Antonis Mor (1519–1575)
Margaret, Duchess of Parma, c. 1562
Oil on canvas
height: 106 cm (41.7 in); width: 76 cm (29.9 in)
Staatliche Museen, Berlin
The court painter Anthonis Mor probably made this portrait of Margaret, Duchess of Parma (1522-1586), around the time her half-brother, Philip II of Spain, appointed her to be governor of the Netherlands in August of 1559. The cross shape of her broach refers to the symbol of both their patron saints, Margaret and Philip. Mor painted over an earlier dress and hanging pearl necklace to depict the somber cloak and necklace seen here, most likely in order to acknowledge Margaret's appointment and new authority. The pearls refer to her name, as "margarita" is the Latin word for pearl. More on this painting
Anthonis Mor, also known as Anthonis Mor van Dashorst and Antonio Moro (c. 1517 – 1577), 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.
Mor developed a formal style for court portraits, largely based on Titian, that was extremely influential on court painters across Europe, especially in the Iberian Peninsula, where it created a tradition that led to Diego Velázquez. It can include considerable psychological penetration, especially in portraits of men, but always gives the subject a grand and self-possessed air. More on Anthonis Mor
Margaret of Parma (5 July 1522 – 18 January 1586) was Governor of the Netherlands from 1559 to 1567 and from 1578 to 1582. She was the illegitimate daughter of the then 22-year-old Holy Roman Emperor Charles V and Johanna Maria van der Gheynst. She was a Duchess of Florence and a Duchess of Parma and Piacenza by her two marriages.
Margaret was brought up in Mechelen, under the supervision of two powerful Spanish and Austrian Habsburg Imperial family relatives, her great-aunt, the Archduchess Margaret of Austria, and her aunt Mary of Austria, who were successive governors of the Netherlands from 1507 to 1530 and from 1530 to 1555, respectively.
Bernard van Orley (circa 1491/1492–1542)
Portrait of Margaret of Austria, Duchess of Savoy (1480-1530)
Portrait of Archduchess Margaret of Austria, Duchess of Savoy (1480–1530), in widow's dress
Oil on panel
height: 37.1 cm (14.6 in); width: 27.5 cm (10.8 in)
Royal Museums of Fine Arts of Belgium
Bernard van Orley (between 1487 and 1491 – 6 January 1541), was a leading artist in Dutch and Flemish Renaissance painting, though he was at least as active as a leading designer of Brussels tapestry and, at the end of his life, stained glass. Although he never visited Italy, he belongs to the group of Italianizing Flemish painters called the Romanists, who were influenced by Italian Renaissance painting, in his case especially by Raphael.
He was born and died in Brussels, and was the court artist of the Habsburg rulers, and "served as a sort of commissioner of the arts for the Brussels town council". He was extremely productive, concentrating on the design of his works, and leaving their actual execution largely to others in the case of painting.
Accordingly, his many surviving works (somewhat depleted in number by Reformation iconoclasm) vary considerably in quality. His paintings are generally either religious subjects or portraits, these mostly of Habsburgs repeated in several versions by the workshop, with few mythological subjects. More on Bernard van Orley
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Attributed to Hans Maler (c. 1480–c. 1526/9)
Mary of Austria (1505-1558), c. 15200
Oil on vellum, stretched on panel
485 x 360mm
Burlington House
Hans Maler zu Schwaz (1480/1488–1526/1529) was a German painter born in Ulm and active as portraitist in the village of Schwaz, near Innsbruck. He painted numerous portraits of members of the Habsburg court at Innsbruck as well as of wealthy merchants such as the Fuggers.
Maler's two most important patrons were Ferdinand I of Austria, who at the time was Archduke (Later Emperor) and the celebrated Fuggers. Ferdinand is known to have commissioned at least three portraits of himself and four of his wife, Anna of Bohemia and Hungary. Maler also painted portraits in 1517 of Sebastian Andorfer, a successful metal maker and merchant from Schwaz. His portrait style rarely varied from his bust-format, where the subject's hands were not shown and without eye contact to the viewer.
He received commissions early on in his career from Ferdinand's grandfather, Maximilian I and was also commissioned in 1508 for frescoes depicting the Habsburg family tree in Ambras Castle. More on Hans Maler zu Schwaz
Her early life followed a strict routine set forth by her father, Charles V, who used his daughter as part of his plans to secure his empire.
Pontormo (1494–)
Portrait of Alessandro de' Medici, c. Before December 1535
Oil on panel
height: 100 cm (39.3 in); width: 81 cm (31.8 in)
Philadelphia Museum of Art
Alessandro de’ Medici (born c. 1511), duke of Florence from 1530 until his assassination in 1537, is shown not as a powerful ruler, but in a private chamber making a drawing of a woman in metalpoint. At the time, drawing was considered an acceptable activity for a gentleman, but here the reference may be to love poetry. The fourteenth-century poet Petrarch, who enjoyed a revival in readership in the early sixteenth century, wrote sonnets about a metalpoint drawing he owned of his beloved Laura. More on this painting
Jacopo Carucci (May 24, 1494 – January 2, 1557), usually known as Jacopo da Pontormo, Jacopo Pontormo or simply Pontormo, was an Italian Mannerist painter and portraitist from the Florentine School. His work represents a profound stylistic shift from the calm perspectival regularity that characterized the art of the Florentine Renaissance. He is famous for his use of twining poses, coupled with ambiguous perspective; his figures often seem to float in an uncertain environment, unhampered by the forces of gravity.
Carucci an orphaned boy, "young, melancholy and lonely", was shuttled around as a young apprentice.
He had not been many months in Florence when Bernardo Vettori sent him to stay with Leonardo da Vinci, and then with Mariotto Albertinelli, Piero di Cosimo, and finally, in 1512, with Andrea del Sarto.
Pontormo painted in and around Florence, often supported by Medici patronage. A foray to Rome, largely to see Michelangelo's work, influenced his later style. Haunted faces and elongated bodies are characteristic of his work.
In the earlier work, Pontormo is much closer in style to his teacher, Andrea del Sarto, and to the early sixteenth century renaissance artistic principles. Moreover, the clear architectural setting that is carefully constructed in earlier piece has been completely abandoned in favor of a peculiar nondescript urban setting.
Pontormo took part in the fresco decoration of the salon of the Medici country villa at Poggio a Caiano. There he painted frescoes in a pastoral genre style.
In 1522, when the plague broke out in Florence, Pontormo left for the Certosa di Galluzzo, a cloistered Carthusian monastery where the monks followed vows of silence. He painted a series of frescoes, now quite damaged, on the passion and resurrection of Christ. More on Jacopo Carucci
Wouter Pietersz Crabeth
Detail; Stained glass window depicting Margaret of ParmaStained Glass
St. John’s Church, Gouda
Wouter Pietersz Crabeth (1510–1590) was a Dutch Renaissance glass painter. He was employed by the Sint Janskerk (Gouda) during the Protestant Reformation, where he created six of the stained glass windows during the years 1555 to 1571. His windows, that he created in close collaboration with his brother Dirk Crabeth, are one of the reasons that the church was placed on the UNESCO list of monuments. More on Wouter Pietersz Crabeth
Campi Giulio, ca.1500 / 1572
Ottavio Farnese
Oil on canvas
cm. 181 (a) 263 (a)
sec. XVI (1551 - 1560)
Civic Museums of Palazzo Farnese
In the canvas Ottavio Farnese is depicted with armor, while in the background, through an arch, a horse and the deployed army can be glimpsed.
The canvas was part of the Farnese collections brought to Naples in 1736. The attribution to Campi was advanced in 1948 by Ghidiglia Quintavalle. The work can be dated with certainty after 1551, because in that year the Duke of Parma was awarded the order of St. Michael by the King of France (whose collar and plaque with the image of St. Michele), following his repeated victories in the war. More on this painting
Giulio Campi (1500 – 5 March 1572) was an Italian painter and architect. The eldest of a family of prominent painters, Campi was born at Cremona. His father Galeazzo (1475–1536) taught him the first lessons in art.
In 1522, in Mantua, he studied painting, architecture, and modelling under Giulio Romano. He visited Rome, became an ardent student of the antique, and like Bernardino he combined a Lombard and Roman traditions. He collaborated on some works with Camillo Boccaccino, the son of Boccaccio Boccaccino, with whom Campi may also have received training.
When he was just twenty-seven Giulio executed for the church of Sant'Abondio his masterpiece, a Virgin and Child with Sts Celsus and Nazarus, a decoration masterly in the freedom of its drawing and in the splendour of its color. Many of his fresco works are housed in churches of Cremona, Mantua, Milan and in the church of Saint Margaret's, in his native town. Among his chief works are the Descent from the Cross in San Sigismondo at Cremona, and the frescoes in the dome of San Girolamo at Mantua. He was involved in the reconstruction and decoration of the church of Santa Rita in Cremona.
Otto van Veen (1556–1629)
The Famished People after the Relief of the Siege of Leiden, c. 1574
Oil on panel
height: 40 cm (15.7 in); width: 59.5 cm (23.4 in)
Rijksmuseum
When a city is surrounded by enemies, the population becomes trapped. There is less food and diseases easily arise. Reasons for Leiden to almost surrender in 1574. But then the Beggar army liberates the city, the relief arrives just in time. Hungry and exhausted, multitudes of people are waiting for their liberators. The soldiers have food with them, especially herring and white bread. More on this painting
In 1555, she left Italy for the Netherlands, where she left her son in the care of her half-brother Philip II. Philip appointed her Governor of the Netherlands when he left in 1559 for Spain. As governor, Margaret faced the rising storm of discontent against the Inquisition and Spanish despotism, and Philip had left her but nominal authority. He was determined to pursue his own arbitrary course, and the result was the revolt of the Netherlands. Margaret was forced to adjust herself to the advice of Cardinal Granvelle, Philip's choice for her chief councilor, who would grow to be greatly disliked in the Netherlands. After Granvelle's exile from the Netherlands in 1564, Margaret was forced to rely on the grandees in her Council.
Frans Hogenberg (before 1540 –1590)
The Calvinist Iconoclastic Riot of August 20, 1566
I have no further description, at this time
Frans Hogenberg (1535–1590) was a Flemish and German painter, engraver, and mapmaker.
He was born in Mechelen in Flanders as the son of Nicolaas Hogenberg. In 1568 he was banned from Antwerp by the Duke of Alva because he was a protestant and had printed engravings sympathizing with the Beeldenstorm. He travelled to London, where he stayed a few years before emigrating to Cologne. He is known for portraits and topographical views as well as historical allegories. He also produced scenes of contemporary historical events.
In 1565, an opposition party was formed from the Dutch nobility. Margaret received its complaints and, having no army to put down the dissenters, promised to stop religious repression. In 1566, Iconoclastic riots took place all over the Netherlands but she managed to quell them, with the help of her stadtholders Philip of Noircarmes (who subjugated the cities of Tournai and Valenciennes) in Hainaut and William of Orange in Holland .
Franz Widnmann
Margaret of Parma before the Duke of Alba, c. 1873
Alternative title: Catherine of Schwarzburg in front of Prince Alba
Oil on canvas
height: 99.5 cm (39.1 in); width: 130 cm (51.1 in)
Muzeum Sztuki w Łodzi
Franz Widnmann (1846 – 1910) was a German painter and graphic artist, and a professor at the Royal School of Applied Arts in Munich.
From 1862 he attended the drawing school of the Verein zur Ausbildung des Gewerbes, and later the Kunstgewerbeschule (School of Arts and Crafts or School of Applied Arts), in Munich, directed by Hermann Dyck. On 30 October 1862 he matriculated at the Munich Academy of Fine Arts for the antique class.
His early work was in decorative arts and design. His first painting, Duke Alba at the Castle of Countess Catharina von Schwarzburg, won an award at the 1873 Vienna World's Fair. As a student and was commissioned to decorate the Pringsheim Palace in Berlin. He painted murals for the Munich palace of Prince Leopold of Bavaria and Homecoming from the Hunt for the Schloss St Emmeram, of the Prince of Thurn und Taxis in Regensburg.
A state scholarship enabled Widnmann to spend time in Italy. In the 1880s he was exclusively occupied with works for the palaces of the Bavarian king Ludwig II, especially for Schloss Herrenchiemsee. During 1878 and 1886 he designed figurative decoration for facades, designs for stucco decoration, wall fillings, girandoles, Meissen porcelain chandeliers, crystal chandeliers (executed by Lobmeyr in Vienna), and for clocks, writing instruments, centrepieces, and later, painting commissions. Further commissions were for the Linderhof Palace.
In 1881 he became the 'Royal Professor', and on 1 May 1892 was appointed professor of the life class at the Kunstgewerbeschule. In 1894 he designed the stained glass window of the Barfüßerkirche in Augsburg. He exhibited work in the Münchner Glaspalast.
Franz Widnmann died 30 August 1910 in Rodeneck in the Puster Valley. He was buried in the Old South Cemetery Munich. More on Franz Widnmann
The next year, Philip sent her military help led by the Duke of Alba. Margaret warned Philip that actions by Alba would lead to catastrophe, but instead of trying to stop Alba, she resigned when she learned that Alba's power of attorney, granted by Philip, superseded her own.
Otto van Veen (1556–1629)
Portrait of the condottiere Alexander (Alessandro) Farnese, Duke of Parma, Governor of the Netherlands (1545-1592), circa 1585
Oil on canvas
0,58 X 0,48 m
Royal Museums of Fine Arts of Belgium
Otto van Veen, also known by his Latinized name Otto Venius or Octavius Vaenius, (c.1556 – 6 May 1629) was a painter, draughtsman, and humanist active primarily in Antwerp and Brussels in the late sixteenth and early seventeenth century. He is known for running a large studio in Antwerp, producing several emblem books, and for being, from 1594 or 1595 until 1598, Peter Paul Rubens's teacher. His role as a classically educated humanist artist (a pictor doctus), reflected in the Latin name by which he is often known, Octavius Vaenius, was influential on the young Rubens, who would take on that role himself. More on Otto van Veen
Charlie R. Steen describes her as "a woman dedicated to compromise and conciliation in public affairs. More on Margaret of Parma
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