Places to see in ( Plasencia - Spain )
Places to see in ( Plasencia - Spain )
Plasencia is a walled market city in the province of Cáceres, Extremadura, Western Spain. Situated on the bank of the Jerte River, Plasencia has a historic quarter that is a consequence of the city's strategic location along the Silver Route, or Ruta de la Plata. Since the 15th century, the noblemen of the region began to move to Plasencia, defining its current appearance.
The final chapter of the 20th century was an extraordinary period for Plasencia and its development; the number of inhabitants has tripled in the last 60 years, and during this period of time many public works have been constructed including the hospital Virgen del Pueto, the reservoir of Plasencia, the Municipal Sport Centre and many useful roads. In addition, several university degrees are offered at the present university campus.
Alot to see in ( Plasencia - Spain ) such as :
The double line of walls, with six gates and 68 towers, dating to 1197. The Keep (or Alcázar) was demolished in 1941.
Remains of the Roman aqueduct
Las Catedrales, a complex of two cathedrals. In 1189, by request of Alfonso VIII, Plasencia was declared head of dioceses by Pope Clement III and work on a Romanesque Cathedral started shortly after, concluding sometime in the 18th century, by which time fashions had changed and Gothic elements had been added in the forms of pointed arches to the Nave and a rose window to the main South Entrance, while the cloister, on the East side bordering the city walls, was entirely Gothic. In the 15th century the Dioceses decided to build a grand Gothic Cathedral in the same site, demolishing the old cathedral as the new one was being built. Work started in 1498 and by the 16th century, standard Renaissance elements had been added such as the East Entrance and the elaborate Choir Seating, while the local style of the period, Plateresque, is present in the West (main) and the Presbytery Entrances. Work continued until the 18th century, when, with only the Sanctuary and the Transept of the New Cathedral finished, the project was abandoned leaving behind a somewhat odd result, as most of the Nave of the Old Cathedral, its cloister and its unique Octagonal Tower housing the Sala Capitular Chapel is still attached to the New Cathedral, while the new choir, that was supposed to stand along the New Nave, was positioned across the transept. In the Main Chapel, there is an altarpiece by Gregorio Fernández (17th century), and the choir by Rodrigo Alemán.
The Museum, near the Cathedral, is home to artworks by Jusepe de Ribera and Luis de Morales.
Renaissance Town Hall, in the Plaza Mayor
Casa consistorial (16th–18th centuries)
Palacio de los marqueses de Mirabel (16th century) with a two-order court
Church of San Martín (13th century). It has a nave and two aisles, and a retablo by Luis de Morales (1570).
Church and convent of Santo Domingo (St. Dominic, mid-15th century)
Church of San Esteban (15th century), with an apse in Gothic style. The high altar is transitional Plateresque-Baroque style.
Sanctuary of Virgen del Puerto, some 5 kilometers from the city, begun in the 15th century but finished three centuries later.
Monastery of San Jeronimo de Yuste, where emperor Charles V died in 1558, and the castle of Jarandilla de la Vera (15th century). Nature resorts include the Monfrague Natural Park.
Canchos de Ramiro y Ladronera Protected Area.
( Plasencia - Spain ) is well know as a tourist destination because of the variety of places you can enjoy while you are visiting the city of Plasencia . Through a series of videos we will try to show you recommended places to visit in Plasencia - Spain
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Francisco de Zurbaran Oil Painting
Francisco de Zurbarán was a Spanish painter. He is known primarily for his religious paintings depicting monks, nuns, and martyrs, and for his still-lives. Zurbarán gained the nickname 'Spanish Caravaggio', owing to the forcible, realistic use of chiaroscuro in which he excelled.
In 1598 Francisco de Zurbarán was born in the western Spanish town of Fuente de Cantos. His parents detected their son's artistic talent at an early stage. In 1614 he became an apprentice to the painter Pedro Diaz de Villanueva in Seville. In 1617 Zurbarán moved to Llerena, the region's most important town of that period, where he lived until 1628.
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 Monta?és is especially close to Zurbarán's in spirit.
In 1625 Francisco de Zurbarán entered into a second marriage with the wealthy widow Beatriz de Morales, daughter of the patrician of Llerena. A little later Francisco de Zurbarán began his artistic career, he accepted a commission to produce several large paintings for the Retablo of San Pedro in the Seville cathedral and for the Carthusians of Santa María de las Cuevas.
On January 17, 1626 Francisco de Zurbarán signed a contract with the prior of the Dominican monastery San Pablo el Real in Seville, agreeing to produce 21 paintings within 8 months. This commission established Zurbarán as a painter. Between 1626 and 1628 Francisco de Zurbarán visited his friend Diego Velásquez in Madrid, who enjoyed a far greater reputation than Zurbarán. In June 1629 Francisco de Zurbarán was invited by the Elders of Seville, to move to the city, as his paintings had gained such high reputation, that he would increase the reputation of Seville. He accepted the invitation and moved to Seville with his wife Beatrix de Morales, the three children from his first marriage, a relative called Isabel de Zurbarán and eight servants.
Until 1658 he lived in Via Alcazar 27 close to the royal palaces. In the subsequent years Zurbarán worked on numerous commissions for churches and monasteries and his financial situation developed accordingly. In May 1639 his second wife, Beatriz de Morales, died. Zurbarán was deeply affected by her death. The quality of his artwork deteriorated significantly, even though it increased in quantity thanks to the help of the assistants in his workshop.
Zurbarán continued to receive commissions, but his financial situation deteriorated greatly. On February 7, 1644 he entered into his third marriage, as usual with a wealthy widow, this time Leonor de Tordera. In 1645 his reputation was deeply affected when Bartolomé Esteban Murillo produced the interior design of the Franciscan church in Seville with his cheerful, more populist and realistic work. Zurbarán's strict ascetic and celestial style was no longer able to compete.
In May 1658 Francisco de Zurbarán moved to Madrid, hoping to receive commissions there, to improve his dire financial situation. His last picture, dated 1662, was probably The Virgin and the Child with St. John, but in a letter to the Bishop of Badajoz, Francisco de Zurbarán claimed to have been very busy with commissioned work for the king. Francisco de Zurbarán had reached the end of his career.
Francisco de Zurbarán died on August 27, 1664 in Madrid.