Spanish Art and Architecture Midterm

Mezquita of Córdoba / Great Mosque of Córdoba

786; Umayyad mosque. Red-white arches, columns, ornate mihrab.

Alcazaba of Málaga

11th-century Islamic fortress-palace. Walls, towers, courtyards, pools.

Real Alcázar of Seville / Palace of Pedro I

14th-century Mudéjar palace. Islamic ornament for Christian royalty.

Alhambra of Granada

Nasrid palace-city. Geometric tiles, muqarnas, slender columns, reflecting pools.

Hagia Sophia

532-537; Byzantine church. Central dome; later Islamic minarets.

The Surrender of Granada

Pradilla, 1882. Boabdil surrenders Granada; later historical reconstruction.

The Family of Boabdil Leaving the Alhambra

Gómez-Moreno, c.1880. Departing Nasrid family; loss and exile.

Columbus Before the Queen

Leutze, 1843. Columbus before royalty; overseas expansion.

Royal Pantheon of San Isidoro, León

Romanesque royal tombs, 11-12th century, Painted vaults; biblical scenes and agricultural calendar.

Annunciation to the Shepherds / Angelus Pastores, Isidoro Pantheon

Romanesque fresco, 12th century. Angel, shepherds, animals; bold outlines and simplified figures.

Christ in Majesty (St. John's Apocalypse Pantocrater) at the Royal Pantheon of San Isidoro

Romanesque fresco. 11th century. Frontal Christ, mandorla, Christ and the Apostles, signs of the Zodiac and a pictorial calendar depicting agricultural activities related to each month; divine authority.

Apse of Sant Climent de Taüll

Master of Taüll, c.1123; Romanesque. Frontal Christ, mandorla, bold colors.

Apse of Santa Maria d'Àneu

Romanesque apse. Depicts Mary, angels, strong outlines

Altar Frontal from Durro

12th-century Romanesque panel. Martyrdom scenes, flattened figures, strong outlines.

Batlló Majesty / Majestat Batlló

12th-century Romanesque crucifix. Clothed, upright Christ; triumph over death.

Altar Frontal from Avià

c.1200; Romanesque panel. Enthroned Virgin, infancy scenes, Byzantine modeling.

Esquius Altar Frontal

12th-century Romanesque panel. Central Christ, mandorla, symmetrical apostles.

Adoration of the Magi capital, Santa María de Piasca

Romanesque capital. Magi narrative adapted to architectural support. 3 wise men.

Santa María Magdalena, Zamora

12th-century Romanesque. Massive walls, semicircular apse, recessed decorated door with polylobed arches and archivolts.

Santa Maria de Ripoll

12th-century Romanesque. illustration of Christian victory, biblical scenes

San Pedro de Cervatos

Romanesque church. Round arches and semicircular apse

Santiago de Compostela Cathedral

1075-1211; Romanesque pilgrimage cathedral. Latin cross, ambulatory, sculpted portal.

Pórtico de la Gloria, Santiago de Compostela.

Master Mateo (1168-1188), marks both the culmination and the end of Romanesque sculpture

San Nicolás de los Servitas, Madrid

Romanesque Mudéjar brick tower. Blind arches, Islamic-derived craftsmanship.

Atalaya de la Corte / tower of San Salvador, Madrid

Romanesque Madrid tower. Demolition photographed in 1868.

San Pedro el Viejo, Madrid

Medieval Romanesque Mudéjar brick tower; later church alterations.

San Andrés, Madrid

Romanesque foundation; surviving ornate chapel and dome reflect rebuilding.

San Jerónimo el Real, Madrid

Late Gothic royal church. Pointed openings, buttresses, verticality.

Ávila Cathedral

12th-century early Gothic. Fortified mass; Romanesque-Gothic transition.

Tarragona Cathedral / Cathedral of Santa Tecla

Romanesque-Gothic transition. Massive walls, pointed portal, rose window.

Seu Vella, Lleida

Pere de Coma; 13th century, transitional cathedral. Monumental portals, rose windows.

Pont del Bisbe, Barcelona

Rubió, 1928; Neo-Gothic bridge. Pointed arches, elaborate tracery.

Barcelona Cathedral

Begun 1298; Gothic interior, later Neo-Gothic façade.

Santa Maria del Pi, Barcelona

Catalan Gothic. Broad single nave, restrained ornament, monumental rose window.

Santa Maria del Mar, Barcelona

Montagut; Catalan Gothic. Slender octagonal piers, unified open space.

Altar frontal with Christ in Majesty and four apostles, Sant Climent de Gréixer

c.1300; early Gothic. Central Christ, apostles, hierarchical scale.

Annunciation, Nativity, Dormition and Coronation of the Virgin, Museu Nacional d'Art de Catalunya in Barcelona

c.1295; early Gothic. Four compartments narrate Mary's life.

Majesty of All

13th-century painted wooden crucifix. Frontal Christ; sacred authority.

Madonna and Child, anonymous wooden sculpture

13th-century wooden sculpture. Frontal Virgin and Child; sacred hierarchy.

Panels with scenes of the Martyrdom of Saint Lucy

c.1300; Gothic panels. Martyrdom episodes, bold outlines, religious instruction.

Panel of Saint Ursula

c.1300; early Gothic. Central Ursula surrounded by narrative scenes.

Saint Ursula and the Eleven Thousand Virgins

Reixac, 1468; Gothic. Gilded setting, richly dressed virgin martyrs.

Toledo Cathedral

Begun 1226-1227; Gothic. Multiple aisles, ribbed vaults, double ambulatory.

Burgos Cathedral

Begun 1221; Gothic. Verticality, rose window, later spires.

Door of the Clock, Toledo Cathedral

Oldest Gothic door of the Toledo Cathedral, features the Virgin Mary holding the Christ Child.

Door of Forgiveness, Toledo Cathedral

Early-to-mid 14th century, Gothic style, tympanum depicts Virgin Mary bestowing a chasuble upon Saint Ildefonso

León Cathedral

13th-century Gothic. Skeletal supports, extensive stained glass, luminous interior.

Alcázar of Segovia

Fortified gothic royal palace. Elevated site, massive tower, projecting turrets.

Features of Spanish Gothic architecture

ornamented choir enclosure, stained glass, buttresses, ribbed vaulting, central naves

Altarpiece of the Lives of the Virgin and Saint Francis

Nicolás Francés, 1445-1460; International Gothic. Gold, tracery, devotional narratives.

Altarpiece of the Holy Cross / Retablo de la Santa Cruz

Alcanyís; Valencian Gothic. Holy Cross narratives, ornate panel framework.

Madonna and Child on a Throne, Gonçal Peris

1410-1420; Valencian Gothic. Enthroned Virgin, gold, elegant contours.

Valencia Cathedral

Gothic core; pointed portals, tracery, later architectural additions.

Seville Cathedral

Late Gothic cathedral. Vast ribbed interior; Giralda preserves Islamic origins.

The Virgin of the Catholic Monarchs

1491-1493; late gothic (Hispano-Flemish). Kneeling king Ferdinand and Queen Isabella; devotion legitimizes royalty.

Portrait of Alexander VI, Pedro Berruguete

1492-1503, Early Renaissance, red clothing, gold background; ecclesiastical authority (and psychological representation of Pope Alexander)

Annunciation, Pedro Berruguete

1505, Gothic-Renaissance transition. Receding interior, modeled figures, rich ornament.

Resurrection, Pedro Berruguete

c.1490. Risen Christ, tomb, guards; victory over death.

Madonna and Child, Pedro Berruguete

c.1480-1500. Modeled faces, detailed fabrics, maternal intimacy.

Madonna of the Milk, Pedro Berruguete

c.1500. Nursing Virgin; Incarnation and Christ's humanity.

Adoration of the Magi Triptych, Hieronymus Bosch

Bosch, c.1494; Netherlandish. Magi, ruined shelter, donor wings.

The Haywain / The Hay Cart

Bosch; Netherlandish triptych. Hay wagon, greedy crowds; worldly temptation.

The Garden of Earthly Delights

Bosch, 1490-1500. Eden, earthly pleasure, Hell; sin's consequences.

Isabella I of Castile, Juan de Flandes

Represents Spanish political ambition, marking the cultural and economic rise of the Spanish Empire. White headdress, restrained royal naturalism.

Portrait of an Infanta, Catherine of Aragon (?)

Juan de Flandes, c.1496.

Portrait of Joanna I of Castile

Juan de Flandes. Modeled face, dynastic portraiture.

Portrait of Philip I / Philip the Handsome

Juan de Flandes. Habsburg succession.

Annunciation, Juan de Flandes

Netherlandish naturalism. Gabriel, dove, lilies, precise interior.

Raising of Lazarus / Resurrection of Lazarus

Juan de Flandes. Lazarus emerges; spatial depth, varied reactions.

Salome, Juan de Flandes

Detailed interior, Baptist's head, narrative gestures; martyrdom.

Adoration of the Magi, Juan de Flandes

Detailed robes, individualized faces, architectural depth; Netherlandish naturalism.

Salome, Alonso Berruguete

c.1514. Isolated Salome, severed head, uneasy pose; psychological tension.

Saint Sebastian, Alonso Berruguete

1526-1532, Mannerist wooden sculpture. Twisting martyr, elongated limbs, painted surfaces.

Sacrifice of Isaac, Alonso Berruguete

1526-1532, Mannerist sculpture. Abraham and Isaac; twisting bodies, emotional urgency.

Ecce Homo, Alonso Berruguete

1526, Painted devotional sculpture. Humiliated Christ; vulnerability invites compassion.

Adoration of the Magi relief, Alonso Berruguete

1526-1532, Gilded relief. Crowded figures, twisting bodies, energetic drapery.

Plateresque

roughly 1480 to 1560, Late Gothic/Early Renaissance Spain, richly ornamented, little regard for structural articulation, twisted columns, heraldic escutcheons, and sinuous scrolls

Self-Portrait at the Easel, Sofonisba Anguissola

1556; Renaissance. Artist painting Madonna; professional skill and respectability.

The Chess Game

Anguissola, 1555. Sisters playing chess; intelligence, education, family intimacy.

Bust-Length Self-Portrait, Sofonisba Anguissola

c. 1558, Renaissance self-portrait. Restrained dress, direct gaze; cultivated identity.

Elisabeth of Valois, Sofonisba Anguissola

c.1561–1565. Court portrait. Elaborate dress, jewels, composure; royal dignity.

Philip II, Sofonisba Anguissola

1565/1573. Dark dress, controlled pose; restrained Habsburg authority.

Boy Blowing on an Ember to Light a Candle

El Greco, c.1571-1572. Ember-lit face; dramatic light models volume.

The Nobleman with his Hand on his Chest

El Greco, c.1580; Mannerism. Black dress, elongated hand, dignity.

Laocoön, El Greco

c.1610; Mannerism. Elongated nudes, serpents, Toledo; visionary classical tragedy.

Saint Sebastian, El Greco (two versions)

c. 1610 - 1614. Mannerism. Arrow-pierced martyr, upward gaze, elongated anatomy; spiritual endurance.

The Burial of the Count of Orgaz

El Greco, 1586-1588. Earthly burial, visionary heaven; intercession and salvation.

Christ, Toledo apostle series

El Greco; c.1610-14, Mannerism. Blessing Christ, luminous drapery; spiritual authority.

Opening of the Fifth Seal / Vision of Saint John

El Greco; 1608-14, Mannerism. Raised arms, elongated martyrs; apocalyptic vision.

Annunciation, El Greco

c.1609, Mannerism. Mary, Gabriel, supernatural light; elongated forms, turbulent space.

Adoration of the Shepherds, El Greco

El Greco, 1612-1614. Radiant infant, elongated worshipers; Incarnation.

Saint Francis of Assisi, El Greco

c.1580; Mannerism. Rough habit, elongated form; humility and devotion.

Saint George and the Dragon

Rubens, 1605-1607; Baroque. Muscular movement, diagonals; victory over evil.

ancient Laocoön and His Sons

Ancient marble, rediscovered 1506. Serpents, twisting bodies, dramatic suffering.

The Creation of Adam

Michelangelo; c.1508-12, Renaissance fresco. Nearly touching hands, idealized human anatomy.

The Last Judgment

Michelangelo, 1536-1541. Judging Christ, turbulent muscular bodies; spiritual tension.

The School of Athens

Raphael, c.1509-1511. Philosophers, balanced classical architecture; humanism.

The Birth of Venus

1484-86, Botticelli; Renaissance. Venus on shell; mythology and idealized beauty.

Vitruvian Man

Leonardo, c.1490. Body within circle and square; classical proportion.