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José Marín (ca. 1619–1699) was a Spanish Baroque harpist, guitarist, cantor, and composer noted for his secular songs, tonos humanos.. In 1644 he entered the Royal Convent of La Encarnación in Madrid as a tenor. [1]
Josse Badius was born in the village of Asse (formerly Assche) near Brussels in Flemish Brabant in AD 1462. [1] He was a scholar of considerable repute, studying in Brussels and Ferrara and teaching Greek for several years at Lyons, France. [2]
The Cancionero de Palacio (Madrid, Biblioteca Real, MS II–1335), or Cancionero Musical de Palacio (CMP), also known as Cancionero de Barbieri, is a Spanish manuscript of Renaissance music. The works in it were compiled during a time span of around 40 years, from the mid-1470s until the beginning of the 16th century, approximately coinciding ...
The process began when it was noted by many critics that Spain was underrepresented in most international exhibitions. There were also widespread feelings that Spanish art had become decadent since the old patronage system, supported by the Catholic church and the aristocracy, had disappeared; due in large part to the continuing Confiscation.
José Clemente Orozco (November 23, 1883 – September 7, 1949) was a Mexican caricaturist [1] and painter, who specialized in political murals that established the Mexican Mural Renaissance together with murals by Diego Rivera, David Alfaro Siqueiros, and others.
Hispano-Flemish style is a term coined by the Spanish art historian Elías Tormo to designate works of art produced in Spain in a hybrid style that shows elements of Northern Renaissance artistic innovations together with elements of medieval Iberian artistic traditions, predominantly Mudéjar.
Renaissance literature refers to European literature which was influenced by the intellectual and cultural tendencies associated with the Renaissance.The literature of the Renaissance was written within the general movement of the Renaissance, which arose in 14th-century Italy and continued until the mid-17th century in England while being diffused into the rest of the western world. [1]
To this new school, form – the technical part of their art – was of supreme importance, and, as a reaction against the influence of Alfred de Musset, they repressed in their work the expression of personal feeling and emotion.