22 -- Part 5: Sixteenth-Century Art in Northern Europe and
The project was to be directed before Francis I's defeat at Pavia.
Rosso was succeeded by his Italian colleague in Spain in 1525, and the French court had a mobile unit that resided outside of Paris.
Francis made Paris FIG after his release.
Primaticcio spent the rest of his career working on the decoration of Fontainebleau.
The artistic lead went to the region.
Francis I of copies and casts of original Roman sculpture, from the and Henry II decided to modernize the medieval castle of newly discovered Laocoon gave birth to a style of French Classicism.
To the relief of the Louvre.
The replacement of ration on the Column of Trajan began in 1546.
The project they designed was Fontainebleau.
The irregular rooflines seen in the king's official mistress, Anne, can be seen in the chateau at Chenonceau.
In a complex interior design, woodwork, stucco relief, and fresco paint give way to discreetly rounded ing.
Gothic buttresses and stringcourses were replaced by Classical pilasters and nymphs.
There is a round-arched arcade on the ground floor.
He was able to take control of the entire loggia.
The decoration recalls the French Flamboyant style and the sumptuousness of the rian peninsula was claimed by Portugal in 1580.
Classical pilasters and acanthus replace Gothic colonnettes and cusps.
Michelangelo was Michelangelo's supervisor of work at St. Peter's power.
The country was united in the fifteenth century.
Juan Bautista's design for the monas was inspired by the marriage of datememe datememe datememe and Ferdinand of Ara tery- palace.
The king of Rome dictated the outside of the union.
Charles V abdicated in 1556, his son Philip II became the king of Spain, the Netherlands, and excellent masonry.
Philip's permanent residence was Spain, as well as the ruler of Milan, Burgundy, and the Royal Monastery of San Lorenzo.
He supported artists in Spain for more than half a century.
The plan was said to be similar to grids in Italy and the Netherlands.
The Spanish navy halted the advance of Islam in the Mediterranean because of its patron saint, Lawrence, Armada.
The former Templar castle and monas were made in 1356.
The headquarters of the church were in the center of the tery.
Vignola and Palladio became the grand master of the complex after Philip asked the advice of Navigator.
The final design combined order invested their funds in the exploration of the ideas that Philip and Herrera had.
The squared cross became the emblem used on the metry, and the temple-front facade was superimposed.
The cloisters of the convent of Christ are home to one of the most beautiful, if also one of the strangest, six brothers, Diogo and Francisco.
Every surface of the castle-monastery complex is carved with architectural and natural detail to face the Old Man of the Sea.
He supports the sea.
The coral pillars support great swathes of seaweed, and the corners of the win are covered in twisted ropes.
The coral-encrusted piers lead the eye upward, revealing a emerges from the roots of a tree.
The King of Portugal commissioned the work.
The most famous painter in Spain during the last quarter of the 16th century was Domenikos Theotokopoulos, who arrived in Spain in 1577.
El Greco was trained as an icon painter in the Byzantine style in Crete under Venetian rule.
Titian's studio in Venice was where he studied Tintoretto and Veronese.
He lived in the Farnese Palace in Rome from about 1570 to 1577.
El Greco settled in Toledo, the seat of the Spanish archbishop, after meeting Spanish church officials in Rome.
Philip II, a great patron of the Venetian painter Titian and a collector of Netherlandish artists such as Bosch, disliked the painting he had commissioned from El Greco for the Escorial and never again gave him work.
El Greco was a member of the humanist scholars in Toledo.
He wrote that the artist's goal should be to copy nature, that Raphael relied too heavily on the ancients, and that the Italians used mathematics to achieve ideal proportions.
An intense religious revival was underway in Spain, expressed in the preach cross of the Order of Christ, as well as in the poetry of the two wall of the chapel.
The armillary sphere was a symbol of the era.
The new scientific theory that the Sun is a teaching device for the rich colors and loose brushwork of Vene was reflected in El Greco's complex form of a celestial globe, with the sun at the center style--rooted in Byzantine icon painting and strongly surrounded by rings marking the paths of
In 1586, the priest of Santo Tome commissioned a painted altarpiece from signals of his determination to make Portugal the leader in El Greco to honor Count Orgaz.
India and Brazil were reached by the Portuguese.
His soul was seen ascending to heaven as he was buried in Northern Europe and the Iberian Peninsula.