Spain, in the time of the
Italian Renaissance, had seen few great artists come to its shores. The Italian holdings and relationships made by Queen Isabella's husband and later Spain's sole monarch,
Ferdinand of Aragon, launched a steady traffic of intellectuals across the Mediterranean between
Luis de Morales, one of the leading exponents of Spanish
mannerist painting, retained a distinctly Spanish style in his work, reminiscent of medieval art. Spanish art, particularly that of Morales, contained a strong mark of mysticism and religion that was encouraged by the
counter-reformation and the patronage of Spain's strongly
Catholic monarchs and aristocracy. Spanish rule of
Naples was important for making connections between Italian and Spanish art, with many Spanish administrators bringing Italian works back to Spain.
Known for his unique expressionistic style that met with both puzzlement and admiration,
El Greco (which means "The Greek") was not Spanish, having been born Domenikos Theotokopoulos in Crete. He studied the great Italian masters of his time -
Michelangelo - when he lived in Italy from 1568 to 1577. According to legend, he asserted that he would paint a mural that would be as good as one of Michelangelo's, if one of the Italian artist's murals was demolished first. El Greco quickly fell out of favor in Italy, but soon found a new home in the city of Toledo, in central Spain. He was influential in creating a style based on impressions and emotion, featuring elongated fingers and vibrant color and brushwork. Uniquely, his works featured faces that captured expressions of sombre attitudes and withdrawal while still having his subjects bear witness to the terrestrial world.
 His paintings of the city of Toledo became models for a new European tradition in landscapes, and influenced the work of later Dutch masters. Spain at this time was an ideal environment for the Venetian-trained painter. Art was flourishing in the empire and Toledo was a great place to get commissions.
He was born on June 6, 1599, in Seville. Both parents were from the minor nobility. He was the oldest of six children.
Diego Velázquez is widely regarded as one of Spain's most important and influential artists. He was a court painter for King
Philip IV and found increasingly high demand for his portraits from statesmen, aristocrats, and clergymen across Europe. His portraits of the King, his chief minister, the Count-duke of Olivares, and the Pope himself demonstrated a belief in artistic realism and a style comparable to many of the
Dutch masters. In the wake of the
Thirty Years' War, Velázquez met the
Marqués de Spinola and painted his famous
Surrender of Breda celebrating
Spinola's earlier victory. Spinola was struck by his ability to express emotion through realism in both his portraits and landscapes; his work in the latter, in which he launched one of European art's first experiments in outdoor lighting, became another lasting influence on Western painting. Velázquez's friendship with
Bartolomé Esteban Murillo, a leading Spanish painter of the next generation, ensured the enduring influence of his artistic approach.
Velázquez's most famous painting, however, is the celebrated
Las Meninas, in which the artist includes himself as one of the subjects.
Francisco de Zurbarán
The religious element in Spanish art, in many circles, grew in importance with the counter-reformation. The austere, ascetic, and severe work of
Francisco de Zurbarán exemplified this thread in Spanish art, along with the work of composer
Tomás Luis de Victoria. Philip IV actively patronized artists who agreed with his views on the counter-reformation and religion. The mysticism of Zurbarán's work - influenced by
Saint Theresa of Avila - became a hallmark of Spanish art in later generations. Influenced by
Caravaggio and the Italian masters, Zurbarán devoted himself to an artistic expression of religion and faith. His paintings of
St. Francis of Assisi, the
immaculate conception, and the
Christ reflected a third facet of Spanish culture in the seventeenth century, against the backdrop of religious war across Europe. Zurbarán broke from Velázquez's sharp realist interpretation of art and looked, to some extent, to the emotive content of
El Greco and the earlier mannerist painters for inspiration and technique, though Zurbarán respected and maintained the lighting and physical nuance of Velázquez.
It is unknown whether Zurbarán had the opportunity to copy the paintings of
Michelangelo da Caravaggio; at any rate, he adopted Caravaggio's realistic use of chiaroscuro. The painter who may have had the greatest influence on his characteristically severe compositions was
Juan Sánchez Cotán.
 Polychrome sculpture—which by the time of Zurbarán's apprenticeship had reached a level of sophistication in Seville that surpassed that of the local painters—provided another important stylistic model for the young artist; the work of
Juan Martínez Montañés is especially close to Zurbarán's in spirit.
He painted directly from nature, and he made great use of the lay-figure in the study of draperies, in which he was particularly proficient. He had a special gift for white draperies; as a consequence, the houses of the white-robed
Carthusians are abundant in his paintings. To these rigid methods, Zurbarán is said to have adhered throughout his career, which was prosperous, wholly confined to Spain, and varied by few incidents beyond those of his daily labour. His subjects were mostly severe and ascetic religious vigils, the spirit chastising the flesh into subjection, the compositions often reduced to a single figure. The style is more reserved and chastened than Caravaggio's, the tone of color often quite bluish. Exceptional effects are attained by the precisely finished foregrounds, massed out largely in light and shade.
Bartolomé Esteban Murillo
Bartolomé Esteban Murillo began his art studies under
Juan del Castillo in Seville. Murillo became familiar with
Flemish painting; the great commercial importance of Seville at the time ensured that he was also subject to influences from other regions. His first works were influenced by
Jusepe de Ribera and
Alonso Cano, and he shared their strongly realist approach. As his painting developed, his more important works evolved towards the polished style that suited the bourgeois and aristocratic tastes of the time, demonstrated especially in his
Roman Catholic religious works.
In 1642, at the age of 26 he moved to
Madrid, where he most likely became familiar with the work of
Velázquez, and would have seen the work of Venetian and Flemish masters in the royal collections; the rich colors and softly modeled forms of his subsequent work suggest these influences.
 He returned to Seville in 1645. In that year, he painted thirteen canvases for the monastery of
St. Francisco el Grande in Seville which gave his reputation a well-deserved boost. Following the completion of a pair of pictures for the
Seville Cathedral, he began to specialise in the themes that brought him his greatest successes, the Virgin and Child, and the
After another period in
Madrid, from 1658 to 1660, he returned to Seville, where he died. Here he was one of the founders of the
Academia de Bellas Artes (Academy of Art), sharing its direction, in 1660, with the architect,
Francisco Herrera the Younger. This was his period of greatest activity, and he received numerous important commissions, among them the altarpieces for the Augustinian monastery, the paintings for
Santa María la Blanca (completed in 1665), and others.
Other significant painters