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350:(1557) and a new portrait of Philip II. Other important works from this period include the portrait of Jane Dormer (1558), the portraits of Jean Lecocq and his wife (1559), and the portrait of Jan van Scorel (1559), which was at a later time to be hung at his tomb and now belongs to the Society of Antiquaries (London). Following the death of Mary Tudor in 1558, King Philip was remarried in June 1559 to Isabella de Valois, whom Mor portrayed ca. 1561. This portrait appears to have been lost. Also from this period dates the only known self-portrait of Mor, now in the
415:(1564). These works are markedly different from the paintings Mor produced for the court, showing off another side of his talent. When Granvelle returned to France and the Netherlands showed increasing social and political unrest, Mor experienced some financial hardship. His financial problems were partially solved when the Duke of Alba granted him commissions and favors. He is not known to have been in Utrecht after 24 July 1567 and from 1568 onwards Mor lived in Antwerp where, in 1572, he registered as a master with the Antwerp guild. At Antwerp he painted a
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never complied with his repeated requests. Among the works which Mor supposedly painted in Spain are the
Portrait of Juana of Austria and the Portrait of Don Carlos. A much-praised work from this period is the Portrait of Pejerón, the fool of the Earl of Benavente and the Duke of Alba. There has been extensive speculation about the reason for Mor's departure from the Spanish court. According to
330:. During these negotiations, Mor was sent to England to paint a portrait of Mary, but the exact date of the painting is unknown. This portrait was much appreciated in England and Mor made at least three versions, which became much the best-known likeness of the queen (Prado, Marquess of Northampton). On 20 December 1553, Philip officially appointed Mor as painter in his service.
366:
It seems likely that Mor accompanied King Philip on his return to Spain in 1559. That Mor stayed at the
Spanish court is confirmed by the letters which Philip regularly sent to Mor after he had left again in 1561. In his letters, Philip requested Mor's return to court several times, but the painter
325:
After the sudden death of the king of
England, Edward VI, in July 1553, the Spanish king Charles V now saw the possibility of an alliance between Spain and England. The engagement between Philip and his Portuguese princess was broken and negotiations started for a marriage with the successor to the
338:
In
October 1555, Charles V abdicated from the throne. During the ceremonies and festivities surrounding the coronation of his son Philip as king of Spain, Mor would have received many commissions for paintings. Unfortunately, many of these paintings are lost or only known through copies.
1501:
Plumas y pinceles / Pennen en pinceelen. The portraits by
Anthonis Mor van Dashorst and the treatises by Francisco de Holanda and Felipe de Guevara; a study into the mutual influences and the exchange of ideas on sixteenth century painting and
136:, 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.
247:, who became his steady patron. Of the portraits executed during the early period of his career as Granvelle's protege, two are especially notable: one of the bishop himself (in the imperial gallery in Vienna), and one of the
402:
On his return to the
Netherlands, Mor probably traveled back and forth between Utrecht, Antwerp and Brussels. In this period he was in regular contact with Granvelle and also worked at the Dutch court, where he portrayed
435:
spent some time in
Antwerp, where she was painted by Mor in 1570. Mor's portrait of Anna is his last-known court painting, although he was still being referred to as Philip II's court painter in 1573.
1329:
Castaldo (1500-1562) was a soldier of
Neapolitan origin who took part in the Battle of Pavia, the Sack of Rome, the Battle of Mühlberg etc. Charles V rewarded him with various titles and honors.
407:. After his return, Mor focused on the portrayal of citizens, especially of merchants and their wives in Antwerp. In addition to portraits like these (which included the Portrait of
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of religious and mythological subjects, but in this field of work he would never equal his earlier success as a portrait painter. He is believed to have been working on a
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Little is known about Mor's life and career after 1570. It seems likely that he lost custom, maybe as result of competition by painters such as
Adriaen Thomasz. Key,
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Mor was very productive after Philip's ascension to the throne, and produced some of his most important portraits in this period, such as the portrait of Prince
371:, Mor became too confidential with the king and this aroused the suspicion of the Inquisition. He may also have been alarmed by the increasingly repressive
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255:(1527–1598) traveled around the Netherlands to present himself as the future ruler. Mor painted his portrait in Brussels in 1549. He probably visited
155:. It can include considerable psychological penetration, especially in portraits of men, but always gives the subject a grand and self-possessed air.
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446:(1519/20-1570). The last portrait attributed to Mor is the Portrait of Hubertus Goltzius, dated 1576. Toward the end of his life, Mor focused on
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to portray the
Portuguese branch of the family. Mor probably traveled via Valladolid, where he painted the portraits of
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Many of Mor's portraits were copied by others. Among those whose works have been confused with Mor's are
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423:. It is possible that he visited England once again in 1568, judging from the Portrait of a
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Oil on canvas, 101 x 81 cm, Fundación Lázaro Galdiano, Madrid; see image gallery below.
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Pictor regis. Anthonis Mor van Dashorst and his position as painter at the Habsburg court.
1459:, Académie royale de Belgique, Classe des beaux-arts, Mémoires (Brussels: M. Hayez, 1934).
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continued to work in his master's style, and replaced him as the Spanish court painter.
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Woodall, Joanna (1991). "An Exemplary Consort: Antonis Mor's Portrait of Mary Tudor".
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Portrait of Jan Scorel (1559-1560), oil on panel. Society of Antiquaries of London, UK
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Jordan, p. 97; P. G. Matthews, “Portraits of Philip II of Spain as King of England,”
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at Antwerp, and shortly afterwards (about 1548) he attracted the attention of
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Princes and Artists, Patronage and Ideology at Four Habsburg Courts 1517-1633
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Oil on wood panel, 107 x 72.1 cm, National Gallery of Victoria.
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Oil on oak, 116.8 x 86.9 cm, National Gallery of Canada, Ottawa
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Mor developed a formal style for court portraits, largely based on
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1402:"Collective Database for Cultural Heritage - Artist - object: 845"
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Retrato de Corte em Portugal. O Legado de António Moro (1552-1572)
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Retrato de Corte em Portugal. O Legado de António Moro (1552-1572
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In the middle of 1550 Mor left for Lisbon with a commission from
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883:, Gemäldengalerie, Berlin, inv. L310A; see image gallery below.
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Oil on canvas, 186 x 82 cm, Monasterio de San Lorenzo,
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Oil on panel, 55 x 50 cm, Private collection, Germany.
259:(when exactly is not known), where he copied some works by
1504:. University of Amsterdam, thesis Researchmaster June 2011
521:
NB: Some attributions and locations may be out of date.
1270:. Turner, Jane, 1956-. New York: Grove. 1996. pp.
235:
In 1547 Mor was received as a member of the Venerable
679:
Oil on panel, 105 x 81.5 cm, Staatliche Museen,
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Portrait of a man in armour at the Paul Getty Museum
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Portrait by Antonis Mor at National Gallery, London
411:), he also painted artisans, such as the goldsmith
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16:Painter from the Northern Netherlands (1519–1575)
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1191:"Catholic Encyclopedia: Antonis Van Dashort Mor"
859:Portrait of a Nobleman, said to be Hernán Cortés
1493:, Thesis BA University of Amsterdam, June 2009
830:, Madrid, inv. 2114; see image gallery below.
621:, Madrid, inv. 2109; see image gallery below.
354:, and one of his (presumed) wife, now in the
346:(William the Silent) (1555), the portrait of
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1173:"ULAN Full Record Display (Getty Research)"
842:, Belgrade, Oil on canvas 130 x 90 cm
585:Portrait of a Giovanni Battista di Castaldo
572:Portrait of a Man Pointing at a Table Clock
158:
151:, where it created a tradition that led to
631:(c. 1552) Oil on panel, 107 x 84 cm,
29:
1154:
785:Oil on panel. Present location not known.
1457:Anthonis Mor van Dashorst (Antonio Moro)
1378:, vol. 142, no. 1162 (Jan. 2000), p. 17.
895:Oil on canvas, Musée du Temps, Besançon.
764:Oil on canvas, Musée du Temps, Besançon.
489:
477:
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375:tenor of the Spanish court. Mor's pupil
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186:
1320:(Lisbon: Quetzal Editores, 1994), p. 17
1249:Trevor-Roper:45 believes so, following
1214:
1577:Painters at the Portuguese royal court
1539:
1451:, Museo del Prado, Enciclopedia Online
818:Portrait of Metgen, wife of the artist
806:Portrait of Lady Gresham (Anne Femely)
313:and Philip II’s future wife, Princess
1469:, Thames & Hudson, London, 1976,
954:Royal Museums of Fine Arts of Belgium
936:Oil on canvas, 119.7 x 88.3 cm,
780:Philip de Montmorency, Count of Hoorn
713:, inv. 1653; see image gallery below.
558:Cardinal Granvelle's Dwarf with a Dog
333:
1486:(Zwolle: Waanders Publishers, 2008).
902:Maria of Portugal, Princess of Parma
589:Oil on panel, 107.6 x 82.2 cm,
361:
143:, that was extremely influential on
1449:Antonio Moro. Anton van Dashort Mor
923:Oil on panel, 64.1 x 53.3 cm,
735:Oil on panel, 97.5 x 69.9 cm,
518:based on his work also circulated.
13:
1434:, (Lisbon: Quetzal Editores, 1994)
1229:10.1111/j.1467-8365.1991.tb00432.x
965:Oil on panel, 122 x 98.5 cm,
927:, London; see image gallery below.
881:Stiftung Preussischer Kulturbesitz
692:Oil on wood, 97.8 x 71.2 cm,
533:Oil on oak, 107.5 x 83.3 cm,
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851:Oil on oak, 49.5 x 40.6 cm,
797:Oil on panel, 90 x 75.5 cm,
722:Oil on canvas, 111 x 80 cm,
648:Oil on canvas, 100 x 87 cm,
576:Oil on canvas, 100 x 80 cm,
563:Oil on canvas, 126 x 92 cm,
147:across Europe, especially in the
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548:Oil on panel, 107 x 82 cm,
1484:Anthonis Mor; Art and Authority
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980:Oil on wood, 109 x 84 cm,
907:Oil on panel, 35 x 15 cm,
810:Oil on oak, 88 x 75.5 cm,
748:Oil on wood, 113 x 84 cm,
650:Convent of Las Descalzas Reales
628:João Manuel, Prince of Portugal
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1109:Metgen Mor, the artist's wife
543:Antoine Perrenot de Granvelle
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1557:Painters from Utrecht (city)
1440:La Reina María de Inglaterra
967:North Carolina Museum of Art
835:Portrait of Spanish Nobleman
660:Isabel, Duchess of Guimarães
643:Infanta Maria, Lady of Viseu
7:
1391:Retrieved 4 September 2008.
1389:Portrait of a Man in Armor.
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822:Portrait of a married woman
752:, Florence; see image above
358:(see image gallery below).
344:William I van Oranje-Nassau
301:. In Lisbon, Mor portrayed
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1572:Dutch Renaissance painters
1149:Artists of the Tudor court
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1029:, Madrid; see image above.
1011:Philadelphia Museum of Art
1000:Margaret, Duchess of Parma
718:Portrait of a Man in Armor
694:National Gallery of Canada
683:; see image gallery below.
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984:, Madrid; see image above
925:National Portrait Gallery
840:National Museum of Serbia
552:, Vienna. See image above
512:Cristóvão de Morais Lopes
383:Return to the Netherlands
123:Anthonis Mor van Dashorst
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1495:Pictor regis - Van Wamel
853:National Gallery, London
591:Museo Thyssen-Bornemisza
550:Kunsthistorisches Museum
159:Early life and education
129:(c. 1517 – 1577), was a
1562:Dutch portrait painters
1406:www.culturalheritage.cc
1009:, 97.8 x 71.7 cm,
961:Portrait of a Gentleman
938:National Gallery of Art
932:Portrait of a Gentleman
737:National Gallery of Art
731:Portrait of a Young Man
535:Bilbao Fine Arts Museum
440:Frans Pourbus the Elder
427:and of the Portrait of
397:National Gallery of Art
1387:J. Paul Getty Museum.
1302:: CS1 maint: others (
1155:References and sources
812:Rijksmuseum, Amsterdam
799:Rijksmuseum, Amsterdam
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458:when he died in 1576.
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1567:Painters from Antwerp
1266:The dictionary of art
1136:Henry Lee of Ditchley
1067:Catherine of Portugal
1007:transferred on canvas
918:Henry Lee of Ditchley
652:, Madrid, inv. PN822.
541:Portrait of Cardinal
504:Alonso Sánchez Coello
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470:Possible portrait of
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391:Steven van Herwijck,
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377:Alonso Sánchez Coello
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1523:at Wikimedia Commons
1418:Jordan, pp. 70, 168.
1365:Jordan, pp. 61, 164.
1356:Jordan, pp. 36, 163.
1053:John III of Portugal
911:, Madrid, inv. 2117.
724:J. Paul Getty Museum
634:Hampton Court Palace
612:Catherine of Austria
600:John III of Portugal
514:. A large number of
508:Francisco de Holanda
456:Cathedral of Antwerp
62:Bishopric of Utrecht
1376:Burlington Magazine
673:William I of Orange
671:Portrait of Prince
413:Steven van Herwijck
405:Margaretha of Parma
373:Counter-Reformation
201:Knights of St. John
1499:Marieke van Wamel
1489:Marieke van Wamel
1463:Trevor-Roper, Hugh
1447:Annemarie Jordan,
1438:Annemarie Jordan,
1430:Annemarie Jordan,
1316:Annemarie Jordan,
1239:– via EBSCO.
1095:Philip II of Spain
989:Portrait of a Lady
875:, Duchess of Parma
769:Portrait of a Lady
703:Philip II of Spain
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334:Brussels / Utrecht
311:Prince João Manuel
295:Philip II of Spain
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362:The Spanish Court
315:Maria of Portugal
289:, their daughter
237:Guild of St. Luke
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287:Maria of Austria
163:Mor was born in
134:portrait painter
121:, also known as
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80:Duchy of Brabant
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820:(also known as
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578:Musée du Louvre
565:Musée du Louvre
494:Portrait of D.
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395:, medal in the
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1521:Anthonis Mor
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1198:. Retrieved
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452:Circumcision
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229:Queen Mary I
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127:Antonio Moro
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119:Anthonis Mor
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51:Anthonis Mor
35:
23:Anthonis Mor
1502:portraiture
1217:Art History
1020:Jane Dormer
963:(c. 1570) -
950:(c. 1570) -
905:(c. 1565) -
877:(c. 1562) -
783:(c. 1560) -
771:(c. 1560) -
711:El Escorial
707:(c. 1557) -
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603:(c. 1550) -
587:(c. 1550) -
574:(c. 1550) -
472:Jane Dormer
393:Antonis Mor
199:A group of
169:Netherlands
87:Nationality
1541:Categories
1281:1884446000
1195:New Advent
1160:References
956:, Brussels
516:engravings
462:Main works
328:Mary Tudor
299:Don Carlos
1298:cite book
1237:0141-6790
1097:in armour
528:Philip II
498:; (1552).
486:; (1560).
474:, c. 1558
193:Granvelle
177:Stockholm
1290:34409675
1143:See also
934:(1569) -
921:(1568) -
893:(1563) -
873:Margaret
866:, Prague
762:(1560) -
746:(1558) -
733:(1558) -
720:(1558) -
705:in Armor
696:, Ottawa
663:(1552) -
593:, Madrid
546:(1549) -
454:for the
421:Stadhuis
273:Portugal
107:Movement
101:Painting
1425:Sources
1038:Gallery
675:/Nassau
580:, Paris
567:, Paris
321:England
219:Antwerp
205:Utrecht
165:Utrecht
76:Antwerp
58:Utrecht
54:c. 1517
1473:
1288:
1278:
1235:
750:Uffizi
681:Kassel
510:, and
261:Titian
141:Titian
40:Uffizi
1051:King
356:Prado
266:Danaë
257:Italy
91:Dutch
1471:ISBN
1304:link
1286:OCLC
1276:ISBN
1233:ISSN
1202:2019
291:Anna
125:and
69:Died
47:Born
1225:doi
1022:(?)
203:at
1543::
1482:,
1465:;
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1300:}}
1296:{{
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636:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
