late 15th-16th century · Court, altarpiece and devotion

The Spanish Renaissance assimilated Flemish and Italian innovations without renouncing its own intensity: court portraits, narrative altarpieces and devotional images speak with singular gravity.

Between the end of the 15th century and the reign of Philip II, Spanish painting transformed the contributions from Flanders and Italy into an immediately recognizable language. Pedro Berruguete combines resurgent perspective, Nordic detail and tradition of the Castilian altarpiece. In the 16th century, Luis de Morales brought the sacred face closer to the faithful: Virgins, Ecce Homo and Pietà concentrated pain in formats intended for private contemplation. Alonso Sanchez Coello, trained in the network of Anthonis Mor, fixed the image of the Habsburgs in formats intended for private contemplation. Alonso Sanchez Coello, trained in the network of Anthonis Mor, fixed the Habsburg image in formats intended for private contemplation. Alonso Sanchez Coello, trained in the network of Anthonis Mor, fixed the Habsburg image. Alonso Sanchez Coello, trained in the network of Anthonis Mor, fixed the Habsburg image. Alonso Sanchez Coello, trained in the network of Anthonis Mor, fixed the Habsburg image. Alonso Sanchez Coello, trained in the network of Anthon collection brings these three paths into dialogue - religious narration, intimate devotion and representation of power - in a Spain open to European exchanges and marked by the Catholic Reformation. The "Spanish Renaissance Paintings" selection notably compares Don Sébastien, King of Portugal and San Sebastian between San Bernardo and San Francisco. Its reading favors color.

In the Spanish Renaissance, precision was never cold: it served faith, dynastic memory and the intensity of the gaze.