![]() ![]() Charles V spent more on tapestries than paintings (like his contemporary Henry VIII), and commissioned them throughout his life, continuing the family tradition, and reflecting common royal preferences at the time. Her collection included the Arnolfini Portrait by Jan van Eyck, which left the collection in the Napoleonic Wars and is now in the National Gallery, London.Īll of these additions from the Low Countries were probably valued more for their tapestries than their paintings. 1530), also governor of the Netherlands and a keen collector, though mostly of contemporary Netherlandish paintings. ![]() Charles V was also the heir of his great-aunt Margaret of Austria (d. Her legacy included the Deposition of Christ by Rogier van der Weyden (Prado), by then over a century old. ![]() ![]() She was a keen collector whose heir was Philip II. The Early Netherlandish paintings were further reinforced in 1558 on the death of Charles V's sister, Mary of Hungary, shortly after her retirement as governor of the Netherlands. The collection includes those parts taken to Spain in the 16th century of the collection of the Valois Dukes of Bugundy, whose heir was Charles V. Juan was court painter for Isabella I of Castile from 1496, but all of his paintings in the Prado collection were acquired in the 20th century, Isabella's son-in-law Philip the Handsome (Charles V's father) bought the Polytych of Isabella of Castille a set of small religious paintings by Juan de Flandes that have mostly remained in the royal collection (now Royal Palace). Some pieces were bought by the family, but her husband Ferdinand was mainly interested in the tapestries, paying 524,072 for two sets of four each, and buying the Lazarus piece at a lower price. For example, a painting by Hieronymus Bosch was valued at 170 maravedis, but a tapestry of Lazarus at 150,000. 1504) were dispersed in an auction after her death, with the paintings fetching very low prices compared to the many tapestries or her jewels and even clothes. 300 paintings owned by Isabella I of Castile (d. History Įquestrian Portrait of Charles V by Titian, 1548 Charles V įew Spanish paintings are recorded in the collection that were owned before the Habsburg reigns. What is probably the world's finest collection of Renaissance Flemish tapestries is mostly displayed at the Palace of La Granja, and the collection of plate armour in the Armoury in the Royal Palace, Madrid is only rivalled by its equivalent in Vienna. Although the collection is rightly most famous for its paintings, with the Prado in Madrid holding the main collection, there are large holdings of sculpture, and most forms of the decorative arts. The collections have passed to public ownership, and a large number are on display at various locations. The enormous collections have been significantly reduced by a series of fires, losses in the Napoleonic Wars and to a lesser extent the Spanish Civil War, and diplomatic gifts. Royal patronage was also used to develop other arts and crafts in Spain in the 18th century, for example the Real Fábrica de Cristales de La Granja produced luxury glass products. As a young man, Goya executed a number of tapestry designs for use in the royal palaces. With the loss of the Low Countries as a result of the Peace of Utrecht, the Spanish crown developed tapestry manufacture in Madrid to avoid the need for imports of these luxury items. In early periods the scattered Spanish possessions included the important artistic centres of Milan, Naples and the Low Countries. In addition, at various periods, especially in the 16th and 17th centuries, the monarchs bought paintings abroad on a significant scale, especially in Italy, but also the Spanish Netherlands and France. Foreign artists were often imported, although even in the 16th century the most successful were often reluctant to go to Spain, partly because they feared they would never be allowed to leave. The royal family were the most important patrons of Spanish art throughout this period, although some important artists including El Greco, Jusepe de Ribera, and Zurbaran were little patronised. They included a number of kings with a serious interest in the arts, who were patrons of a series of major artists: Charles V and Philip II were patrons of Titian, Philip IV appointed Velázquez as court painter, and Goya had a similar role at the court of Charles IV. The Spanish royal collection of art was almost entirely built up by the monarchs of the Habsburg family who ruled Spain from 1516 to 1700, and then the Bourbons (1700–1868, with a brief interruption). A posthumous portrait of Maria Isabel of Portugal in front of the Prado ![]()
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