Anthonis Mor

Hello everyone, we are from the 5th group, class B, Mata Kuliah Perkembangan Seni Rupa dan Seni Bangunan. Today we will discuss about Antonis More. We are from Hanif, Flady, and Akmal. In this presentation, we will try to answer three big questions. Who is Antonis More? What is his work? And what is his influence in the Renaissance? First, I will briefly explain about Antonis More. To give a little context, I will also explain about the Renaissance. In short, the Renaissance is an important period in which the emergence of science which followed the decline and stagnation of culture in the Middle Ages. The Renaissance itself influenced many artists in Northern Europe in the 15th century, including in the Netherlands. Antonis More van Das Horse is one of the original painters from Utrecht who became an important painter in the Renaissance. More himself was a student of Jan van Skorrel in Utrecht in 1547. He was also registered as a master at the Santo Lucas Guild in Anverpen. Then he took up education or looked for a painting experience in Rome. After a while he lived in Rome, More also worked in Portugal where he painted the portrait of Infanta Maria, Queen Catherine of Portugal, King John III, and his wife Catherine. Most of More's portrait style was influenced by the Venetian leader of the Italian Renaissance who painted in Salinmore during his time in Rome. More's portrait work is also not varied in composition. Most of the paintings are full-size, sitting poses, which then gives the effect of the subject of the painting that he painted. The portrait itself even captures the presence of the same nationals and then very influenced the style of the portrait of the palace. This style then made More an interesting artist for the nationals and then he was invited to England to finish the portrait of Mary Tudor, the Queen of England in 1516-1558. Then when he was in England, More also painted a miniature of the Queen and a portrait of his sister, Elizabeth I, who later became the successor of Mary, as well as a portrait of Sir Henry Sidney and also Simon Renard, a great ambassador. After gaining a lot of knowledge, a lot of wealth through his paintings, More returned to the Netherlands, precisely in Utrecht. Then he continued to be a painter, where in the Netherlands he finished the portrait of the Dutch prince. Then at this time, after the year 1554, More then painted a portrait of himself, which then became very respected and now hangs in the Uffizi Gallery. He did not slow down his steps, in the last years he painted several portraits, he also continued to paint several portraits, and remained in Anverpen until his death. Next, I will also explain a little about the works of Antonis More, more precisely the painting of Queen Mary in the middle of Padalaya. Philip II and More at that time knew each other during a visit to the Dutch prince in the early years of 1550. Then in 1554, when Philip went to London for his marriage to Mary Tudor, he then invited More to paint the portrait of the queen, a representative work that expresses the essence of her style. According to the style of the palace portraits that took place at that time, More prioritized the accuracy of physiognomy, but not with expression. This is a portrait of a poet who emphasizes social differences, not his personality. Although smoothly coded with a series of complex costumes, however, this attitude is somewhat treated with the attention given to the costumes and decorations, which are then displayed with the technique of accurate painting. Mary is depicted wearing a dark blue dress and a silk bracelet, which then covers her shoulders and neck, according to the simple style in Spain at that time. Her linen dress is embroidered with a rope design and leaves with a red silk thread, which can be seen around the neckline and the wrist, because it has been pulled into a puff through the front of the wrist. She also wears a lion's mane that hangs on the lion's mane, the pearl La Peregrina 58.5 carat, which is a wedding gift from the King of Spain. According to one of the palace workers, Mary looks very happy in embodying herself with elegance and grandeur, which can be seen in the painting of Antonis More. Next, the influence and role of Antonis More in the Renaissance. Antonis More is an art that is quite important in the Renaissance. The works of Antonis More have quite a lot of influence in European territory and are known in several European countries, because the painting of his portrait was requested from various European kingdoms. For the Renaissance period, social status was very important here. This was determined by many things such as ancestry and marriage, especially by the profession or job assigned to someone. A profession that requires physical work on a low level, unlike a profession that requires thinking. In his work, Antonis More shows his artistic characteristics in self-portrait painting. As a result of the Renaissance period, Antonis More, who has been to Italy, got an idea based on his experience in visual art and expressed it as an artist who uses creativity in himself. Self-portrait, a characteristic of Antonis More's painting, is made for self-portrait, but is also often given as a gift to customers. Antonis More is one of the first Dutch artists who depicted himself using a brush and palette. The status of his portrait was not low at that time, because it was defined as a copy of nature or as a form of copy of nature. However, people view themselves differently in the Renaissance period. People began to shape themselves and shape their destiny according to their own desires. This was in accordance with Antonis More's artistic struggle to improve his social status. Life in the Netherlands made Antonis More push to become higher than the status of his self-portrait work. Antonis More painted with a view of humanism, or about humanity to humanity, while humans pushed Antonis More to portray themselves as a subject and it seems to give enough reason for the emergence of the gender of portrait and self-portrait. Life in the Netherlands and the way of life in shaping themselves are mentioned in the book by Duplo of the Quartier, which is closely related to the making of portraits and self-portraits. There is a possibility that life in the Netherlands was inspired by the Renaissance portrait, but also the portrait was based on that lifestyle. It is not only the creation of identity, but also the discovery of the identity of the self. So, the creation of portraits is even by the discovery of identity and the discovery of the identity of the creator. Artists are viewed as ordinary illusory creators or quite good in portraits or self-portraits. That is, creating an illusion of identity that refers to a person who is still alive. Mirrors were still very rare at that time, a tool that could not be done when discovering the self-portrait. In the Middle Ages, only brass mirrors or convex mirrors existed. However, in the Renaissance era, mirror mirrors came from Venice. This made the portrait of self-portraits become more and easier and quite interesting at that time. The next part is the conclusion. Antonis Mor, or in Dutch, Antonis Mor van der Dashorst, which is often referred to in Spanish, because Antonis Mor is known in Spanish as Antonio Mor, a native of Utrecht, the Netherlands. Mor was a student of Jervas Corel in Utrecht in 1547. He was enrolled as a master at the St. Luke's Guild in Antwerpen. In 1549, he was a portraitist for Antoni de Perenod de Granvele, that is, Usko Arras, and then a cardinal and key figure in the Habsburg Isle. Antonis Mor is a quite important artist in the Renaissance era because Antonis Mor had quite a lot of influence in Europe. He was the first European artist to paint a self-portrait requested by the king. In his work, Antonis Mor presents the artistic characteristics of self-portrait painting. Antonis Mor paints himself, paints with a view of humanism, while the human pushes Antonis Mor to take himself as a subject and thus provides enough reasons to re-emerge from self-portraits and self-portraits and other works of art. That's all about Antonis Mor's explanation, that is, his role and influence in the Renaissance era in the Netherlands. I'm sorry if the translation is not good. That's all and thank you. Heel bedankt.