#anthonismor

[peoplematchingartworks]

[aic-european]

Portrait of a Seated Woman, Anthonis Mor, 1560, Art Institute of Chicago: European Painting and Sculpture

Anthonis Mor, who worked in both Spain and the Netherlands, was the court painter to Philip II, the king of Spain and hereditary ruler of the Low Countries. In his pictures of princely sitters, Mor brilliantly exploited the conventions of the full-length standing portrait to convey power and controlled reserve. He used a seated three-quarter-length format for sitters who did not belong to the nobility, making them appear more approachable. The woman represented here, and ther husband, who portrait is now in the North Carolina Museum of Art, Raleigh, probably belonged to the merchant elite of Antwerp. Her cap and braid-trimmed bodice accord with Flemish, rather than Spanish, fashion. Edward E. Ayer Fund Size: 121.8 × 88.8 cm (48 × 34 15/16 in.) Medium: Oil on panel, mounted on aluminum sheet

https://www.artic.edu/artworks/40599/

[italianoldmasters-jlvieites]

Portraits of Sir Thomas Gresham and Wife

Portraits of Sir Thomas Gresham and Anne Fernely, (detail) c.1560-65. Oil on panel, 90 cm x 75.5 cm. (his), and 88 x 75.5 cm, oil on panel transferred to canvas (hers) Rijksmuseum, Amsterdam. Anthonis Mor van Dashorst, (Utrecht, c.1520-1578). He was one of the leading Netherlandish portraitist and his worked was to be seen in several European courts (he was both King Charles V’s and his son Philip II’s court painter in Spain). He probably initiated his painting career under the supervisión of the painter Jan van Scorel in Utrecht. It is in 1547 when he became a member of the guild of painters in Antwerp being, some time later, one of Cardinal Granvelle’s patronees in the city of Arras. A widely travelled artist whose knowledge was to be highly acclaimed by his patrons. One of England’s most active merchants in the Netherlands during his time and founder of the Royal Exchange and of Gresham College, London, Sir Thomas Gresham (1519-1579). In both paintings, Sir Thomas and his wife, Anne Fernely, appeared depicted expensively dressed in agreement with their social status.

Gresham (renowned for Gresham's law "Bad money drives out good money") was painted with his wife Lady Anne Fernely (c.1520-1596). Neither of the portraits are signed but the attribution to Mor is not doubted and dates from 1792. The Rijksmuseum bought these two portraits from the Soviet Union in 1931 where they had been hung in the Hermitage since 1838. The painting was transferred from wood to canvas. This explains why on the surface of the painting typical craquelures of a panel painting as well as the knots of a canvas can be seen. The result of the last restoration was that an elegant appearance in both paintings is there to be appreciated by the viewers. Jesús Lorenzo Vieites

[rijksmuseum-art]

Portraits of Sir Thomas Gresham and Anne Fernely by Anthonis Mor, Museum of the Netherlands

Sir Thomas Gresham (1519–1579) was the leading English merchant in Antwerp and also the English king’s financial agent in the Low Countries. He and his wife, Anne Fernely, are expensively, yet soberly dressed. Their status is also evident in their choice of painter: Anthonis Mor was one of the preeminent portraitists of his day and court painter to the Spanish king.

https://www.rijksmuseum.nl/nl/collectie/SK-A-3118

[aic-european]

Portrait of a Court Lady, Anthonis Mor, 1565, Art Institute of Chicago: European Painting and Sculpture

Gift of Chester Dale Size: 95.8 x 77 cm (37 3/4 x 30 5/16 in.) Medium: Oil on canvas

https://www.artic.edu/artworks/75974/

[aic-european]

Portrait of a Court Lady, Anthonis Mor, 1565, Art Institute of Chicago: European Painting and Sculpture

Gift of Chester Dale Size: 95.8 x 77 cm (37 3/4 x 30 5/16 in.) Medium: Oil on canvas

https://www.artic.edu/artworks/75974/

[aic-european]

Portrait of a Seated Woman, Anthonis Mor, 1560, Art Institute of Chicago: European Painting and Sculpture

Anthonis Mor, who worked in both Spain and the Netherlands, was the court painter to Philip II, the king of Spain and hereditary ruler of the Low Countries. In his pictures of princely sitters, Mor brilliantly exploited the conventions of the full-length standing portrait to convey power and controlled reserve. He used a seated three-quarter-length format for sitters who did not belong to the nobility, making them appear more approachable. The woman represented here, and ther husband, who portrait is now in the North Carolina Museum of Art, Raleigh, probably belonged to the merchant elite of Antwerp. Her cap and braid-trimmed bodice accord with Flemish, rather than Spanish, fashion. Edward E. Ayer Fund Size: 121.8 × 88.8 cm (48 × 34 15/16 in.) Medium: Oil on panel, mounted on aluminum sheet

https://www.artic.edu/artworks/40599/

[rijksmuseum-art]

Portrait of Philippe de Montmorency, Count of Hoorne, Admiral of the Netherlands, Member of the Council of State by Anthonis Mor, 1561, Museum of the Netherlands

Philips van Montmorency, 1524-1568, graaf van Hoorne, heer van Weert. Oude copie naar het verloren origineel door Antonio Moro. Gedateerd 1562. De graaf van Hoorne maakte sinds 1540 deel uit van het hof in Brussel. Hij was stadhouder van Gelder en Zutfen van 1550 tot 1560. In 1559 commandeerde hij als admiraal de vloot die Philips II naar Spanje terugbracht. Met Oranje, Egmond en anderen richtte hij in 1562 de Liga der hoge edelen op, die gericht was tegen de groeiende invloed van de op Spanje ingestelde Granvelle en de dreigende invoering der inquisitie. Hij was tolerant tegen de hervormden en trachtte in 1566 na de Beeldenstorm in Doornik te bemiddelen. Hij werd daarop genoopt zijn functies neer te leggen, maar bleef trouw aan de regering. Op 9 september 1567 maakte Hoorne zijn opwachting bij Alva, die hem samen met Lamoraal Graaf van Egmond liet arresteren. Na een proces werden beiden op 5 juni 1568 op de Grote Markt te Brussel onthoofd.