernando Yáñez de la Almedina (1475–1540) and Fernando Llanos, who displayed Leonadesque features in their works, such as delicate, melancholic expressions, and sfumato modelling of features.^[xviii]

Elsewhere in Espana, the influence of the Italian Renaissance was less pure, with a relatively superficial apply of techniques that were combined with preceding Flemish practices and incorporated Mannerist features, due to the relatively tardily examples from Italy, once Italian art was already strongly Mannerist.^[19] Apart from technical aspects, the themes and spirit of the Renaissance were modified to the Spanish civilisation and religious environment. Consequently, very few classical subjects or female nudes were depicted, and the works frequently exhibited a sense of pious devotion and religious intensity – attributes that would remain dominant in much art of Counter Reformation Spain throughout the 17th century, and beyond. artists included Vicente Juan Masip (1475–1550) and his son Juan de Juanes (1510–1579), the painter and architect Pedro Machuca (1490–1550), and Juan Correa de Vivar (1510–1566). However, the about popular Spanish painter of the early 17th Century was Luis de Morales (1510?–1586), called by his contemporaries "The Divine", because of the religious intensity of his paintings.^[20] From the Renaissance he also often used sfumato modeling, and simple compositions, but combined them with Flemish style precision of details. His subjects included many devotional images, including the Virgin and Kid.

Golden Age [edit]

The Spanish Golden Historic period, a menses of Spanish political clout and subsequent decline, saw a great development of fine art in Spain.^[21] The flow is by and large considered to have begun at some point later on 1492 and ended by or with the Treaty of the Pyrenees in 1659, though in fine art the start is delayed until the reign of Philip 3 (1598-1621), or just before, and the finish also delayed until the 1660s or later. The way thus forms a part of the wider Baroque flow in art, although besides as considerable influence from bang-up Baroque masters such as Caravaggio and afterward Rubens, the distinctive nature of the art of the period also included influences that modified typical Baroque characteristics.^[22] These included influence from contemporary Dutch Gold Age painting and the native Spanish tradition which give much of the art of the period an interest in naturalism, and an avoidance of the grandiosity of much Baroque fine art. Important early contributors included Juan Bautista Maíno (1569–1649), who brought a new naturalistic style into Spain,^[23] Francisco Ribalta (1565–1628),^[24] and the influential yet life painter, Sánchez Cotán (1560–1627).^[25]

El Greco (1541–1614) was one of the about individualistic of the painters of the menses, developing a strongly Mannerist fashion based on his origins in the mail service Byzantine Cretan school, in contrast to the naturalist approaches then predominant in Seville, Madrid and elsewhere in Spain.^[26] Many of his works reverberate the silver-greys and stiff colours of Venetian painters such every bit Titian, but combined with foreign elongations of figures, unusual lighting, disposing of perspective space, and filling the surface with very visible and expressive brushwork.^[27]

Although mostly agile in Italy, particularly in Naples, José de Ribera (1591–1652) considered himself Castilian, and his mode is sometimes used every bit 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 adult significantly through his career.^[28]

Being the gateway to the New Globe, Seville became the cultural middle of Spain in the 16th Century, and attracted artists from across Europe, fatigued by lure of commissions for the growing empire, and for the numerous religious houses of the wealthy city.^[29] 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 than naturalistic approach developed, with the influence of Juan de Roelas (c. 1560–1624) and Francisco Herrera the Elder (1590–1654). This more than naturalistic approach, influenced past Caravaggio, became predominant in Seville, and formed the training background of three Gilded Age masters: Cano, Zurbarán and Velázquez.^[xxx]

Francisco de Zurbarán (1598–1664) is known for the forceful, realistic use of chiaroscuro in his religious paintings and nonetheless lifes. Although seen as limited in his development, and struggling to handle complex scenes. Zurbarán'southward great ability to evoke religious feelings fabricated him very successful in receiving commissions in conservative Counter-Reformation Seville.^[31]

Sharing the aforementioned painting master - Francisco Pacheco - as Velázquez, Alonso Cano (16601–1667) was also agile in sculpture and architecture. His fashion moved from the naturalism of his early catamenia, to a more frail, idealistic approach, revealing Venetian and van Dyck influences.^[32]

Velázquez [edit]

Diego Velázquez (1599–1660) was the leading artist in the court of King Philip 4. In addition to numerous renditions of scenes of historical and cultural significance, he created scores of portraits of the Castilian purple family, other notable European figures, and commoners. In many portraits, Velázquez gave a dignified quality to less fortunate members of society similar beggars and dwarfs. In contrast to these portraits, the gods and goddesses of Velázquez tend to be portrayed as mutual people, without divine characteristics. Besides the xl portraits of Philip by Velázquez, he painted portraits of other members of the royal family, including princes, infantas (princesses), and queens.^[33]

Later Baroque [edit]

Later Baroque elements were introduced as a foreign influence, through visits to Spain by Rubens, and the circulation of artists and patrons between Espana and the Spanish possessions of Naples and the Spanish Netherlands. Pregnant Spanish painters taking upward the new mode 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 Bizarre painters were Claudio Coello (1642–1693), Antonio de Pereda (1611–1678), Mateo Cerezo (1637–1666) and Juan de Valdés Leal (1622–1690).^[34]

The pre-eminent painter of the catamenia - and almost famous Spanish painter prior to the 19th century appreciation of Velázquez, Zurbarán and El Greco - was Bartolomé Esteban Murillo (1617–1682).^[35] Working for nearly of his career in Seville, his early work reflected the naturalism of Caravaggio, using a subdued, chocolate-brown palette, simple but not harsh lighting, and religious themes that are portrayed in a natural or domestic setting, as in his Holy Family unit with a Little Bird (c. 1650).^[36] After he incorporated elements of the Flemish Baroque from Rubens and Van Dyck. In the Soult Immaculate Conception, a brighter and more than 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 information technology an effective devotional epitome, an important component of his output; the Immaculate Conception of the Virgin theme alone was represented nearly twenty times by Murillo.^[37]

18th century [edit]

The starting time 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 fourth dimension before Castilian painters adapted to the new Rococo and Neoclassical styles. Leading European painters, including Giovanni Battista Tiepolo and Anton Raphael Mengs, were agile and influential.^[38]

Restricted from royal sponsorship, many Spanish painters continued the Bizarre 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.^[39] 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).^[forty] But it is in the genre of the nonetheless life that royal patronage was likewise successfully found, in the works by artists such as the court painter Bartolomé Montalvo (1769–1846)^[41] and Luis Egidio Meléndez (1716–1780).

Continuing in the Spanish still life tradition of Sánchez Cotán and Zurbarán, Meléndez produced a series of chiffonier paintings, commissioned past the Prince of Asturias, the hereafter King Charles IV, intended to bear witness the full range of edible foods from Spain. Rather than being simply formal studies in Natural History, he used stark lighting, low viewpoints and severe compositions to dramatise the subjects. He showed nifty interest and attention to the details of reflections, textures and highlights (such the highlight on the patterned vase in Yet Life with Oranges, Jars, and Boxes of Sweets) reflecting the new spirit of the age of Enlightenment.^[42]

Goya [edit]

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 Four 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 besides made several series of grabados, etchings which depicted the decadence of society and the horrors of war. His about famous painting serial are the Black Paintings, painted at the terminate of his life. This series features works that are obscure in both colour and meaning, producing uneasiness and stupor.

He is considered the most important Spanish artist of late 18th and early on 19th centuries and throughout his long career was a commentator and chronicler of his era. Immensely successful in his lifetime, Goya is oftentimes referred to as both the last of the Onetime Masters and the first of the moderns.

19th century [edit]

Frederico Pradilla, Doña Juana La Loca (Joan the Mad). Museo del Prado.

Diverse art movements of the 19th Century influenced Castilian 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. Nevertheless, they were often delayed or transformed by local conditions, including repressive governments, and by the tragedies of the Carlist Wars.^[43] Portraits and historical subjects were popular, and the art of the by - particularly the styles and techniques of Velázquez - were significant.

Early on years were notwithstanding dominated by the academicism of Vincente López (1772–1850) and then the Neoclassicism of the French painter, Jacques-Louis David, every bit in the works past 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 effigy in Castilian Romanticism, together with Leonardo Alenza (1807–1845), Valeriano Bécquer and Antonio María Esquivel.^[44]

The after part of the century saw a strong period of Romanticism represented in history paintings, equally 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 conspicuously be seen in Joan the Mad, a famed early work by Pradilla. The limerick, facial expressions, and stormy sky reflect the dramatic emotion of the scene; yet the precise habiliment, the texture of the mud, and other details, bear witness great realism in the artist's attitude and style.^[45] Mariano Fortuny(1838–1874) also developed a strong Realist style, later earlier being influenced past the French Romantic Eugène Delacroix, and became Spain's famous artist of the century^[46]

Joaquín Sorolla (1863–1923) excelled in the dexterous representation of the people and mural 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 truthful subject. The composition is very daring, with the horizon omitted, one of the boys cutting off, and strong diagonals leading to the contrasts and increased saturation of the upper-left of the work.^[47]

20th century [edit]

During the starting time half of 20th century many leading Castilian artists were working in Paris, where they contributed to - and sometimes led - developments in the Modernist art motion.^[48] Every bit possibly the well-nigh of import case of this, Picasso, working together with the French artist Braque, created the concepts of Cubism; and the sub-motion of Synthetic Cubism has been judged to accept establish its purest expression in the paintings and collages of Madrid-built-in Juan Gris.^[49] In a like way, Salvador Dalí became a central figure of the Surrealist move in Paris; and Joan Miró was influential in abstruse art.

Picasso's Blue Flow (1901–1904), which consisted of somber, blueish-tinted paintings was influenced by a trip through Espana. The Museu Picasso in Barcelona features many of Picasso'south early works, created while he was living in Spain, as well as the all-encompassing collection of Jaime Sabartés, Picasso's close friend from his Barcelona days who, for many years, was Picasso's personal secretarial assistant. At that place are many precise and detailed figure studies done in his youth under his father'southward tutelage, too as rarely seen works from his former 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'due south painting, it would be seen but as a copy and non as whatever sort of unique representation, he proceeded to practise 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 2 museums with pregnant collections, the Museo Picasso Málaga and Birthplace Museum.

Salvador Dalí was a central creative person within the Surrealist motility in Paris. Although Dalí was criticized for all-around 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 motility's objectives, Dalí stated that his artistic aim was that "...the world of imagination and of concrete irrationality may be as considerately axiomatic ... as that of the exterior globe...",^[50] and this goal can be seen in one of his most familiar paintings,^[51] The Persistence of Retentivity. Here he paints with a precise, realistic mode, based on studies of Dutch and Spanish masters,^[52] just 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'south work.

Joan Miró was also closely associated with the Surrealists in Paris, who particularly approved of his use of automatism in limerick and execution, designed to expose the subconscious mind.^[53] Although his later and more popular paintings are refined, whimsical and plainly effortless, his influential menstruum 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.^[54] In mature period painting, La Leçon de Ski, his characteristic language of signs, figures and black linear forms confronting 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 [edit]

In the postal service-State of war period, the Catalan artist Antoni Tàpies became famous for his abstract works, many of which utilize very thick textures and the incorporation of non-standard materials and objects. Tàpies has won several international awards for his works.^[55]

Sculpture [edit]

Sepulcher of Elanor of Aragon, in the Cathedral of Toledo.

The Plateresque style extended from beginnings of the 16th century until the concluding third of the century and its stylistic influence pervaded the works of all swell Spanish artists of the fourth dimension. Alonso Berruguete (sculptor, painter and architect) is called the "Prince of Castilian 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 Primal Tavera in the same Cathedral, and the altarpiece of the Visitation in the church building of Santa Úrsula in the same locality.

Other notable sculptors were Bartolomé Ordóñez, Diego de Siloé, Juan de Juni and Damián Forment.

Another catamenia of Spanish Renaissance sculpture, the Bizarre, 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 mode, of sculpture, more realistic, intimate and independently creative than that of the previous ane which was tied to European trends, especially those of the Netherlands and Italy. In that location were two Schools of special flair and talent: the Seville School, to which Juan Martínez Montañés belonged (chosen the Sevillian Fidias), whose most historic works are the Crucifix in the Cathedral of Seville, some other in Vergara, and a Saint John; and the Granada Schoolhouse, to which Alonso Cano belonged, to whom an Immaculate Conception and a Virgin of Rosary, are attributed.

Another notable Andalusian Bizarre 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 luminescence, by the Madrid School, and it was before long 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 past the originality, fluidity, and dynamic treatment of his works, even in those representations of slap-up tragedy. More than ane,800 works are attributed to him, the nigh famous products of his hand being the Holy Week floats (pasos) in Murcia, nearly notable among which are those of the Agony in the Garden and the Buss 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 [edit]

The Castilian royal collection was accumulated by Castilian monarchs beginning with Isabel the Catholic, Queen of Castile (1451–1504), who accumulated large and impressive collections of objets d'art, 370 tapastries, and 350 paintings, a number by of import artists including Rogier van der Weyden, Hans Memling, Hieronymus Bosch, Juan de Flandes, and Sandro Botticelli.^[56] All the same many of these were dispersed by auction later her death in 1504. Isabel's grandson, Charles I, the showtime Habsburg king of Spain, was a patron and collector of art, every bit was his sister, Mary of Hungary. Both admired works past Titian. When the siblings died, the fine art passed to Philip II of Kingdom of spain, Charles's son, an even keener collector.^[57] 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 fine art. Philip deputed works and purchased others, sending his representatives to acquire works for the monarch's collection. One of Philip Four's major contributions to art in Spain was to entail his collection, preventing their auction or other dispersal.^[58] 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 report.^[59] The Prado Museum in Madrid became the main repository for that fine art.

The Majestic Academy of Fine Arts of San Francisco, founded in 1744, at present functions likewise as a museum in Madrid. The Museum of the Americas in Madrid has a collection of casta paintings and other fine art brought back to Spain from the Americas, every bit well equally sculpture and archeological artifacts.

Other artistic disciplines [edit]

• Compages
• Cinematography
• Music

References [edit]

1. ^ some are as old equally 40,800 years old, according to "U-series dating of Paleolithic art in 11 caves in Spain", Scientific discipline, 2012 Jun 15 ;336(6087):1409-thirteen.
2. ^ Gudiol, 10-11
3. ^ Gudiol, 11-12
4. ^ Gudiol, 13-21
5. ^ Gudiol, 21-28
6. ^ The first R is held at the Musée de Cluny, Paris.
7. ^ Gudiol, 29-33
8. ^ Gudiol, 59-61
9. ^ Gudiol, 34-42, 47-51
10. ^ Gudiol, 53-59, 86
11. ^ Gudiol, 43-44, 51-52
12. ^ Gudiol, 188-197
13. ^ Walter West. Southward. Cook, Romanesque Spanish Mural Painting from The Fine art Bulletin, Vol. 11, No.4, Dec 1929, accessed from JSTOR: [1]
14. ^ The Prado Guide, pg. 48
15. ^ Prado Guide, p. 28
16. ^ Prado Guide, p. 42
17. ^ Prado Guide, p. 38
18. ^ Prado Guide, p. 42
19. ^ Prado Guide, p. 42
20. ^ The Prado Guide, pg. 48
21. ^ Jonathan Chocolate-brown, The Golden Age of Painting in Spain. New Haven: Yale Academy Printing 1991.
22. ^ José Antonio Maravall, Culture of the Baroque: Analysis of a Historical Structure. Minneapolis MN 1986.
23. ^ Prado Guide, pg 64
24. ^ Prado Guide, pg 74
25. ^ Prado Guide, pg 66
26. ^ Prado Guide, pg 54
27. ^ Prado Guide, pg 60
28. ^ Prado Guide, pg 76, 79
29. ^ Prado Guide, pg 84
30. ^ Prado Guide, pg 84
31. ^ Prado Guide, pg 84
32. ^ Prado Guide, pg 90
33. ^ Jonathan Brown, Velázquez: Painter and Courtier. New Haven: Yale University Press 1986.
34. ^ Prado Guide, p. 132-139
35. ^ Prado Guide, p. 140
36. ^ Prado Guide, p. 141
37. ^ Prado Guide, p. 147
38. ^ Prado Guide, p. 148
39. ^ Prado Guide, p. 150–151
40. ^ Prado Guide, p. 152–153
41. ^ Prado Guide, p. 157
42. ^ Prado Guide, p. 154-155
43. ^ Prado Guide, pp. 196, 202
44. ^ Prado Guide, pp. 196-200
45. ^ Prado Guide, p.208
46. ^ Prado Guide, p. 210
47. ^ Prado Guide, pp. 217
48. ^ Haftmann, pg 191
49. ^ Haftmann, pg 80
50. ^ From Rubin Dada, Surrealism and Their Heritage pg. 111 (quoted in Gardner, pg. 984)
51. ^ Gardiner, pg. 984
52. ^ Gardiner pg. 985. 1991
53. ^ Gardiner, pg. 985
54. ^ Jean-Hubert Martin, foreword of Joan Miró - Snail Woman Blossom Star, pg. seven, Prestel, 2008
55. ^ Tate website, quoting: Ronald Alley, Catalogue of the Tate Gallery'south Collection of Modernistic Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, pp. 714–15
56. ^ Santiago Alcolea Blanch, The Prado. New York: Harry N. Adams, Inc. 1996, p. 9.
57. ^ Alcolea Blanch, The Prado, p. 10.
58. ^ Alcolea Blanch, The Prado, pp. 10-11.
59. ^ Alcolea Blanch, The Prado, p. 15.

Further reading [edit]

• Alcolea Flinch, Santiago. The Prado. Translated from the Castilian 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. ISBN0870996851.
• Berg Sobré, Judith. Behind the Chantry Table: The Development of the Painted Retablo in Kingdom of spain, 1350-1500. Columbia, Miss. 1989.
• Brown, Jonathan, Painting in Spain, 1500-1700 (Pelican History of Art), Yale Academy Press, 1998, ISBN 0300064748
• Dodds, Jerrilynn D. (ed.) Al-Andalus: The Art of Islamic Spain. New York 1992.
• Gardner's: Fine art Through The Ages - International Edition, Caryatid Harcourt Jovanovich, ninth Edn. 1991
• Gudiol, José, The Arts of Espana, 1964, Thames and Hudson
• Jiménez Blanco, María Dolores, ed. The Prado Guide, Madrid: Museo National del Prado, English language second Revised Edition, 2009
• McDonald, Marker (2012). Renaissance to Goya : prints and drawings from Espana. London: The British Museum. ISBN9780714126807.
• Moffitt, John F. The Arts in Espana. London: Thames & Hudson 1999.ISBN 0-500-20315-6
• O'Neill, John P. (ed.), The Fine 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 Eastward. (1992). Jusepe de Ribera, 1591-1652. The Metropolitan Museum of Fine art. ISBN9780870996474. (full text resource that contains information on Ribera besides as a number of other Spanish artists)
• Tomlinson, Janis, From El Greco to Goya: Painting in Spain 1561–1828, Abrams Fine art History, 1997
• Williams, John. Early Castilian Manuscript Illumination. New York 1977.
• Young, Eric. Bartolomé Bermejo: The Bully Hispano-Flemish Master. London 1975.

External links [edit]

• Media related to Fine art in Spain at Wikimedia Commons

petersthrainater1946.blogspot.com

Source: https://en.wikipedia.org/wiki/Spanish_art

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