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      Gregório Lopes, 1490 – 1550

      13 nejslavnějších obrazů autora Gregório Lopes, seřazených podle popularity

      Nejoblíbenějším dílem autora Gregório Lopes je Birth of the Virgin Mary (1530), které je vystaveno v instituci Národní muzeum starého umění, Lisabon. Následují Christ in the Garden (1539) a Genealogy of the Virgin (1540) z platen, která čtenáři znají nejlépe. Náš katalog obsahuje 13 děl umělce Gregório Lopes: zde je 13 nejznámějších, z nichž každé uvádí svůj rok vzniku, muzeum a důvod, proč je nezapomenutelné.

      Seřazeno podle našeho skóre popularity, které kombinuje počet vyhledávání, návštěv a objednávek u každého díla. Aktualizováno listopad 2026. Každý obraz na této stránce lze objednat jako ručně malovanou olejovou reprodukci na lněném plátně, nebo jako umělecký tisk vyrobený v požadovaném rozměru.

      Portrét Gregório Lopes
      Gregório Lopes · 1490 – 1550
      Narození · úmrtí
      1490 – 1550, Portugal
      Díla v našem katalogu
      13
      Nejslavnější
      Birth of the Virgin Mary (1530)
      Nejvíce děl v muzeích
      Národní muzeum starého umění

      Nejlepší 10 obrazů: Gregório Lopes – plátna, která zná každý

      Assumption of the Virgin (1500) od Gregório Lopes
      6

      Assumption of the Virgin

      Oak wood painting attributed to Gregório Lopes, regal painter of D. Manuel I and D. João III and one of the masters of Portuguese sixteenth century painting. This Assumption is possibly the central panel of a larger set and it depicts the Virgin Mary resting on a crescent moon.As it is recurrent in many paintings of the first half of the sixteenth century, several angels witness the scene playing diverse…

      Ručně malovaná olejná reprodukce od $178 30 × 34 cm Velikost jako originál $517 105 × 116 cm Objednat v originální velikosti →

      Více pláten od Gregório Lopes, od 11 do 13

      Kde visí plátna umělce Gregório Lopes

      4 muzea, v nichž je umístěno nejvíce obrazů z této stránky.

      Muzeum Město Díla autora Gregório Lopes Obrazy z tohoto seznamu
      Národní muzeum starého umění, LisabonNárodní muzeum starého umění Lisabon 6 Birth of the Virgin Mary, Christ in the Garden, The Virgin, the Child and Angels
      Galeria Municipal do Banco de Portugal, SetúbalGaleria Municipal do Banco de Portugal Setúbal 3 Genealogy of the Virgin, Apparition of Christ to the Virgin, Ascension of Christ
      National Museum Frei Manuel do Cenáculo, ÉvoraNational Museum Frei Manuel do Cenáculo Évora 2 Visitation, Visitation
      Museu Nacional da Música, LisbonMuseu Nacional da Música Lisbon 1 Assumption of the Virgin

      Nejoblíbenější plátno každého desetiletí od Gregório Lopes

      1. 1500s
        Assumption of the Virgin (1500) od Gregório Lopes
        Pořadí 6 z 13

        Assumption of the Virgin

        Věk 10 – 19 · Museu Nacional da Música

        Oak wood painting attributed to Gregório Lopes, regal painter of D. Manuel I and D. João III and one of the masters of Portuguese sixteenth century painting. This…

      2. 1520s
      3. 1530s
      4. 1540s
      5. 1550s

      O plátnech umělce Gregório Lopes: odpovědi na vaše otázky

      Kterým nejslavnějším dílem je Gregório Lopes?Přečtěte si odpověď

      Birth of the Virgin Mary (1530), Národní muzeum starého umění, Lisabon. Následují Christ in the Garden (1539) a Genealogy of the Virgin (1540).

      Kolik let bylo Gregório Lopes, když byl/a namalován/a dílo Birth of the Virgin Mary?Přečtěte si odpověď

      Gregório Lopes, narozen 1490, měl 40 let: dílo Birth of the Virgin Mary pochází z roku 1530.

      Kterých 10 nejslavnějších obrazů má Gregório Lopes?Přečtěte si odpověď

      Birth of the Virgin Mary, Christ in the Garden, Genealogy of the Virgin, Apparition of Christ to the Virgin, Saint John the Baptist and Saint Jerome, Assumption of the Virgin, Ascension of Christ, The Virgin, the Child and Angels, Visitation - Saint Benedict altarpiece a Visitation. U každého plátna v uvedeném žebříčku je uveden rok jeho vzniku a muzeum, ve kterém se nachází.

      Kolik děl celkem namaloval/a Gregório Lopes?Přečtěte si odpověď

      V našem katalogu je 13 děl umělce Gregório Lopes, datovaných od 1500 do 1550.

      Kde mohu vidět nejznámější plátna umělce Gregório Lopes?Přečtěte si odpověď

      Většinou v Národní muzeum starého umění (Lisabon), Galeria Municipal do Banco de Portugal (Setúbal) a National Museum Frei Manuel do Cenáculo (Évora); výše uvedený seznam obsahuje názvy jednotlivých muzeí a jejich pláten.

      Kdy Gregório Lopes namaloval své nejoblíbenější obrazy?Přečtěte si odpověď

      V období 1520s, které tvoří 4 z 13 děl na této stránce, mezi nimi i Visitation - Saint Benedict altarpiece.

      Která jsou nejstarší a nejnovější slavná plátna umělce Gregório Lopes?Přečtěte si odpověď

      Nejstarší plátno se zde datuje do Assumption of the Virgin (1500); nejnovější je z Saint John the Baptist and Saint Jerome (1550).

      Která plátna od Gregório Lopes visí v Národní muzeum starého umění?Přečtěte si odpověď

      Muzeum Národní muzeum starého umění, Lisabon se vlastní 6 děl z této stránky, mezi nimiž jsou i Birth of the Virgin Mary, Christ in the Garden a The Virgin, the Child and Angels.

      Mohu si koupit reprodukci plátna od Gregório Lopes?Přečtěte si odpověď

      Ano. Každý obraz na této stránce lze objednat z jeho vlastní stránky jako ručně malovanou olejovou reprodukci nebo jako umělecký tisk v požadovaném rozměru.

      Gregório Lopes: život v barvách

      A Luminary of the Portuguese Renaissance: The Life and Art of Gregório Lopes

      Gregório Lopes, born around 1490 in Portugal, stands as a towering figure within the nation’s artistic landscape during the High Renaissance. While overshadowed historically by some of his European contemporaries, Lopes' contribution to Portuguese painting is undeniable, marked by a deeply spiritual sensibility and a masterful command of form and color. His life unfolded against a backdrop of immense maritime exploration and burgeoning royal power, influences that subtly permeated his work, even as he remained steadfastly devoted to religious themes. He wasn’t merely a painter; he was a visual storyteller for an empire at its zenith, crafting images intended to inspire devotion and reflect the grandeur of the Portuguese court.

      Early Training and Courtly Patronage

      Lopes' artistic journey began within the workshop of Jorge Afonso, the esteemed court painter under King Manuel I. This formative period instilled in him a solid foundation in Renaissance techniques—the careful study of anatomy, perspective, and the use of oil paint to achieve luminous realism. Afonso’s influence is readily apparent in Lopes’ early works, characterized by elegant figures and detailed compositions. However, Lopes quickly developed his own distinct style, moving beyond mere imitation towards a more emotionally resonant expression. A pivotal moment arrived with his marriage to Afonso's daughter in 1514, solidifying his connection to the artistic elite and opening doors to further patronage. His appointment as court painter—first under Manuel I and then under John III—provided him with consistent commissions and access to the most important religious institutions in Portugal. This position wasn’t simply about fulfilling requests; it was a responsibility to create art that upheld the values of the crown and reinforced its spiritual authority.

      The Altarpieces: A Synthesis of Faith and Artistry

      Lopes is best known for his magnificent painted altarpieces, which adorn churches and monasteries throughout central Portugal. These weren’t isolated panels but rather immersive environments designed to envelop the viewer in a world of sacred narrative. His compositions often feature complex arrangements of figures—saints, angels, and biblical characters—depicted with remarkable grace and expressiveness. The use of rich, vibrant colors, particularly blues and golds, creates an atmosphere of otherworldly splendor. He skillfully employed chiaroscuro – the dramatic contrast between light and shadow – to highlight key elements and draw the eye towards focal points within the scene. Considered a master of *sfumato*, Lopes softened outlines and blended tones to create a sense of depth and realism that was revolutionary for Portuguese art at the time. The altarpieces weren’t simply decorative; they were intended as tools for contemplation, inviting viewers to engage with the stories they depicted on a deeply personal level.

      Beyond Imitation: A Developing Style

      While initially indebted to Afonso's style and influenced by Flemish painting—evident in his meticulous detail—Lopes gradually evolved a uniquely Portuguese aesthetic. He moved away from the rigid formality of earlier Renaissance works, embracing a more dynamic composition and a greater emphasis on emotional intensity. His figures became less idealized and more human, conveying a sense of vulnerability and spiritual struggle. This shift is particularly noticeable in his later altarpieces, where he experimented with bolder color palettes and more dramatic lighting effects. He also demonstrated an increasing interest in portraying the natural world, incorporating elements of landscape into his compositions—a subtle reflection of Portugal’s expanding horizons during the Age of Discovery.

      Legacy and Historical Significance

      Gregório Lopes died in 1550, leaving behind a substantial body of work that continues to inspire awe and admiration. His son, Cristóvão Lopes, followed in his footsteps as a portrait painter for the royal family, ensuring the continuation of the artistic tradition he established. Lopes’ influence on subsequent generations of Portuguese painters is profound, shaping the development of religious art throughout the 16th century.
      • His masterful use of color and light
      • His emotionally resonant compositions
      • His ability to blend Renaissance techniques with a uniquely Portuguese sensibility
      cemented his place as one of the most important artists in Portugal’s history. Today, many of his works are preserved in the National Museum of Ancient Art in Lisbon, offering visitors a glimpse into the spiritual world and artistic brilliance of the Portuguese Renaissance. He represents not just a painter but a cultural moment—a synthesis of faith, artistry, and imperial ambition that continues to resonate centuries later.