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D E El Bosco a Tiziano l RoutE A oF tHE EXHiBition From Bosch to Titian Art And wonder At el escoriAl scori e Ground floor l Room Room Room e 1 2 3 The construction of the Royal Monastery of San Lorenzo de El Escorial Hieronymus van 1st part of the route (ground floor) Aeken Bosch, El Bosco, en was begun by King Philip II of Spain in 1562 and its first stone was A Evangelists’ Cristo camino del Basilica Room 1 · Hall oF HonouRs Courtyard laid in 1563, four hundred and fifty-one years ago. Only twenty- Calvario, 1505-1507. aRCHitECtuRE five years later the architecture was almost complete and the deco- Óleo sobre tabla, and knowlEdGE 142,5 x 104,5 cm. Juan Fernández de Navarrete, rative work was well on its way. By 1598, the year the king died, it Patrimonio Nacional Martirio de Santiago, óleo vill sobre lienzo, 346 x 210 cm. A Room 2 · Hall oF HonouRs can be said that the undertaking was practically finished. Hieronymus van Aeken Patrimonio Nacional r a monumEnt FoR tHE The process of building such a huge complex is unparalleled in Bosch, Christ on the A spanisH HaBsBuRGs sixteenth-century Europe. This made it possible to achieve matchless Way to Calvary, 1505–7. Juan Fernández de Navarrete, Joachim Patinir, Paisaje con san Cristóbal y el Niño, ca. 1521. unity in the artistic, architectural and decorative language, as under- Oil on panel, Martyrdom of St James, oil Óleo sobre tabla, 125 x 170 cm. Patrimonio Nacional Room 3 · Hall oF HonouRs 142.5 x 104.5 cm. on canvas, 346 x 210 cm. lying this development were the king’s firm will and a highly coor- Patrimonio Nacional Patrimonio Nacional Joachim Patinir, Landscape with St Christopher and the Child, c. 1521. FlEmisH paintERs Room 8 dinated team of skilled craftsmen headed by architects Juan Bautis- Oil on panel, 125 x 170 cm. Patrimonio Nacional ta de Toledo and Juan de Herrera. 2nd part of the route (first floor) This exhibition focuses on the artistic and cultural significance Arte y m Hall oF BattlEs of the decoration and ornamentation of the building throughout this PhiliP ii And Flemish PAinting Paraphrasing an idea of Am- All this is possible in the choir, which provides the best view of which are among the oldest and finest in the Patrimonio Nacional Rooms 4 and 5 · CHoiR period of more than forty years. It furthermore stresses some of the brosio de Morales, royal advisor to Philip II, we might say that the the Basilica including the high altar ( architecture by Juan de Herrera, collection and were hung in this area on Philip II’s orders. saCREd lituRGiEs architecturally most important parts not normally accessible to vis- king intended El Escorial to be a veritable Parnassus. The finest sculptures by the Leoni, paintings by Federico Zuccaro and Pellegrino The Evangelists ’ Courtyard, among the finest examples of archi- anatomiEs oF saints itors, such as the Basilica choir, the Sacristy of Copes and the Evan- artists of the period were involved in decorating it. The next room Tibaldi ) adorned with magnificent frescoes by Romulo Cincinnato tecture in the building, has one of the most beautiful gardens and gelists ’ Courtyard. focuses on the main Flemish painters whose works adorned the and Luca Cambiaso, and in the Sacristy of Copes where, among other houses the famous tempietto designed by Juan de Herrera featuring Room 6 · uppER CloistER The show, designed as a special tour of different parts of the building’s walls : Bosch, Joachim Patinir, Antonis Mor and Michiel outstanding works, Juan Fernández de Navarrete the Mute’s famous Antonio Monegro’s sculptures of the evangelists that preside over tHE tapEstRY sERiEs building, draws attention to the monument’s powerful architecture de Coxcie, some of whose finest paintings – such as Mor’sPortrait paintings can be seen, the finest example of Counter-Reformation art four ponds laid out around this small construction. tHE BuildinG oF noaH’s aRk iziano BY miCHiEl dE CoXCiE while explaining and further enriching it through works of art, many of Philip II and Bosch’s Christ Crowned with Thorns and Christ on the in Spain. Across the courtyard, the Lower Cloister decorated with Pellegri- of which – such as the reliquaries, books and prints, and sacred or- Way to Calvary – can be admired here. Several of the tapestries and one of the preparatory cartoons from no Tibaldi’s frescoes of New Testament scenes leads into the Royal T Room 7 · saCRistY oF CopEs First floor naments – are not on public display owing to their special conser- The magnificent Hall of Battles with frescoes depicting the bat- the Noah’s Ark series, executed by Michiel de Coxcie, are on view in the Basilica, which marks the end and the highlight of the exhibition, Juan FERnÁndEZ dE vation requirements. It provides a unique opportunity to gain in- tle of Higueruela, the wars of Flanders and the battle of Terceira Upper Cloister. as the place to which Philip II devoted greatest artistic attention. a naVaRREtE tHE mutE, depth knowledge of the Escorial complex. leads to the grand choir of the Basilica. paintER oF El EsCoRial Main stAircAse, old church, evAngelists ’ courtyArd tHE CEREmonY oF dEatH the Building And its Founder the choir And the sAcristy oF coPes And royAl BAsilicA and tHE ConsECRation Evangelists’ The first two rooms show The monastery’s archi- The exhibition ends with a visit to three of Basilica Courtyard oF tHE BasiliCa both the monument and its founder King Philip II through the fa- tecture, painting and decorative arts are steeped in ceremony, which the most important parts of the complex : the Evangelists ’ Courtyard, mous plates of the engravings made by Pedro Perret after drawings was essential to a king who himself was described as “ pure ceremo- the principal courtyard in the monastery area, with its famous tem- Monasterio de San Lorenzo de El Escorial osco 3rd part of the route (ground floor) by architect Juan de Herrera and Juan Pantoja de la Cruz’s portraits ny ”. The exhibition features a broad selection of these works, many pietto by Juan de Herrera ; the main staircase and its frescoes by Luca Hall of Battles June 24 – September 14, 2014 of the monarch and his father Charles V. There is a magnificent series of of them unpublished, which make up a veritable “ Escorial style ”. On Giordano dating from the late sixteenth century ; and the Old B main staiRCasE Room Room 4 5 paintings by Pantoja featuring the initial design for the bronze statues display for the first time are the seven illuminated books of highest Church or Small Church. Room 8 · old CHuRCH Choir Room 6 of the Basilica, which were executed by Pompeo Leoni and can be artistic value executed at the Escorial workshop ( the three Passionaries, In this part of the building, the first to be inhabited by Philip II, titian and tHE FiRst www.patrimonionacional.es CEREmoniEs at El EsCoRial admired in situ. the Antiphonary, the Liber Missarum, the Evangelistary and the Epis- two works by Titian can be viewed in situ : the Martyrdom of St Law- www.fundacionbancosantander.com Room 7 The selection of reliquaries in the display cases – miniature ar- tolary ), open at the pages containing the most exquisite miniatures. rence, the main painting executed by this artist for El Escorial and a lowER CloistER chitectural structures not usually on show – is designed to highlight Visitors can also admire the almost complete set of vestments of the masterpiece of his late period, and The Adoration of the Magi, which e El EVanGElists’ CouRtYaRd this magnificent collection in the Escorial holdings, which echoes Skulls, the Life of Christ and St Lawrence, which are unarguably Philip had brought here. They are accompanied by tapestries from the BasiliCa the building’s classical architecture. among the finest textile pieces produced in Renaissance Europe. series known as the paños de oro (‘ gold cloths ’) or Life of the Virgin, D RECoRRido dE la EXposiCiÓn l De El Bosco a Tiziano A Arte y mArAvillA en el escoriAl 1ª parte del recorrido (planta baja) planta baja scori sala 1 · sala dE HonoREs El Real Monasterio de San Lorenzo de El Escorial fue comenzado a e sala sala sala aRquitECtuRa Y saBiduRía 1 2 3 construir por el rey de España Felipe II en 1562 y su primera piedra l se colocó en 1563, hace ahora cuatrocientos cincuenta y un años. e sala 2 · sala dE HonoREs t patio de los Apenas veinticinco años después, la obra arquitectónica estaba ter- Basílica Tiziano Vecellio, un monumEnto paRa Evangelistas minada en su casi totalidad y las labores decorativas iban por buen A la Casa dE austRia Martirio de san camino. En 1598, fecha de la muerte del rey, puede decirse que la Lorenzo, 1564-1567. Taller milanés. Reproducción Hieronymus van Aeken Bosch, Óleo sobre lienzo, del antiguo Duomo de Milán, El Bosco, Cristo coronado de sala 3 · sala dE HonoREs tarea había prácticamente concluido. 441 x 327 cm. segunda mitad del siglo XVI. espinas (detalle), primer cuarto pintoREs FlamEnCos Un proceso semejante para una obra de tan vastas dimensiones Patrimonio Nacional Hierro y oro, 70 x 156 x 64 cm. del siglo XVI. Óleo sobre tabla, no se volverá a encontrar en toda Europa a lo largo del siglo XVI. Pedro Perret, sobre dibujo de Juan de Herrera, Séptimo diseño, Patrimonio Nacional 157 x 194 cm, Patrimonio Nacional perspectiva general de todo el edificio, 1587. Grabado calcográfico, Ello posibilitó una unidad de lenguaje artístico, arquitectónico y Titian, Martyrdom 2ª parte del recorrido (planta primera) of St Lawrence, 511 x 728 mm.
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