ISLAMIC+SPAIN
Architecture and Interior Design: An Integrated History to the Present
First Edition
Chapter 13
Spanish Renaissance
1480 – 1650
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Copyright © 2012 Pearson Education, Inc. All Rights Reserved
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Spanish Renaissance
Spain dominates world politically and economically
Like rest of Europe, looks to Italy for design inspiration
Early—blends design principles & motifs from Moorish influences & love of lavish surface decoration
Architecture combines classical & Moorish design elements
16th century—High Italian Renaissance concepts
Greater severity in architecture
Foreign to innate Spanish styles, tastes
Lavish decoration soon displaces Classical plainness
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Concepts
Political ties with Italy bring Renaissance to Spain in late 15th century
Sober, intellectual Renaissance has little appeal
Must overcome a strong medieval design aesthetic, centuries of Islamic heritage, love of lavish surface decoration
At first, Renaissance merges with indigenous forms & motifs
Monarchy & nobility prefer High Renaissance classicism
Appears abruptly in 16th century
Bears little resemblance to native Spain design
Love of ornament asserts itself in Baroque, about 1650
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Characteristics And Motifs
Hispano-Moresque (8th-15th centuries)—Islamic domination reflected in art & architecture
Mudéjar (13-16th centuries)—Christian conquest so blends Moorish & Christian
Plateresque (late 15-early 16th centuries)—transition from Gothic to Renaissance; minute profuse surface ornament in low relief
Classical, Desornamentado, Herreran Style (1556-1650)—based upon High Renaissance; plain, severe
Churrigueresque (1650-1700)—much architectural ornament
Motifs—Moorish: ogee arches, arabesques; Gothic: pointed arches, pinnacles; Plateresque: decorated columns & grotesques; Classical: columns, pediments, moldings
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13.1
Motifs: Renaissance tiles, 15th-16th centuries; Portugal. Spanish Renaissance.
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13.2
Architectural Details: Door, 16th-century, Seville, Spain; Door, Iglesia del S. Justo, Salamanca, Spain. Spanish Renaissance Plateresque.
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13.3
Town Hall, 1527-1534; Seville, Spain. Spanish Renaissance Plateresque.
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13.4
Palace of Charles V, 1527-1568; Pedro Machua. Classical, Desornamentado, or Herreran Style.
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13.5a
Aerial view of El Escorial, 1562-1582; near Madrid; begun by Juan Bautista de Toledo and completed by Juan de Herrera. Classical Spanish Renaissance.
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13.5b
El Escorial front façade (left) and Patio de los Reyes, 1562-1582; near Madrid; begun by Juan Bautista de Toledo and completed by Juan de Herrera. Classical Spanish Renaissance.
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Long Description:
The facade has the main entrance and the side walls have arches and rectangular windows separated by columns. The top story has a central tower with pediment and columns. A human sculpture and a crown sculpture are vertically on the central axis of the tower. The sides of the towers have rectangular windows and protrusions.
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13.5c
El Escorial library, 1562-1582; near Madrid; begun by Juan Bautista de Toledo and completed by Juan de Herrera. Classical Spanish Renaissance.
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13.5d
Hallway in the state apartments, El Escorial, 1562-1582; near Madrid; begun by Juan Bautista de Toledo and completed by Juan de Herrera. Classical Spanish Renaissance.
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13.5e
Bedchamber of Philip
, El Escorial, 1562-1582; near Madrid; begun by
Juan Bautista de Toledo and completed by Juan de Herrera. Classical Spanish Renaissance.
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Interiors
Ornament concentrates around openings like exteriors
Moorish, Gothic & Renaissance characteristics & motifs
Design vocabulary from architectural features
Important spaces most decorated
Few furnishings
Color—highly saturated red, yellow, blue, green
Floors—tile, brick, stone; wood upper floors; pile rugs
Walls—smooth white plaster with tiles, textile hangings, plasterwork
Ceilings—beams, geometric complex ornament with carving, painting, gilding, plasterwork
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13.6a
Main salon, Palace of the Duke of Alba, 16th century; Seville, Spain. Spanish Renaissance.
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13.6b
Ground floor salon, Palace of the Duke of Alba, 16th century; Seville, Spain. Spanish Renaissance.
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Long Description:
The salon room has a brazier in the middle. An armed chair with a frailero is close to the side wall. The door is a geometrical carved wooden door. A papalera is on the side near the wall. The window has a geometrically carved wooden shutter, and iron grille. The wall is a plain stucco wall. The hall has decorative frieze and artesonades ceiling.
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13.7
Sala, Casa de El Greco, 16th century; Toledo, Spain. Spanish Renaissance.
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13.8
Textiles: Fabrics of wool and silk; 16th century. Spanish Renaissance.
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13.9
Lighting: Iron torchere, chandelier and hanging lantern. Spanish Renaissance.
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Furnishings And Decorative Arts
Simple in design & construction
Rectilinear forms, few moldings or architectural details
Heavier scale than Italian or French
Ornament shows Moorish & classical influence
Characteristic: iron mounts, locks, underbraces
Types: seating, chests, tables, beds
Walnut most used wood; exotic woods on luxury pieces
Decoration—inlay, carving, painting, gilding, silver from the New World
Decorative arts—small, leather-covered chests or boxes, a Moorish legacy along with cushions trimmed with braid, cord, tassels
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13.11
Doorway with embroidered lambrequin and damask drapery; and frailero, El Escorial, 16th century. Spain. Spanish Renaissance.
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13.12a (1 of 2)
Vargueño. Spanish Renaissance.
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13.12a (2 of 2)
Vargueño. Spanish Renaissance.
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Long Description:
The desk has spiral-turned-columned legs and an Italian Renaissance arch in between the legs. A drop front for writing is in the middle. A wood construction on the top has carved geometric patterns. The top surface has multiple drawers and doors for storage with classical details, and the handle is at the center.
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13.13
Chest. Spanish Renaissance.
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13.14
Bed with spiral turnings, Royal Palace, 16th century; Sintra, Portugal. Spanish Renaissance.
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Copyright
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