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Lady wearing a Cross
Oil on canvas. Ca. 1567
Mor, Anthonis
Lady wearing a Cross
Oil on canvas. Ca. 1567
Mor, Anthonis

Figura de más de medio cuerpo, en pie; lleva cruz de pedrería al cuello, pendiente de un collar de chatones, rubíes y perlas; diadema de pedrería; cuello y puños, de puntas; mangas de color gris verdoso con adornos dorados y rojos.

Lady with Gold Chains
Oil on canvas. Ca. 1560
Mor, Anthonis
Lady with Gold Chains
Oil on canvas. Ca. 1560
Mor, Anthonis

In this three-quarter length standing portrait, the unknown lady is wearing a rich, slashed dress with loose sleeves in the Turkish fashion, decorated with gold brocade; the dress is adorned with the gold chains which give the portrait its title. Her face is highlighted against the dark background, and she gazes directly at the viewer, as in all Mor’s portraits.

Empress Maria of Austria, Wife of Maximilian II
Oil on canvas. 1551
Mor, Anthonis
Empress Maria of Austria, Wife of Maximilian II
Oil on canvas. 1551
Mor, Anthonis

Maria of Austria, the daughter of Charles V and Isabella of Portugal, was born in 1528. In 1548 she married her cousin, the Archduke Maximilian. She reigned as empress from 1564 to 1576, and in 1580 returned to Spain, entering the convent of Las Descalzas Reales (Madrid), where she remained until her death in 1603. This is a companion piece to a lifesize, full-length portrait of her husband (P-211

Catherine of Austria, Wife of King John III of Portugal
Oil on panel. 1552 - 1553
Mor, Anthonis
Catherine of Austria, Wife of King John III of Portugal
Oil on panel. 1552 - 1553
Mor, Anthonis

Born in 1507 after the death of her father, Felipe el Hermoso, the younger sister of Carlos V married Juan III of Portugal in 1525 and died in 1578. Gifted with an energetic character, she took on the regency of Portugal in the name of her under-aged grandson, Sebastián. Mor painted this more than half-length portrait during his stay in Portugal. It shows the queen standing next to a table,

Portrait of a Lady
Oil on canvas. Ca. 1538
Mor, Anthonis
Portrait of a Lady
Oil on canvas. Ca. 1538
Mor, Anthonis

Atribuido a Antonio Moro, carece de inscripciones o de un escudo que permita identificar a esta dama joven, retratada por el pintor de Utrecht con el porte que corresponde a la nobleza de su cuna como en todos sus retratos. La muestra de pie y de más de medio cuerpo, en posición de tres cuartos. Como en otras ocasiones, la dirección de la mirada, desviada de la de la cabeza, no se dirige frontalme

Perejón, Buffoon of the Count of Benavente and of the Grand Duke of Alba
Oil on canvas. Ca. 1560
Mor, Anthonis
Perejón, Buffoon of the Count of Benavente and of the Grand Duke of Alba
Oil on canvas. Ca. 1560
Mor, Anthonis

The doubts that existed regarding the dating of this work were increased when the sitter was identified. He is documented from 1544 in the accounts of Prince Philip (later Philip II) as Pero Hernández de la Cruz, known as Perejón, one of the two ‘Pericos’ whose role at Court was to amuse the prince. The inventory of the Alcázar in Madrid of 1636 confirms this identification th

Margaret, Duchess of Parma / Mary of Portugal, Wife of Alessandro Farnesse
Oil on panel. After 1565
Mor, Anthonis
Margaret, Duchess of Parma / Mary of Portugal, Wife of Alessandro Farnesse
Oil on panel. After 1565
Mor, Anthonis

On the diptych’s left door, Mor portrays Alexander Farnese’s mother, who was Charles V’s illegitimate daughter by Juana van der Gheyst. Born in Audenarde in 1521, she died in Ortonna in 1586 after marrying twice in the emperor’s interest. Her first husband was Alexander of Medici, and after his death, she married Octavius Farnese, Duke of Parma. Following her second husband’s death, she was appoin

Jane Dormer, Duchess of Feria (?)
Oil on canvas. Ca. 1558
Mor, Anthonis
Jane Dormer, Duchess of Feria (?)
Oil on canvas. Ca. 1558
Mor, Anthonis

Anthonis Mor established an elegant portrait type in which the sitter gazes steadily out at the viewer, a model that was followed by several other artists. This half-length painting of a standing woman resting her left hand on a table is a fine example of such works. Some critics believe the lady to be Jane Dormer, wife of the 1st Duke of Feria.

Mary Tudor, Queen of England, Second Wife of Philip II
Oil on panel. 1554
Mor, Anthonis
Mary Tudor, Queen of England, Second Wife of Philip II
Oil on panel. 1554
Mor, Anthonis

In 1604 in his biography of Mor, Karel van Mander referred to the artist’s trip to London in 1554, where he was sent on the orders of Charles V to paint Mary Tudor (1516–1558), and to the success of the resulting work.1 The queen is depicted seated, almost full-length, following Raphael’s portrait of Julius II of 1512 (London, National Gallery), and that of Juana of Aragon of 1518 (Paris, Mus&eacu

Portrait of a Seated Woman
Oil on panel. 1565
Mor, Anthonis
Portrait of a Seated Woman
Oil on panel. 1565
Mor, Anthonis

The fact that the sitter is facing left, and has a little dog -a symbol of marital faithfulness- on her lap suggests that this portrait is one of a pair; the unidentified pendant would have depicted her husband. Dressed in the Flemish fashion of the 1560s, she occupies almost all vibrantly-lit space. Posed at an angle, her face is turned towards the viewer, at whom she gazes. This kind of bourgeoi

Joanna of Austria, sister of King Philip II of Spain
Oil on canvas. 1560
Mor, Anthonis
Joanna of Austria, sister of King Philip II of Spain
Oil on canvas. 1560
Mor, Anthonis

Joanna of Austria (1535-73) was the daughter of Emperor Charles V, and sister of King Philip II of Spain. In 1552, she married her first cousin, the Portuguese Prince John Manuel (Joao Manuel). The prince died in January 1554, days before Joanna gave birth to their son, Sebastian, who would become King of Portugal from 1568 to 1578. In July 1554, Joanna returned to Spain to serve as regent in the

Lady with the Jewel
Oil on panel. Ca. 1552
Mor, Anthonis
Lady with the Jewel
Oil on panel. Ca. 1552
Mor, Anthonis

In the eighteenth century this unidentified lady was thought to be the Empress Isabel, wife of Carlos V. She was later groundlessly associated with Maria of Portugal, whom Mor portrait in 1552 while she was engaged to Felipe II. The latter broke off the engagement to marry Mary Tudor. This more than half-length portrait is of great technical quality. The feminine face, with its reserved expression

Emperor Maximilian II
Oil on canvas. 1550
Mor, Anthonis
Emperor Maximilian II
Oil on canvas. 1550
Mor, Anthonis

The son of Ferdinand of Austria, then King of Romans and next emperor (1556-1564) of the Germanic Holy Roman Empire, and his wife Anna Jagellonica, queen of Hungary and Bohemia, was born in Vienna on 1 August 1527. He was educated in Spain alongside his cousin, the future Philip II, and from an early age practiced the profession of arms, later on entering combat on the side of Emperor Charles V (1

Philip II
Oil on panel. 1555 - 1558
Mor, Anthonis
Philip II
Oil on panel. 1555 - 1558
Mor, Anthonis

Philip II, the son of Charles V and Isabella of Portugal, was born in 1527. He married four times, and was king of Spain from 1556 until his death in 1598. This small painting was a study for a portrait of the young king, and must have been produced before 1557. Mor portrays the king with the impassive gaze, and the detached, majestic bearing found in all his portraits.

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