Alonso Sánchez Coello is most famous for his portraiture. As court painter to Philip II, he gave the art form an expression that was long considered characteristically Spanish. Born in 1531/32 near Valencia, Spain, Sánchez Coello moved to Portugal at the age of 10. King John III recognized the young art student's talent and financed his stay in Flanders, where he worked for Cardinal Granvela from 1550 and studied with the Dutchman Antonio Moro. In 1552 he returned to the Portuguese court and worked for about two years for the heir to the throne, John Manuel. When, after his death, his widow returned to Spain to take over the regency for her brother Philip II, Sánchez Coello worked for the Infante Don Carlos in the residence city of Valladolid. In 1559 Philip II returned to Spain, but his previous court painter, Antonio Moro, left the country for fear of the Inquisition. Sánchez Coello followed his teacher to the post of court painter and eventually took up residence in Madrid with the king, who also became his confidant. A tremendous success, since until then the Spanish court had always preferred foreign artists.
From this point on, portrait painting at the court was in Spanish hands. Sánchez Coello created mostly three-quarter and full-length portraits of the royal family during his time as court painter. The format and expression of the courtly lifestyle found in the portraits met the representational needs of the king and nobility. It was no coincidence that many such portraits were sent to other courts, where they strengthened existing ties and underscored the ruler's claim to power. The first portrait that can be safely attributed to Sánchez Coello is the portrait of the Infante Don Carlos. The Infanta Isabella Clara Eugenia was portrayed by the painter several times, as was her sister Catherine Michaela. His good relationship with Anne of Austria was also reflected in a portrait, and the only surviving portrait of Philip II is also by him. In addition to the many portraits, Sánchez Coello also created some religious works such as the "Marriage of Saint Catherine" (El Escorial) or "Sebastian with Christ and Mary" in San Geronimo in Madrid.
His religious paintings do not stand out further. They conform to the conventions of the time and are well executed in terms of craftsmanship. His portraits, on the other hand, have given this art form a distinction that would be considered typically Spanish until Velazques. The influences of his teacher Antonio Moro are just as recognizable as the impression Titian made on him. But the dignified seriousness of the representation, the warm colors, the lightness of the pose as well as the excellent technical execution testify to the independent talent of the painter, who captured the formality and modesty of the Spanish court in an exemplary manner. With his death in 1588, a number of students took over his artistic legacy.
Alonso Sánchez Coello is most famous for his portraiture. As court painter to Philip II, he gave the art form an expression that was long considered characteristically Spanish. Born in 1531/32 near Valencia, Spain, Sánchez Coello moved to Portugal at the age of 10. King John III recognized the young art student's talent and financed his stay in Flanders, where he worked for Cardinal Granvela from 1550 and studied with the Dutchman Antonio Moro. In 1552 he returned to the Portuguese court and worked for about two years for the heir to the throne, John Manuel. When, after his death, his widow returned to Spain to take over the regency for her brother Philip II, Sánchez Coello worked for the Infante Don Carlos in the residence city of Valladolid. In 1559 Philip II returned to Spain, but his previous court painter, Antonio Moro, left the country for fear of the Inquisition. Sánchez Coello followed his teacher to the post of court painter and eventually took up residence in Madrid with the king, who also became his confidant. A tremendous success, since until then the Spanish court had always preferred foreign artists.
From this point on, portrait painting at the court was in Spanish hands. Sánchez Coello created mostly three-quarter and full-length portraits of the royal family during his time as court painter. The format and expression of the courtly lifestyle found in the portraits met the representational needs of the king and nobility. It was no coincidence that many such portraits were sent to other courts, where they strengthened existing ties and underscored the ruler's claim to power. The first portrait that can be safely attributed to Sánchez Coello is the portrait of the Infante Don Carlos. The Infanta Isabella Clara Eugenia was portrayed by the painter several times, as was her sister Catherine Michaela. His good relationship with Anne of Austria was also reflected in a portrait, and the only surviving portrait of Philip II is also by him. In addition to the many portraits, Sánchez Coello also created some religious works such as the "Marriage of Saint Catherine" (El Escorial) or "Sebastian with Christ and Mary" in San Geronimo in Madrid.
His religious paintings do not stand out further. They conform to the conventions of the time and are well executed in terms of craftsmanship. His portraits, on the other hand, have given this art form a distinction that would be considered typically Spanish until Velazques. The influences of his teacher Antonio Moro are just as recognizable as the impression Titian made on him. But the dignified seriousness of the representation, the warm colors, the lightness of the pose as well as the excellent technical execution testify to the independent talent of the painter, who captured the formality and modesty of the Spanish court in an exemplary manner. With his death in 1588, a number of students took over his artistic legacy.
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