1530 (ca.), Frei Carlos, The Assumption -- Museu Nacional de Arte Antiga (Lisbon)
From the museum label: Both paintings [this one and The Ascension] originated directly from the Monastery of Espinheiro (Évora), but there is no certainty as to their original location on the altarpieces inside the monastery. The painting of the Assumption is particularly interesting because of the rhythms at which the colour is distributed among the figures of the Apostles and because of the way in which the spaces were conceived. The landscape, extending horizontally and in great depth, follows the chromatic procedures traditionally found in Flemish painting. It should be noted that the trees, painted in the middle ground of the composition, one in the centre and the others on the observer's right, are not original features of the paintings; they are certainly a later addition from after the sixteenth century.
1530 (ca.), Frei Carlos, The Assumption -- Museu Nacional de Arte Antiga (Lisbon)
From the museum label: Both paintings [this one and The Ascension] originated directly from the Monastery of Espinheiro (Évora), but there is no certainty as to their original location on the altarpieces inside the monastery. The painting of the Assumption is particularly interesting because of the rhythms at which the colour is distributed among the figures of the Apostles and because of the way in which the spaces were conceived. The landscape, extending horizontally and in great depth, follows the chromatic procedures traditionally found in Flemish painting. It should be noted that the trees, painted in the middle ground of the composition, one in the centre and the others on the observer's right, are not original features of the paintings; they are certainly a later addition from after the sixteenth century.