Return To The Netherlands
On his return Mor probably travelled around among Utrecht, Antwerp and Brussels. In this period he was in regular contact with Granvelle and also worked for the court where he portrayed Margaretha of Parma. After his return Mor focused on the portrayal of citizens, especially of the trade elite in Antwerp and their wives, Beside this type of portrait (among others the Portrait of Thomas Gresham) he also painted artisans such as the goldsmith Steven van Herwijck (1564). These works differs from the paintings which Mor made for the court and they show another side of his skills. The return of Granvelle to France and the increasing social and political disorder in the Netherlands caused financial problems for Mor. These problems were partly solved with the commissions and favours granted by the duke of Alva. From 1568 Mor was established in Antwerp and in 1572 he registered as a master with the Antwerp guild. Possibly Mor visited England once again in 1568, based on the Portrait of a nobleman with dog and of the Portrait of Sir Henry Lee. In 1559 and 1562 Mor painted the portraits of Margaretha of Parma. On her way to Spain Anna of Austria stayed for a period of time in Antwerp where she was portrayed by Mor in 1570. This is the last know work which he painted for the court.
Hereafter it becomes more quiet around Mor, maybe as result of competition by painters such as Adriaen Thomasz. Key, Frans Pourbus the Elder (1545–1581) and Frans Floris (1519/20-1570). The last portrait attributed to Mor is the Portrait of Hubertus Goltzius dated 1576. Mor focused during his last years on religious and mythological work, but in this area he would never equal his success as a portrait painter. The last document that refers to him was one issued at Antwerp in 1573. He probably died there shortly afterwards.
Read more about this topic: Antonis Mor
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“A tree may grow a thousand feet tall, but its leaves will return to its roots.”
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