Juan Carreño de Miranda | |
---|---|
Born | Juan Carreño de Miranda 25 March 1614 |
Died | 3 October 1685 71) | (aged
Nationality | Spanish |
Known for | Painting |
Juan Carreño de Miranda (25 March 1614 — 3 October 1685) was a Spanish painter of the Baroque period.
Born in Avilés in Asturias, son of a painter with the same name, Juan Carreño de Miranda. His family moved to Madrid in 1623, and he trained in Madrid during the late 1620s as an apprentice to Pedro de las Cuevas and Bartolomé Román. He came to the notice of Velázquez for his work in the cloister of Doña María de Aragón and in the Church of Our Lady of the Rosary (Iglesia de la Virgen del Rosario), Marlofa , La Joyosa. [1]
In 1658, Carreño was hired as an assistant on a royal commission to paint frescoes in the Alcázar of Madrid; later destroyed in the fire of 1734. In 1671, upon the death of Sebastián de Herrera, he was appointed court painter to the queen (pintor de cámara) and began to paint primarily portraits. He refused to be knighted in the Order of Santiago, saying "Painting needs no honors, it can give them to the whole world". He is mainly recalled as a painter of portraits. His main pupils were Mateo Cerezo, Juan Martín Cabezalero, José Jiménez Donoso, and José de Ledesma. [2] He died in Madrid.
Noble by descent, he had an understanding of the workings and psychology of the royal court as no painter before him, making his portraits of the Spanish royal family in an unprecedented documentary fashion. Most of his work are portraits of the royal family and court, though there are some altarpieces, early works commissioned mainly by the church.
Diego Rodríguez de Silva y Velázquez, Knight of the Order of Santiago was a Spanish painter, the leading artist in the court of King Philip IV of Spain and Portugal, and of the Spanish Golden Age.
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Juan Bautista Martínez del Mazo was a Spanish Baroque portrait and landscape painter, the most distinguished of the followers of his father-in-law Velázquez, whose style he imitated more closely than did any other artist. A fine painter himself, Mazo was a master of landscape, as proven by his most celebrated work View of Saragossa.
The Portrait of Juan de Pareja is a painting by Spanish artist Diego Velázquez of the enslaved Juan de Pareja, a notable painter in his own right, who was owned by Velázquez at the time the painting was completed. Velázquez painted the portrait in Rome, while traveling in Italy, in 1650. It is the earliest known portrait of a Spanish man of African descent.
Gaspar de Guzmán, Count-Duke of Olivares, on Horseback is an oil on canvas painting by Spanish painter Diego Velázquez, made around the year 1636. It has been in the Museo del Prado in Madrid since its inauguration in 1819.
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Doña Antonia de Ipeñarrieta y Galdós and Her Son Don Luis is a 1634 portrait by Diego Velázquez, now in the Prado Museum. Doña Antonia and her son Luis are shown standing, captured in an elegant melancholy. The woman uses the chair to support herself, to emphasize her social status in the Court, where she had the right to sit. According to different studies of the canvas, it is believed that the child's figure could have been added afterwards.
Prince Balthasar Charles as a Hunter is a 1635 portrait of Balthasar Charles, Prince of Asturias by Diego Velázquez. It is now held at the Museo del Prado.
Portrait of Francisco Lezcano or The "Niño de Vallecas" is the 1645 portrait by Diego Velázquez of Francisco Lezcano, also known as Lezcanillo or el Vizcaíno, a jester at the court of Philip IV of Spain. It has been in the Prado since 1819.
Portrait of Pablo de Valladolid is a portrait painted around 1635 by Diego Velázquez of Pablo or "Pablillos" de Valladolid (1587–1648), a jester and actor at Philip IV's court from 1632 until his death. It is now in the Museo del Prado, to which it was moved in 1827.
The Portrait of Sebastián de Morra is a painting by Diego Velázquez of Sebastián de Morra, a court dwarf and jester at the court of Philip IV of Spain. It was painted around 1644 and is now in the Prado in Madrid. Not much is documented about De Morra's life, other than the fact that he was brought to Spain by Philip IV in 1643 and served the court for six years before his death in 1649. It was not until Velázquez became a court painter that he showed dwarfs with a warmer and naturalistic style compared to previous paintings. De Morra looks directly at the viewer, motionless, making no hand gestures, leading one critic to suggest that the painting represents a denunciation of the court's treatment of de Morra and other dwarfs. Recently discovered inventories and previous documents relating to De Morra reveal that he was also known by a nickname, El Primo.
The Equestrian Portrait of Margarita of Austria is a 1634 portrait of Margaret of Austria, Queen of Spain on horseback by Velázquez, originally shown at the Hall of Realms of the Buen Retiro Palace in Madrid and now in the Prado Museum.
The Portrait of Philip IV in Fraga is a mid-length portrait of Philip IV of Spain by Velázquez. It was painted over the course of three sessions in June 1644 in Fraga, where Philip IV had moved the royal court as part of the "Jornada de Aragón" which resulted in the recovery of Lérida from France, which had occupied the city earlier during the Reapers' War. The portrait was gifted by Philip V to his son, the future Philip, Duke of Parma, and the painting left Spain along with him in 1748. In 1911 it was acquired by the Frick Collection, where it is currently on display.
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