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Antonis Mor

January 01, 1970

Anthonis Mor, also known as Anthonis Mor van Dashorst and Antonio Moro (c. 1517 – 1577), was a Netherlandish portrait painter, much in demand by the courts of Europe. He has also been referred to as Antoon, Anthonius, Anthonis or Mor van Dashorst, and as Antonio Moro, António Mouro, Anthony More, etc., but signed most of his portraits as Anthonis Mor.[1]

Anthonis Mor
Self-portrait (1558) at the Uffizi
Born
Anthonis Mor

c. 1517
Utrecht, Bishopric of Utrecht
Died1577 (aged 60)
Antwerp, Duchy of Brabant
NationalityDutch
Known forPainting
MovementHigh Renaissance

Mor developed a formal style for court portraits, largely based on Titian, that was extremely influential on court painters across Europe, especially in the Iberian Peninsula, where it created a tradition that led to Diego Velázquez. It can include considerable psychological penetration, especially in portraits of men, but always gives the subject a grand and self-possessed air.

Early life and education edit

Mor was born in Utrecht, Netherlands, by some estimation between 1516 and 1520. Little is known about his early life, except that his artistic education commenced under Jan van Scorel. His earliest known work is a portrait which is now in a collection in Stockholm, dated 1538.[2]

Painting career edit

 
Portrait of Granvelle.

A group of Knights of St. John at Utrecht, supposed to have been painted about 1541; and a picture of two pilgrims at the Gemäldegalerie, Berlin, dated 1544; and the portrait of an unknown woman, in the Lille gallery, were probably among his earliest works. Their authenticity has not been established.[citation needed]

Antwerp edit

 
Portrait of Queen Mary I of England, 1554.

In 1547 Mor was received as a member of the Venerable Guild of St. Luke at Antwerp, and shortly afterwards (about 1548) he attracted the attention of Cardinal Granvelle, Bishop of Arras, who became his steady patron. Of the portraits executed during the early period of his career as Granvelle's protege, two are especially notable: one of the bishop himself (in the imperial gallery in Vienna), and one of the Duke of Alba, which now belongs to the Hispanic Society of New York. Between 1549 and 1550 Prince Philip II of Spain (1527–1598) traveled around the Netherlands to present himself as the future ruler. Mor painted his portrait in Brussels in 1549. He probably visited Italy (when exactly is not known), where he copied some works by Titian, notably the Danaë.[citation needed]

Portugal edit

In the middle of 1550 Mor left for Lisbon with a commission from Mary of Hungary to portray the Portuguese branch of the family. Mor probably traveled via Valladolid, where he painted the portraits of Maximilian II and his wife Maria of Austria, their daughter Anna and the son of Philip II of Spain, Don Carlos. In Lisbon, Mor portrayed King John III, Queen Catharine, Prince João Manuel and Philip II’s future wife, Princess Maria of Portugal. Little more is known about Mor's stay in Portugal, but he was definitely back in Brussels by November 1553.[citation needed]

England edit

After the sudden death of the king of England, Edward VI, in July 1553, the Spanish king Charles V now saw the possibility of an alliance between Spain and England. The engagement between Philip and his Portuguese princess was broken and negotiations started for a marriage with the successor to the English throne, Mary Tudor. During these negotiations, Mor was sent to England to paint a portrait of Mary, but the exact date of the painting is unknown. This portrait was much appreciated in England and Mor made at least three versions, which became much the best-known likeness of the queen (Prado, Marquess of Northampton). On 20 December 1553, Philip officially appointed Mor as painter in his service.[3]

Brussels / Utrecht edit

In October 1555, Charles V abdicated from the throne. During the ceremonies and festivities surrounding the coronation of his son Philip as king of Spain, Mor would have received many commissions for paintings. Unfortunately, many of these paintings are lost or only known through copies.

Mor was very productive after Philip's ascension to the throne, and produced some of his most important portraits in this period, such as the portrait of Prince William I of Orange (William the Silent) (1555), the portrait of Alessandro Farnese (1557) and a new portrait of Philip II. Other important works from this period include the portrait of Jane Dormer (1558), the portraits of Jean Lecocq and his wife (1559), and the portrait of Jan van Scorel (1559), which was at a later time to be hung at his tomb and now belongs to the Society of Antiquaries (London). Following the death of Mary Tudor in 1558, King Philip was remarried in June 1559 to Isabella de Valois, whom Mor portrayed ca. 1561. This portrait appears to have been lost. Also from this period dates the only known self-portrait of Mor, now in the Uffizi Gallery, and one of his (presumed) wife, now in the Prado (see image gallery below).[citation needed]

The Spanish Court edit

It seems likely that Mor accompanied King Philip on his return to Spain in 1559. That Mor stayed at the Spanish court is confirmed by the letters which Philip regularly sent to Mor after he had left again in 1561. In his letters, Philip requested Mor's return to court several times, but the painter never complied with his repeated requests. Among the works which Mor supposedly painted in Spain are the Portrait of Juana of Austria and the Portrait of Don Carlos. A much-praised work from this period is the Portrait of Pejerón, the fool of the Earl of Benavente and the Duke of Alba. There has been extensive speculation about the reason for Mor's departure from the Spanish court. According to Carel van Mander, Mor became too confidential with the king and this aroused the suspicion of the Inquisition. He may also have been alarmed by the increasingly repressive Counter-Reformation tenor of the Spanish court.[4] Mor's pupil Alonso Sánchez Coello continued to work in his master's style, and replaced him as the Spanish court painter.[citation needed]

Return to the Netherlands edit

 
Steven van Herwijck, Antonis Mor, medal in the National Gallery of Art

On his return to the Netherlands, Mor probably traveled back and forth between Utrecht, Antwerp and Brussels. In this period he was in regular contact with Granvelle and also worked at the Dutch court, where he portrayed Margaretha of Parma. After his return, Mor focused on the portrayal of citizens, especially of merchants and their wives in Antwerp. In addition to portraits like these (which included the Portrait of Thomas Gresham), he also painted artisans, such as the goldsmith Steven van Herwijck (1564). These works are markedly different from the paintings Mor produced for the court, showing off another side of his talent. When Granvelle returned to France and the Netherlands showed increasing social and political unrest, Mor experienced some financial hardship. His financial problems were partially solved when the Duke of Alba granted him commissions and favors. He is not known to have been in Utrecht after 24 July 1567 and from 1568 onwards Mor lived in Antwerp where, in 1572, he registered as a master with the Antwerp guild. At Antwerp he painted a Venus and Adonis for the new Stadhuis. It is possible that he visited England once again in 1568, judging from the Portrait of a Nobleman with Dog and of the Portrait of Sir Henry Lee, which have been attributed to him. In 1559 and 1562 Mor painted two portraits of Margareta of Parma. On her way to Spain, Anne of Austria spent some time in Antwerp, where she was painted by Mor in 1570. Mor's portrait of Anna is his last-known court painting, although he was still being referred to as Philip II's court painter in 1573.

Little is known about Mor's life and career after 1570. It seems likely that he lost custom, maybe as result of competition by painters such as Adriaen Thomasz. Key, Frans Pourbus the Elder (1545–1581) and Frans Floris (1519/20-1570). The last portrait attributed to Mor is the Portrait of Hubertus Goltzius, dated 1576. Toward the end of his life, Mor focused on history paintings of religious and mythological subjects, but in this field of work he would never equal his earlier success as a portrait painter. He is believed to have been working on a Circumcision for the Cathedral of Antwerp when he died in 1576.[5]

Main works edit

 
Possible portrait of Jane Dormer, c. 1558
 
Portrait of Thomas Gresham; (1560).
 
Portrait of D. João of Portugal; (1552).

Many of Mor's portraits were copied by others. Among those whose works have been confused with Mor's are Alonso Sánchez Coello, Francisco de Holanda, and Cristóvão de Morais Lopes. A large number of engravings based on his work also circulated.

NB: Some attributions and locations may be out of date.

Gallery edit

See also edit

References and sources edit

References

  1. ^ "ULAN Full Record Display (Getty Research)". www.getty.edu.
  2. ^ "Catholic Encyclopedia: Antonis Van Dashort Mor". New Advent. Retrieved February 24, 2019.
  3. ^ Woodall, Joanna (1991). "An Exemplary Consort: Antonis Mor's Portrait of Mary Tudor". Art History. 14 (2): 192–224. doi:10.1111/j.1467-8365.1991.tb00432.x. ISSN 0141-6790 – via EBSCO.
  4. ^ Trevor-Roper:45 believes so, following Richard Ford.
  5. ^ The dictionary of art. Turner, Jane, 1956-. New York: Grove. 1996. pp. 65. ISBN 1884446000. OCLC 34409675.{{cite book}}: CS1 maint: others (link)
  6. ^ Annemarie Jordan, Retrato de Corte em Portugal. O Legado de António Moro (1552-1572) (Lisbon: Quetzal Editores, 1994), p. 17
  7. ^ Castaldo (1500-1562) was a soldier of Neapolitan origin who took part in the Battle of Pavia, the Sack of Rome, the Battle of Mühlberg etc. Charles V rewarded him with various titles and honors.
  8. ^ Jordan, p. 32.
  9. ^ Jordan, p. 31.
  10. ^ Jordan, pp. 36, 163.
  11. ^ Jordan, pp. 61, 164.
  12. ^ Jordan, p. 97; P. G. Matthews, “Portraits of Philip II of Spain as King of England,” Burlington Magazine, vol. 142, no. 1162 (Jan. 2000), p. 17.
  13. ^ J. Paul Getty Museum. Portrait of a Man in Armor. Retrieved 4 September 2008.
  14. ^ "Collective Database for Cultural Heritage - Artist - object: 845". www.culturalheritage.cc.
  15. ^ Jordan, pp. 70, 168.

Sources

  • Annemarie Jordan, Retrato de Corte em Portugal. O Legado de António Moro (1552-1572, (Lisbon: Quetzal Editores, 1994)
  • Annemarie Jordan, La Reina María de Inglaterra, segunda mujer de Felipe II, Antonio Moro, Museo del Prado, Enciclopedia Online
  • Annemarie Jordan, Antonio Moro. Anton van Dashort Mor, Museo del Prado, Enciclopedia Online
  • Georges Marlier, Anthonis Mor van Dashorst (Antonio Moro), Académie royale de Belgique, Classe des beaux-arts, Mémoires (Brussels: M. Hayez, 1934).
  • Trevor-Roper, Hugh; Princes and Artists, Patronage and Ideology at Four Habsburg Courts 1517-1633, Thames & Hudson, London, 1976, ISBN 0-500-23232-6
  • Joanna Woodall, Anthonis Mor; Art and Authority (Zwolle: Waanders Publishers, 2008).
  • Marieke van Wamel Pictor regis. Anthonis Mor van Dashorst and his position as painter at the Habsburg court., Thesis BA University of Amsterdam, June 2009 Pictor regis - Van Wamel[permanent dead link]
  • Marieke van Wamel Plumas y pinceles / Pennen en pinceelen. The portraits by Anthonis Mor van Dashorst and the treatises by Francisco de Holanda and Felipe de Guevara; a study into the mutual influences and the exchange of ideas on sixteenth century painting and portraiture. University of Amsterdam, thesis Researchmaster June 2011

External links edit

  •   Media related to Anthonis Mor at Wikimedia Commons
  • Portrait of a man in armour at the Paul Getty Museum

January 01, 1970
antonis, anthonis, also, known, anthonis, dashorst, antonio, moro, 1517, 1577, netherlandish, portrait, painter, much, demand, courts, europe, also, been, referred, antoon, anthonius, anthonis, dashorst, antonio, moro, antónio, mouro, anthony, more, signed, mo. Anthonis Mor also known as Anthonis Mor van Dashorst and Antonio Moro c 1517 1577 was a Netherlandish portrait painter much in demand by the courts of Europe He has also been referred to as Antoon Anthonius Anthonis or Mor van Dashorst and as Antonio Moro Antonio Mouro Anthony More etc but signed most of his portraits as Anthonis Mor 1 Anthonis MorSelf portrait 1558 at the UffiziBornAnthonis Morc 1517Utrecht Bishopric of UtrechtDied1577 aged 60 Antwerp Duchy of BrabantNationalityDutchKnown forPaintingMovementHigh Renaissance Mor developed a formal style for court portraits largely based on Titian that was extremely influential on court painters across Europe especially in the Iberian Peninsula where it created a tradition that led to Diego Velazquez It can include considerable psychological penetration especially in portraits of men but always gives the subject a grand and self possessed air Contents 1 Early life and education 2 Painting career 3 Antwerp 4 Portugal 5 England 6 Brussels Utrecht 7 The Spanish Court 8 Return to the Netherlands 9 Main works 10 Gallery 11 See also 12 References and sources 13 External linksEarly life and education editMor was born in Utrecht Netherlands by some estimation between 1516 and 1520 Little is known about his early life except that his artistic education commenced under Jan van Scorel His earliest known work is a portrait which is now in a collection in Stockholm dated 1538 2 Painting career edit nbsp Portrait of Granvelle A group of Knights of St John at Utrecht supposed to have been painted about 1541 and a picture of two pilgrims at the Gemaldegalerie Berlin dated 1544 and the portrait of an unknown woman in the Lille gallery were probably among his earliest works Their authenticity has not been established citation needed Antwerp edit nbsp Portrait of Queen Mary I of England 1554 In 1547 Mor was received as a member of the Venerable Guild of St Luke at Antwerp and shortly afterwards about 1548 he attracted the attention of Cardinal Granvelle Bishop of Arras who became his steady patron Of the portraits executed during the early period of his career as Granvelle s protege two are especially notable one of the bishop himself in the imperial gallery in Vienna and one of the Duke of Alba which now belongs to the Hispanic Society of New York Between 1549 and 1550 Prince Philip II of Spain 1527 1598 traveled around the Netherlands to present himself as the future ruler Mor painted his portrait in Brussels in 1549 He probably visited Italy when exactly is not known where he copied some works by Titian notably the Danae citation needed Portugal editIn the middle of 1550 Mor left for Lisbon with a commission from Mary of Hungary to portray the Portuguese branch of the family Mor probably traveled via Valladolid where he painted the portraits of Maximilian II and his wife Maria of Austria their daughter Anna and the son of Philip II of Spain Don Carlos In Lisbon Mor portrayed King John III Queen Catharine Prince Joao Manuel and Philip II s future wife Princess Maria of Portugal Little more is known about Mor s stay in Portugal but he was definitely back in Brussels by November 1553 citation needed England editAfter the sudden death of the king of England Edward VI in July 1553 the Spanish king Charles V now saw the possibility of an alliance between Spain and England The engagement between Philip and his Portuguese princess was broken and negotiations started for a marriage with the successor to the English throne Mary Tudor During these negotiations Mor was sent to England to paint a portrait of Mary but the exact date of the painting is unknown This portrait was much appreciated in England and Mor made at least three versions which became much the best known likeness of the queen Prado Marquess of Northampton On 20 December 1553 Philip officially appointed Mor as painter in his service 3 Brussels Utrecht editIn October 1555 Charles V abdicated from the throne During the ceremonies and festivities surrounding the coronation of his son Philip as king of Spain Mor would have received many commissions for paintings Unfortunately many of these paintings are lost or only known through copies Mor was very productive after Philip s ascension to the throne and produced some of his most important portraits in this period such as the portrait of Prince William I of Orange William the Silent 1555 the portrait of Alessandro Farnese 1557 and a new portrait of Philip II Other important works from this period include the portrait of Jane Dormer 1558 the portraits of Jean Lecocq and his wife 1559 and the portrait of Jan van Scorel 1559 which was at a later time to be hung at his tomb and now belongs to the Society of Antiquaries London Following the death of Mary Tudor in 1558 King Philip was remarried in June 1559 to Isabella de Valois whom Mor portrayed ca 1561 This portrait appears to have been lost Also from this period dates the only known self portrait of Mor now in the Uffizi Gallery and one of his presumed wife now in the Prado see image gallery below citation needed The Spanish Court editIt seems likely that Mor accompanied King Philip on his return to Spain in 1559 That Mor stayed at the Spanish court is confirmed by the letters which Philip regularly sent to Mor after he had left again in 1561 In his letters Philip requested Mor s return to court several times but the painter never complied with his repeated requests Among the works which Mor supposedly painted in Spain are the Portrait of Juana of Austria and the Portrait of Don Carlos A much praised work from this period is the Portrait of Pejeron the fool of the Earl of Benavente and the Duke of Alba There has been extensive speculation about the reason for Mor s departure from the Spanish court According to Carel van Mander Mor became too confidential with the king and this aroused the suspicion of the Inquisition He may also have been alarmed by the increasingly repressive Counter Reformation tenor of the Spanish court 4 Mor s pupil Alonso Sanchez Coello continued to work in his master s style and replaced him as the Spanish court painter citation needed Return to the Netherlands edit nbsp Steven van Herwijck Antonis Mor medal in the National Gallery of Art On his return to the Netherlands Mor probably traveled back and forth between Utrecht Antwerp and Brussels In this period he was in regular contact with Granvelle and also worked at the Dutch court where he portrayed Margaretha of Parma After his return Mor focused on the portrayal of citizens especially of merchants and their wives in Antwerp In addition to portraits like these which included the Portrait of Thomas Gresham he also painted artisans such as the goldsmith Steven van Herwijck 1564 These works are markedly different from the paintings Mor produced for the court showing off another side of his talent When Granvelle returned to France and the Netherlands showed increasing social and political unrest Mor experienced some financial hardship His financial problems were partially solved when the Duke of Alba granted him commissions and favors He is not known to have been in Utrecht after 24 July 1567 and from 1568 onwards Mor lived in Antwerp where in 1572 he registered as a master with the Antwerp guild At Antwerp he painted a Venus and Adonis for the new Stadhuis It is possible that he visited England once again in 1568 judging from the Portrait of a Nobleman with Dog and of the Portrait of Sir Henry Lee which have been attributed to him In 1559 and 1562 Mor painted two portraits of Margareta of Parma On her way to Spain Anne of Austria spent some time in Antwerp where she was painted by Mor in 1570 Mor s portrait of Anna is his last known court painting although he was still being referred to as Philip II s court painter in 1573 Little is known about Mor s life and career after 1570 It seems likely that he lost custom maybe as result of competition by painters such as Adriaen Thomasz Key Frans Pourbus the Elder 1545 1581 and Frans Floris 1519 20 1570 The last portrait attributed to Mor is the Portrait of Hubertus Goltzius dated 1576 Toward the end of his life Mor focused on history paintings of religious and mythological subjects but in this field of work he would never equal his earlier success as a portrait painter He is believed to have been working on a Circumcision for the Cathedral of Antwerp when he died in 1576 5 Main works edit nbsp Possible portrait of Jane Dormer c 1558 nbsp Portrait of Thomas Gresham 1560 nbsp Portrait of D Joao of Portugal 1552 Many of Mor s portraits were copied by others Among those whose works have been confused with Mor s are Alonso Sanchez Coello Francisco de Holanda and Cristovao de Morais Lopes A large number of engravings based on his work also circulated NB Some attributions and locations may be out of date Portrait of Philip II 6 c 1549 1550 Oil on oak 107 5 x 83 3 cm Bilbao Fine Arts Museum Portrait of Cardinal Antoine Perrenot de Granvelle 1549 Oil on panel 107 x 82 cm Kunsthistorisches Museum Vienna See image above Cardinal Granvelle s Dwarf with a Dog 1549 1553 Oil on canvas 126 x 92 cm Musee du Louvre Paris Portrait of a Man Pointing at a Table Clock c 1550 Oil on canvas 100 x 80 cm Musee du Louvre Paris Portrait of a Giovanni Battista di Castaldo c 1550 7 Oil on panel 107 6 x 82 2 cm Museo Thyssen Bornemisza Madrid Portrait of John III of Portugal c 1550 8 Oil on canvas 101 x 81 cm Fundacion Lazaro Galdiano Madrid see image gallery below Portrait of Catherine of Austria c 1552 9 Oil on panel 107 x 84 cm Museo del Prado Madrid inv 2109 see image gallery below Portrait of Joao Manuel Prince of Portugal c 1552 Oil on panel 107 x 84 cm Hampton Court Palace Portrait of Infanta Maria Lady of Viseu c 1552 10 Oil on canvas 100 x 87 cm Convent of Las Descalzas Reales Madrid inv PN822 Portrait ofIsabel Duchess of Guimaraes 1552 11 Oil on panel 55 x 50 cm Private collection Germany Portrait of Prince William I of Orange Nassau c 1554 Oil on panel 105 x 81 5 cm Staatliche Museen Kassel see image gallery below Portrait of a Man c 1555 1560 Oil on wood 97 8 x 71 2 cm National Gallery of Canada Ottawa Portrait of Philip II of Spain in Armor c 1557 12 Oil on canvas 186 x 82 cm Monasterio de San Lorenzo El Escorial inv 1653 see image gallery below Portrait of a Man in Armor 1558 13 Oil on canvas 111 x 80 cm J Paul Getty Museum Los Angeles Portrait of a Young Man by an anonymous follower of Mor 1558 Oil on panel 97 5 x 69 9 cm National Gallery of Art Washington Self portrait 1558 Oil on wood 113 x 84 cm Uffizi Florence see image above Portrait of Simon Renard 1560 Oil on canvas Musee du Temps Besancon Portrait of a Lady c 1560 Oil on oak 116 8 x 86 9 cm National Gallery of Canada Ottawa Portrait of Philip de Montmorency Count of Hoorn c 1560 Oil on panel Present location not known Portrait of Sir Thomas Gresham 1560 1565 Oil on panel 90 x 75 5 cm Rijksmuseum Amsterdam see image above Portrait of Lady Gresham Anne Femely 1560 1565 Oil on oak 88 x 75 5 cm Rijksmuseum Amsterdam Portrait of Metgen wife of the artist also known as Portrait of a married woman c 1560 1565 Oil on panel 100 x 80 cm Museo del Prado Madrid inv 2114 see image gallery below Portrait of Spanish Nobleman c 1560 National Museum of Serbia Belgrade Oil on canvas 130 x 90 cm 14 Portrait of a Man 1560 1577 Oil on oak 49 5 x 40 6 cm National Gallery London Portrait of a Nobleman said to be Hernan Cortes date unknown Lobkowicz Palace Prague Portrait of Margaret Duchess of Parma c 1562 oil on canvas Stiftung Preussischer Kulturbesitz Gemaldengalerie Berlin inv L310A see image gallery below Portrait of Jeanne Lullier 1563 Oil on canvas Musee du Temps Besancon Portrait of Maria of Portugal Princess of Parma c 1565 15 Oil on panel 35 x 15 cm Museo del Prado Madrid inv 2117 Portrait of Sir Henry Lee of Ditchley 1568 Oil on panel 64 1 x 53 3 cm National Portrait Gallery London see image gallery below Portrait of a Gentleman 1569 Oil on canvas 119 7 x 88 3 cm National Gallery of Art Washington Portrait of Hendrik Goltzius c 1570 Oil on wood 66 x 50 cm Royal Museums of Fine Arts of Belgium Brussels Portrait of a Gentleman c 1570 Oil on panel 122 x 98 5 cm North Carolina Museum of Art Portrait of Mary I of England date unknown Oil on wood 109 x 84 cm Museo del Prado Madrid see image above Portrait of a Lady Oil on wood panel 107 x 72 1 cm National Gallery of Victoria Portrait of Margaret Duchess of Parma date unknown oil on panel transferred on canvas 97 8 x 71 7 cm Philadelphia Museum of Art Portrait of Jane Dormer Museo del Prado Madrid see image above Portrait of Jan Scorel 1559 1560 oil on panel Society of Antiquaries of London UKGallery edit nbsp King John III of Portugal nbsp Catherine of Portugal nbsp William of Orange nbsp Philip II of Spain in armour nbsp Metgen Mor the artist s wife nbsp Margaret of Parma nbsp Henry Lee of DitchleySee also editArtists of the Tudor courtReferences and sources editReferences ULAN Full Record Display Getty Research www getty edu Catholic Encyclopedia Antonis Van Dashort Mor New Advent Retrieved February 24 2019 Woodall Joanna 1991 An Exemplary Consort Antonis Mor s Portrait of Mary Tudor Art History 14 2 192 224 doi 10 1111 j 1467 8365 1991 tb00432 x ISSN 0141 6790 via EBSCO Trevor Roper 45 believes so following Richard Ford The dictionary of art Turner Jane 1956 New York Grove 1996 pp 65 ISBN 1884446000 OCLC 34409675 a href Template Cite book html title Template Cite book cite book a CS1 maint others link Annemarie Jordan Retrato de Corte em Portugal O Legado de Antonio Moro 1552 1572 Lisbon Quetzal Editores 1994 p 17 Castaldo 1500 1562 was a soldier of Neapolitan origin who took part in the Battle of Pavia the Sack of Rome the Battle of Muhlberg etc Charles V rewarded him with various titles and honors Jordan p 32 Jordan p 31 Jordan pp 36 163 Jordan pp 61 164 Jordan p 97 P G Matthews Portraits of Philip II of Spain as King of England Burlington Magazine vol 142 no 1162 Jan 2000 p 17 J Paul Getty Museum Portrait of a Man in Armor Retrieved 4 September 2008 Collective Database for Cultural Heritage Artist object 845 www culturalheritage cc Jordan pp 70 168 Sources Annemarie Jordan Retrato de Corte em Portugal O Legado de Antonio Moro 1552 1572 Lisbon Quetzal Editores 1994 Annemarie Jordan La Reina Maria de Inglaterra segunda mujer de Felipe II Antonio Moro Museo del Prado Enciclopedia Online Annemarie Jordan Antonio Moro Anton van Dashort Mor Museo del Prado Enciclopedia Online Georges Marlier Anthonis Mor van Dashorst Antonio Moro Academie royale de Belgique Classe des beaux arts Memoires Brussels M Hayez 1934 Trevor Roper Hugh Princes and Artists Patronage and Ideology at Four Habsburg Courts 1517 1633 Thames amp Hudson London 1976 ISBN 0 500 23232 6 Joanna Woodall Anthonis Mor Art and Authority Zwolle Waanders Publishers 2008 Marieke van Wamel Pictor regis Anthonis Mor van Dashorst and his position as painter at the Habsburg court Thesis BA University of Amsterdam June 2009 Pictor regis Van Wamel permanent dead link Marieke van Wamel Plumas y pinceles Pennen en pinceelen The portraits by Anthonis Mor van Dashorst and the treatises by Francisco de Holanda and Felipe de Guevara a study into the mutual influences and the exchange of ideas on sixteenth century painting and portraiture University of Amsterdam thesis Researchmaster June 2011External links edit nbsp Media related to Anthonis Mor at Wikimedia Commons Portrait by Antonis Mor at National Gallery London Portrait of a man in armour at the Paul Getty Museum Retrieved from https en wikipedia org w index php title Antonis Mor amp oldid 1202247547, wikipedia, wiki, book, books, library,

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