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João Carqueijeiro (1954-), plastic artist; Nicolau Chanterene (1485-1555) French sculptor and architect who worked mainly in Portugal and Spain; Eduardo Teixeira Coelho (1919-2005) comic book artist; Evelina Coelho (1945–2013), painter; José Dias Coelho (1923-1961) Jorge Colaço (1868-1942)
Abel Salazar (1889–1946); Julião Sarmento (1948–2021); Domingos Sequeira (1768–1837); Silva, Maria Helena Vieira da: see under Vieira da Silva: Maria Helena Vieira da Silva (1908–1992)
Infante John was the son of King John I of Portugal and his wife Philippa of Lancaster.John and his brothers Edward, Peter, Henry and Ferdinand, sister Isabella and half-brother Afonso, constitute what Portuguese historians have traditionally labelled the 'illustrious generation' (Ínclita Geração)
John spent lavishly on ambitious architectural works, most notably Mafra Palace, and on commissions and additions for his sizable art and literary collections. Owing to his craving for international diplomatic recognition, John also spent large sums on the embassies he sent to the courts of Europe, the most famous being those he sent to Paris ...
Jesus visiting Maria by Jorge Afonso (c. 1515), from the main altarpiece of the Madre de Deus church in Lisbon, now in the National Museum of Ancient Art. Jorge Afonso (c. 1470 – 1540) was a noted Portuguese Renaissance painter. Jorge Afonso was nominated royal painter in 1508 by King Manuel I and again in 1529 by John III.
The most ancient Portuguese paintings are in illuminated manuscripts. [3] The Apocalypse of Lorvão (one of the ten most important artistic works in Portugal according to the Europeana project), completed in 1189 in the scriptorium of the Lorvão monastery, near Coimbra, is the only manuscript of the Beatus of Liébana produced in Portugal during the Middle Ages.
Dom John VI (Portuguese: João VI; [2] [3] 13 May 1767 – 10 March 1826), nicknamed "the Clement", was King of the United Kingdom of Portugal, Brazil and the Algarves from 1816 to 1825. Although the United Kingdom of Portugal ceased to exist de facto beginning in 1822, he remained its monarch de jure between 1822 and 1825.
A copy of Francisco's portrait of King John III of Portugal. Francisco de Holanda embraced the aesthetic values of the Renaissance. His paintings strongly expressed the desire to stimulate personal originality and provide a link between nature (the pure mirror of the Creator) and the ancients – immortal masters of greatness, symmetry, perfection and decorum.