Through this post we bring you through this excellent article the spanish baroque painting, characteristics, genres, and much more about this type of art that was created during the 17th and first half of the 18th centuries, considered the golden age of Spanish painting. Don't miss it!
What is Spanish Baroque Painting?
Spanish Baroque painting stands out for its excess of idealized beauty, integrated with Mannerist distortions, allowing for narrative without the loss of ornamentation in accordance with the demands of the Counter-Reformation Church. For more information, please consult the characteristics of the Baroque.
In 1610, he adopted natural models from the Italian artist Caravaggio, combined with tenebrist lighting, which determined the dominant style of Spanish Baroque painting in the first part of the 1603th century. Then, the arrival of Rubens was essential between 1628 and XNUMX.
Where he demonstrates the massive wave of transmission of his works, coupled with that of his disciples. This influence is nuanced thanks to the nuances of Titian, with his loose brushwork technique characteristic of one of the main representatives of Spanish Baroque painting, Velázquez. You can see more details about Velázquez's paintings.
In Spanish Baroque painting, the influences of the Flemish order are combined with the new currents coming from the Italian nation, with respect to artists skilled in the art of fresco such as Colonna and Mitelli in 1658, and then Luca Giordano in 1692.
Although during this period a general crisis broke out that affected the Spanish nation due to the migration of a large number of inhabitants to the new continent, coupled with the losses caused by multiple wars and the expulsion of the Moriscos from the Spanish nation.
In addition to the variety of plagues and epidemics that affected the Spanish population, despite all these vicissitudes, it was the Golden Age of Spanish Baroque painting, due to the many high-quality and original works of the first-rate artists they produced.
Main characteristics of Spanish baroque painting
In order to help you understand the most representative characteristics of Spanish Baroque painting, we will explain everything related to this interesting topic in detail in this section.
In relation to Clients and Patrons
The main clientele was the church, which requested a large number of artistic works to decorate the many religious temples and demanded a large number of works from the artists.
Demonstrating the importance of Spanish Baroque painting in the Counter-Reformation of the Church, using art as a weapon in support of the Catholic Church. Thanks to them, painters working for this dogma were unable to express art as such, as they had to comply with religious requirements, specifically in the choice of subjects to paint.
Furthermore, the Church required the models to be created and monitored whether the artistic work of Spanish Baroque painting met their desired interests. However, painters working for the Catholic Church enjoyed excellent incomes, as well as an excellent reputation and renown through public exhibitions of their works.
Another of his clients was the Cortes, specifically during the reign of Philip IV, where he was a true patron. An example of this is the excerpt from Rubens's letter to a friend, where he states the following:
“…Here I am painting, as I do everywhere… I have done an equestrian portrait of His Majesty that has pleased him greatly. It is true that he delights in painting…”
"...in my opinion this prince is endowed with excellent qualities, I have personal dealings with him... as I stay at the palace, he comes to see me almost every day..."
One example of Spanish Baroque painting is the decoration of the new Buen Retiro Palace, which allowed for the increase in significant artistic works for the decoration of the Hall of Realms, where excellent portraits can be seen. You can also see more about the baroque painting.
The museum features equestrian portraits by Velázquez, as well as a variety of artistic paintings of the battles won by the armies of Philip IV, in addition to the cycle of The Labors of Hercules by Zurbarán.
In Rome, several artists were in demand, including Claude Lorraine and Nicolas Poussin for series of landscapes featuring figures for the Gallery of Landscapes.
Likewise, artists Giovanni Lanfranco, Domenichino and others were commissioned to create more than thirty-four paintings in the city of Naples, depicting the history of Rome, among which stands out The Combat of Women by José de Ribera.
A ban was imposed on the transfer of artworks to other royal palaces, and due to Olivares's urgency in completing the decoration, works from collectors had to be acquired to reach the total of 800 works that were to hang on the walls of this structure.
Among the sellers of these works, artists included the artist Velázquez, who in 1634 sold to the king the artistic work The Tunic of Joseph and The Forge of Vulcan that he painted in the Italian nation, which is a work that represents Spanish Baroque painting.
He also sold other works, including works by others such as a copy of Danae by Titian, as well as four landscapes, two allegorical still lifes, and two other paintings related to flowers.
After that, it was necessary to decorate the Torre de la Parada, where a large number of representative works of Spanish Baroque painting were placed, the total number being sixty-three paintings with mythological motifs, which were commissioned in 1636 to the artist Rubens.
This painter was responsible for providing the designs and for the execution of fourteen paintings related to landscapes, as well as views of real sites, which were made by artists of Spanish origin such as Félix Castelo and José Leonardo.
In addition to Velázquez, who contributed works related to Aesop and Menippus, as well as the portrait of Mars, being one of the great examples of Spanish Baroque painting.
The Alcázar also received a large number of new works of Spanish Baroque painting, demonstrating admiration for their themes, and some protests were even formalized, as was the case in 1638.
The paintings The Bacchanal of the Andrians and The Offering of Venus, two much-admired works by Titian, were brought from Rome. They sparked a great deal of protest among the city's artists.
Furthermore, a reorganization of the collection was required. Among the participating artists was Velázquez, a great exponent of Spanish Baroque painting, so aesthetic criteria were prioritized.
Thus, on the ground floor of the palace are the so-called Titian Vaults, where thirty-eight paintings were integrated.
In addition to the poems that Philip II requested from Titian himself, together with The Bacchanal and other works of art of Venetian origin such as The Three Graces by Rubens, Eve by the artist Dürer.
Other works by Ribera, such as the famous Jordaens, as well as Tintoretto, feature prominent female figures, primarily nudes. In order to complete this series of paintings, Velázquez had to travel to Italy in 1648.
With the order to purchase sculptures and hire a professional dedicated to fresco painting, Angelo Michele Colonna and Agostino Mitelli being appointed for this purpose.
Work continued on the Alcázar and in 1649 Francisco Camilo was commissioned to paint a series of scenes known as Ovid's Metamorphoses, which were not to the king's liking.
Also notable in Spanish Baroque painting are the scenographic ornaments referring to theatrical performances, as can be seen in the Buen Retiro, and which were carried out by the Italian-born engineers Baccio del Bianco and Come Lotti.
Francesco Rizi, director of the Royal Theatres, was responsible for introducing stage machinery, as well as the Tuscan alterations. Drawings related to the curtains are preserved today.
Other artists also participated, such as José de Cieza from Granada, who was a perspective painter and thanks to this he earned the coveted title of Painter to the King.
Spanish Baroque painting is notable for its ephemeral decorations related to triumphal arches and festive facades, which were sponsored by the city council or intellectual guilds. This was another source of income for artists.
However, these types of works were observed to be secular in nature, but they nonetheless represented Spanish Baroque painting. Among them, The Entry into Madrid of Mariana of Austria, the second wife of Philip IV, stands out.
In addition to the two wives of Charles II, Maria Luisa of Orleans and Maria of Neoburg, artists specializing in relief work, such as Claudio Coello, also participated.
Regarding the private clientele, little can be said about Spanish Baroque painting due to the limited data available. We can speak specifically about the nobility who were interested in decorating their private chapels.
Although some members of the high nobility, who were close to the king, were commissioned to perform functions in regions of Italy, as well as in Flanders, they had the opportunity to acquire large collections of works of art.
An example of this can be seen with the viceroys of Naples, who acquired works of Spanish Baroque painting by Ribera. Later, Alonso Cano acquired works by Olivares, becoming an original patron of European art collections.
One of the researchers of Spanish Baroque painting, named Carducho, comments that at that time there were around twenty important collectors in Spain, such as the Marquis of Leganés, who felt a strong attraction to Flemish painting.
Also worth mentioning is Juan Alfonso Enríquez de Cabrera, who was Admiral of Castile and received from his mother Vittoria Colonna a large number of religious works, including original works and some copies by Rubens, Correggio, Tintoretto and Titian.
Many of the upper class preferred works by foreign artists, which led to a reduction in the number of works produced by Creole artists from Spain.
Although it should be noted that many works were unsigned by their author and when they were, they were not always the artist's own, but a rough copy, such is the case of the Marquis of Carpio, whose collection numbered around two thousand pieces.
Among these works, the Venus with a Mirror by Velázquez, a great artist of Spanish Baroque painting, stood out. There were also works by other artists such as Angelo Nardi and Juan van del Hamen.
Furthermore, its inventory also included second-rank works, such as those by Gabriel Terrazas and Juan de Toledo, and even copies of great artists such as Rubens, Velázquez, and Titian, which were masterfully executed by Juan Bautista Martínez del Mazo.
Regarding the collection acquired by the Dukes of Benavente, there were works referring to Flemish and Italian painting, although the bulk of the collection was made up of works of Spanish Baroque painting by Murillo, around forty pictorial works.
Another collection of great exceptional beauty was that of Admiral Juan Gaspar Enríquez de Cabrera, who was the protector of Juan Alfaro, by ordinance of his funds to create a museum.
These paintings were distributed in various rooms, depicting themes related to nations, as well as still lifes and seascapes. There are also great works by influential masters, such as Raphael, Rubens, Ribera, Pedro de Orrente, and Bassano.
Each artist with their own unique piece. Furthermore, Pereda's Knight's Dream stands out among Spanish Baroque paintings, as do works by other artists such as Carreño and Antolinez.
Little is known about whether other social classes enjoyed collecting works of Spanish Baroque painting, although it was common to own paintings as part of a household's furnishings.
According to the Toledo inventory records from the second half of the 18th century, currently preserved, we can speak of a genre of paintings that were kept in the homes of other social classes, where the majority belong to religious themes.
Artists and their consideration in society
It is important to highlight the low social esteem given to artists, as they considered this craft to be mechanical and were only recognized in the 18th century.
Well, in the previous century they were looked down upon, such as Velázquez's arduous effort to be admitted into the Order of Santiago, in order to seek social recognition.
It is important to note that the custom of initiating artists at an early age did not favor intellectual development, and few artists made the effort to acquire a cultural background. Among the exceptions to this rule in Spanish Baroque painting is Francisco Pacheco, who was Velázquez's teacher and strove to surround himself with intellectuals with whom he communicated through letters.
Another was Diego Valentín Díaz in the city of Valladolid, where he had a library consisting of five hundred and seventy-six (576) volumes.
There were artists who were completely illiterate. Such is the case of Antonio de Pereda, who, according to Palomino, couldn't read or write, but enjoyed having books on general knowledge read to him.
According to the Council of Trent, the Church was responsible for establishing new rules regarding morality, which were much more demanding.
Among them, nudes were prohibited, so several treatises referring to chastity were published, condemning the act of painting nudes.
It is noted that at this historical moment in Spanish Baroque painting, some nudes were used to represent Eve and Adam, as well as other martyred saints. Just as in the churches, a large number of nudes were seen in artistic works at court.
Therefore, Friar Juan De Rojas y Auxa proposed covering these artistic works with veils when the ladies were in the presence of these paintings.
Thus, this taboo regarding nudity influenced the works of some artists, such as Francisco Pacheco, who advised artists to only imitate the heads and hands of models and to do the rest in front of prints or statues.
Although in the mid-17th century, most art academies encouraged artistic study through a living model, in most cases male.
An example of this can be seen in the Principles for Studying the Most Noble Art of Painting in 1693, created by José García Hidalgo.
Various Genres in Spanish Baroque Painting
A great diversity of genres representative of Spanish Baroque painting was observed in art, and in this interesting article we will explain each of them, being the following:
Religious Painting
According to the words of Francisco Pacheco, with regard to religious painting, it is a representative genre of Spanish Baroque painting and expresses the following:
“…the main purpose of painting was to persuade men to piety and lead them to God…”
So you can evidence the realistic aspect of Spanish baroque painting in regards to the religious sphere in the first half of the XNUMXth century.
Naturalist movements were quickly accepted, so artists feel faithful to religion when it is part of what they capture in their artistic works.
The most honored space for Spanish Baroque painting was the main altarpiece of religious sanctuaries, although works were also placed in the minor altarpieces in chapels and side naves.
An example of this is the altarpiece of El Escorial, which is divided into sections and bodies in a mixed form, where Spanish Baroque painting and sculpture can be seen.
Then, in the second half of the 17th century, the imposition of enormous altarpieces is observed, eliminating the varied scenes to focus on a central scene, being the historic moment of religious painting and by the end of the century it was relegated only to the attic.
The main body of the altarpiece is made of carved wood, representing a major period of Spanish Baroque painting. Thanks to the influence of the Italian Luca Giordano, who was in Spain, fresco painting began on the vaults of religious temples.
Thus, Spanish Baroque painting depicts triumphal scenes, as is the case of the Apotheosis of Saint Hermenegild, painted by Francisco de Herrera, better known as El Mozo.
Another example of Spanish Baroque painting in the religious field, such as Saint Augustine, created by Claudio Coello, these works are currently in the Prado Museum, where compositions dominated by diagonal lines and full of great strength can be seen in these works.
In Spanish Baroque painting, images of saints are observed, specifically those of greatest devotion in the Catholic Church, of various sizes and repetitions were frequent in the same workshop. Among the preferred saints are the following:
- St. Teresa of Jesus
- St. Ignatius of Loyola
- the penance
- San Pedro
- The Magdalena
- San Jeronimo
- The charity
- Almsgiving
- Saint John of God
- Saint Elisabeth of Hungary
- Martyrs (witnesses to the Catholic faith)
Regarding the cult of the Virgin Mary, like the cult of Saint Joseph, which were fostered by the words of Saint Teresa of Jesus, the cult increased as the Protestant Church fought with the Catholic faith.
These are representative images of Spanish Baroque painting, among which the Immaculate Conception stands out in the Spanish region. The main ones to acquire these works were the monarchs who fought to defend the dogma that had not yet been conceptualized by the Pope.
Because of this, artistic paintings referring to the Eucharist were created in Spanish Baroque painting, as can be seen thanks to the artist Claudio Coello in his artistic work Adoration of the Sacred Form, which is located in El Escorial.
Thus, it can be seen that Spanish Baroque painting was used to confront the ideas of the Protestant religion. An example of this is the Last Supper, which promotes the consecration of the Eucharist.
Likewise, Christ's miracles reflected the various works of mercy, as can be seen in the series of paintings that the artist Murillo created for the Hospital de la Caridad in Seville, demonstrating great importance in Spanish Baroque painting.
It is important to note that few allegorical images from the Old Testament are observed, as Catholics were reluctant to use this interpretation. The topics used primarily refer to the coming of Christ or are allegorical to it.
As is the case of the Sacrifice of Isaac, where an analogous meaning of the Passion of Christ is manifested, and is represented thanks to Spanish Baroque painting.
The Profane Genre
You should be aware that other genres existed in Spanish Baroque painting, although the most well-known one corresponds to religious themes.
Since the church was his main client and the money paid for it was very rewarding for the artists of this artistic movement.
Thus, we can speak of other genres in Spanish Baroque painting, such as portraiture and still lifes. Although the term "still life painting" can be found in documents as early as 1599.
One of the qualities of the austere Spanish still life, which is opposed to the ostentatious kitchen tables of Flemish origin, is thanks to the artist Sánchez Cotán. It is defined as a genre made up of simple compositions that use geometric figures, hard lines, and tenebrist lighting.
Such was the success of this artistic genre of Spanish Baroque painting that other artists followed suit in this form of painting, which became part of the royal courts, the following artists being of great renown:
- Felipe Ramirez
- Alexander of Loarte
- Francisco Burgos Mantilla
- Juan van der Hamen and Leon
- Francis Barrier
- Juan Fernández, better known as the Farmer
- Antonio Ponce
- Juan de Espinosa
- Francisco Palacios
The Sevillian school also helped shape the qualities of the still life genre, with Velázquez and Zurbarán being the principal representatives of Spanish Baroque painting. It is important to note that these still lifes were not free from the influence of Italy, nor of Flemish painting.
The Spanish still life genre underwent a transformation in the mid-17th century when, thanks to Flemish influence, the images depicted became more ostentatious and complex than before. A development in the composition can be observed, moving toward a theatrical mode with allegorical content.
An example of this form of Spanish Baroque painting can be seen in the flower paintings done by Juan de Arellano, and even in the artistic work called Vanitas by the artist Antonio de Pereda and another great artist, Valdés Leal.
Foreign influence is evident, as this genre of Spanish still life is framed by the austerity and sobriety of its forms, which changes with Flemish and Italian influence.
Although Velázquez devoted time and attention to the Spanish still life genre, it gained few followers. It was discredited by Carducho, but some works by Loarte and other artistic paintings attributed to Puga are worth mentioning.
In the mid-17th century, Murillo depicted beggar children, demonstrating street life in a scene from Spanish Baroque painting, thus launching the portrait genre in a unique way, far removed from the elitist nobility of Europe.
This form of Spanish Baroque painting fuses Greek influences, blending its roots with the Italian school of Titian, as well as the Hispano-Flemish painting represented by the artists Antonio Moro and Sánchez Coello.
It displays a simple composition with little ornamentation, yet it allows us to perceive the human experiences of its subjects, lending the portrait a dignity in contrast to the Counter-Reformation. Images do not necessarily have to depict renowned figures.
Well, a street child can be portrayed just like the monarch of a nation. As for the portrait genre of Spanish Baroque painting, a worthy example of this artistic work is The Clubfoot, also known as The Clubfoot, painted by José de Ribera in 1642.
One of the qualities that stands out most in Spanish Baroque painting with respect to the portrait genre is its austerity compared to other schools, as it represents the soul of the human figures captured on canvas.
A certain degree of distrust and melancholy is evident in the face of what life holds, from a natural style when capturing the model's features, very far from the classicism advocated by most theorists of the time.
One of the qualities of the Counter-Reformation is the predominance of reality over the ideal, and it is the portrait genre of Spanish Baroque painting.
Consolidated in the 17th century with the artistic works of Velázquez, as well as the portraits of Ribera, Zurbarán, and Juan Ribalta, this quality was maintained in Goya's artistic works.
Regarding the portrait genre in Spanish Baroque painting, there are few works related to the mythological or historical field, and these examples have been collected.
In relation to the 16th century, the rise of works related to the mythological field stands out in the 17th century, which were not only displayed on the walls of palaces, but were accessible to the entire society, allowing for a wide range of icons.
With regard to paintings related to the landscape, which were called "countries" in Spanish Baroque painting, they were treated with less impetus, since the human figure was at the pinnacle of art.
According to Carducho's criticism, the landscapes were suitable for residences located in the countryside or places of retreat and would be mostly enriched with some sacramental or profane image, which he expounded in his treatise entitled Dialogues of Painting.
This point of view coincides with the words expressed by Pacheco regarding his research called Art of Painting, where he comments on the landscapes created by foreign artists.
Among them, Cesare Arbasia, Muziano and Brill stand out, who learned this technique from the illustrious Spanish artist Antonio Mohedano, expressing the following:
"... it is a part of painting that should not be despised... but they are matters of little glory and esteem among the ancients..."
According to the research that has been carried out, it has been shown that this genre was very important for collectors, and unlike Holland, in the Spanish nation there are no authentic representatives, although the following can be mentioned:
Ignacio de Iriarte, who was active in Seville, like Francisco Collantes and Benito Manuel Agüero, in the city of Madrid, are noted for their landscape paintings with or without figures, in addition to Antonio del Castillo from Cordoba.
Schools of Spanish Baroque painting
In the first half of the 17th century, major production centers of the Spanish Baroque painting movement were observed, the main ones being those located in the cities of Toledo, Seville, Valencia, and Madrid.
It is important to highlight that in the second half of the 17th century, the Toledo and Valencia schools declined in status, while the value of Spanish Baroque painting increased in the cities of Madrid and Seville, but there were always artists of some importance in the various regions of the Spanish nation.
The school in the city of Madrid
At the beginning of the 1575th century, in both Madrid and Toledo, a group of artists influenced by foreign artists from Italy arrived in Spain to work at the great Monastery of El Escorial. Eugenio Cajes stands out among them between 1634 and XNUMX.
In addition to the artist Vicente Carducho, between the years 1576 and 1638, great artists of Spanish Baroque painting were trained due to the construction of this distinguished religious temple.
As is the case of Sánchez Cotán, as well as Francisco Ribalta, who were absorbed in the artistic work of Orazio Borgianni.
In addition to the paintings of Carlo Saraceni, which were acquired for Toledo Cathedral thanks to Cardinal Bernardo de Sandoval y Rojas, who was a collector and very attentive to all artistic trends emanating from the Italian nation.
Referring to religious topics with great realism in Spanish Baroque painting, without eliminating the ornamentation that many in the city of Rome reproached the great artist Caravaggio for.
Among them, Juan van der Hamen stands out, between the years 1596 and 1631, who was responsible for capturing still lifes, as well as religious canvases.
In addition to portraits typical of Spanish Baroque painting, he was followed by the great artist named Pedro Núñez del Valle, who called himself the Roman Academician.
He was influenced by the classicism of the Bolognese artist Guido Reni, who was inspired by Caravaggism and was responsible for capturing landscapes and religious themes.
We can also mention Giovanni Battista Maino, between the years 1578 and 1649, who, upon traveling to Italy, was impressed by the artistic works of Caravaggio and the artist Annibale Carracci, who was characterized by using light colors and sculptural figures.
The Toledo City School
You should know that an artistic school of Spanish Baroque painting began in the city of Toledo, where Juan Sánchez Cotán (1560-1627) stands out. He was an eclectic and diverse artist, whose still lifes, where fruits and vegetables are evident, stand out.
He was not familiar with the work of Caravaggio, like Juan van der Hamen, who were characterized by a genre similar to that of Dutch painters, such as Clara Peeters and Osias Beert.
Like artists of Italian origin, such as Fede Galizia, who were contemporaries and whose interest was in tenebrist lighting.
They weren't interested in the complex still life illustrations of other artists of Dutch or Flemish origin. Therefore, Sánchez Cotán's compositions, relative to still lifes, are simple, with a few pieces arranged geometrically within the canvas.
It is said that Sánchez Cotán ordered his elements according to proportion and harmony in accordance with Neoplatonism, although no writings referring to this have been found.
Only naturalism is used in the painting, as evidenced in the work Still Life with Fruit, which depicts a still life containing quince, melon, cucumber, and cabbage. This work belongs to the Fine Arts Gallery in San Diego.
In this work, the simplicity of four fruits on a geometric frame is observed at the bottom left side, highlighting the black color in the center of the canvas, as well as in the right half, highlighting the details.
It is a work of Spanish Baroque painting that draws the attention of viewers thanks to the architectural frame where the fruits fit.
Like the pieces related to hunting, alluding to the cupboards typical of the Spanish region at that historical moment, it also stands out for the illusionistic perspective it gives the work.
Other artists of Spanish Baroque painting are Pedro Orrente and Luis Tristán, who was a disciple of the artist Greco. When he moved to Italy between 1606 and 1611, he was characterized by his training in the tenebrist style of his own.
In addition to being eclectic, his most notable works include the main altarpiece of the church of Yepes in 1616.
Regarding the artist Orrente, he also resided in Italy between 1604 and 1612, where he worked in the Bassano workshop in Venice.
His work, carried out in the cities of Murcia, Valencia, and Toledo, excelled in religious themes, highlighting the realism of his figures, objects, and animals.
As is the case of San Sebastián in the Cathedral of Valencia in 1616, as well as the Apparition of Saint Leocadia in the Cathedral of Toledo in 1617.
The school of Spanish baroque painting in Valencia
The artists of the tenebrist style Francisco Ribalta (1565-1628) and José de Ribera (1591-1652) stand out in this school, who are classified in this Valencian school, beginning in the XNUMXth century.
The artist Ribalta lived in the city of Valencia since 1599, and in this town the painting had the characteristics of the artist Juan de Juanes.
Ribalta's style was conducive to the Counter-Reformation, as his works featured a simple composition centered on characters who displayed implicit emotion, typical of Spanish Baroque painting.
Among his paintings, the most notable are The Crucified Embracing Saint Bernard and Saint Francis Comforted by an Angel, both of which are in the Prado Museum.
Another of his works is The Last Supper from the altarpiece of the Colegio del Patriarca, as well as the Portacoeli altarpiece, which is in the Valencia Museum, where Saint Bruno stands out.
Among his great students was his own son, Juan Ribalta, who died very young. Also among them is Jerónimo Jacinto Espinosa.
His works stand out, such as The Miracle of Christ of the Rescue, from the year 1623, as well as The Death of Saint Louis Beltran, in the year 1653, and The Apparition of Christ to Saint Ignatius, from the year 1658.
It is important to note that José de Ribera, although included in the Valencian school, always worked in Italy from 1611. He was not in Valencia and, while in Rome, he came into contact with the influence of the artist Caravaggio, adopting the tenebrist naturalism.
His paintings highlight the simplicity of apostles and philosophers, emulating their expressions, even their wrinkles. He settled in Naples and came into contact with Velázquez, whose chiaroscuro was toned down by the influence of Venetian Classicism.
Among the outstanding works of this great artist of Spanish Baroque painting is The Penitent Magdalene, which is housed in the Prado Museum.
Like the Martyrdom of Saint Philip, The Dream of Jacob, the Holy Trinity, Saint Andrew, and the Immaculate Conception, these works belong to the Augustinian nuns of Monterrey in the city of Salamanca.
Another representative work of Spanish Baroque painting is The Charterhouse of San Martino in Naples, and the Communion of the Apostles. He also painted canvases depicting landscapes, which belong to the collection of the Dukes of Alba at the Palace of Monterrey.
He was also responsible for depicting religious themes, commissioned by the Spanish viceroys in the city of Naples, as well as mythological themes, such as Venus and Adonis, Apollo and Marsyas, The Visit of the Gods to Men, Drunken Silenus, not to mention a series of portraits.
As is the case of the equestrian portrait of Don Juan José of Austria and the well-known portrait El pie varo, which specifically responds to the taste of the moment in Spanish Baroque painting, as does La Mujer Bubada, for the 3rd Duke of Alcalá.
Regarding the Andalusian School
At the beginning of the 1564th century, traditional painting with Dutch influence was in vogue in the city of Seville, its best representative being the Mannerist artist Francisco Pacheco, who was the father-in-law and teacher of the great Velázquez (1654-XNUMX).
He was a scholarly painter who was responsible for creating a treatise entitled The Art of Painting, which was published after his physical absence. It's important for you to know that a clergyman named Juan de Roelas (1570-1625) was the artist who introduced colorism to the Venetian artistic style in the city of Seville.
Because of this, he is considered the father of Spanish Baroque painting in Lower Andalusia. His works are notable for their luminous and colorful Baroque style, which has its origins in Mannerist painting.
Among the outstanding works of this representative of Spanish Baroque painting is The Martyrdom of Saint Andrew, which is housed in the Seville Museum.
You should know that this first generation of artists representing Spanish Baroque painting ends with Francisco Herrera, better known as El Viejo (1590-1656), who was the art teacher of his own son, Herrera El Mozo.
According to research, this artist named Herrera was part of the transition from Mannerism to the Baroque movement.
Of which he was a promoter thanks to his artistic qualities, such as the vertiginous brushwork and realism characteristic of Spanish Baroque painting.
It's essential for you to understand that the city of Seville was experiencing an economic boom thanks to trade with America, where great artists of Spanish Baroque painting, such as Zurbarán, Velázquez, and Alonso Cano, were trained.
Regarding Francisco de Zurbarán (1598-1664), he is the greatest representative of Spanish Baroque painting in the religious field, which is why he was known in his time as the painter of the friars.
His still lifes are also notable, although he devoted himself to them occasionally. One of his qualities is his tenebrist style, which includes a simple and realistic composition of the objects and people he captured on his canvases.
Major series of works featuring works from various religious orders of Catholic doctrine stand out, including the Carthusian monks of Seville, as well as the Hieronymites of the Sacristy of the Monastery of Guadalupe. Among his works are:
- Friar Gonzalo de Illescas
- Immaculate
- Friar Pedro Machado
- The Mass of Father Cabañuelas
- Saint Hugo in the Refectory of the Carthusians
- The Vision of Father Salmerón
- Temptation of Saint Jerome
- Santa Catalina
Another great representative of Spanish Baroque painting, Alonso Cano (1601-1667), is considered the founder of the Granada Baroque school. Initially, he was a tenebrist, but later changed this style.
Well, he became acquainted with Venetian painting in the royal collections when he was appointed court painter by the Count-Duke of Olivares. It's important to know that Alonso Cano and Velázquez were friends and classmates.
In the workshop of the master Francisco Pacheco, where he embraced idealized forms, as well as classical ones, he did not like the realism of his contemporaries.
Among the most representative works of this Spanish Baroque painter are the canvases depicting the Life of the Virgin, which are currently in Granada Cathedral.
Velázquez and his influence on Spanish baroque painting
This century features the greatest artist, Diego Velázquez, one of the great creative geniuses of Spanish Baroque painting. This great artist was born in Seville in 1599 and died in Madrid in 1660.
He demonstrated a great mastery of light and darkness, becoming a great portraitist of Spanish Baroque painting. Regarding his portraits, he not only captured kings and their families on canvas, but also other figures, such as court jesters.
With respect to these characters, he highlights their great decency and formality in their profession, and he proved in his time to be a great artist recognized by other renowned artists.
Such is the case of Vicente Carducho, although he was immersed in classicism, he considered naturalism a minor art.
In his early days in Seville, the artist Diego Velázquez was responsible for capturing images referring to genre scenes, which other painters such as Francisco Pacheco and Antonio Palomino called or categorized as still lifes.
Where they made models of kitchen paintings, which were created by artists of Flemish origin such as Beuckelaer and Aertsen, from the southern Netherlands.
It was under the rule of the Austrians, so there was a great commercial economic boom between the regions of Flanders and Seville.
These images were the first to bring fame to this artist, as he did not create simple works, but rather genre scenes, which can be seen in various museums across Spain.
Highlighting how fascinating these artistic compositions were, which were very striking for European society. Among them, the following stand out:
- The Luncheon, created in 1617 at the Hermitage Museum
- Old Woman Frying Eggs, 1618, which is in the National Gallery of Scotland
- Christ in Martha's House, 1618, located in the National Gallery, London
- The Water Carrier of Seville, created in 1620, is located at Apsley House
These scenes reveal details reminiscent of the distinctive still lifes, which feature jugs made from ceramics and fish.
In addition to eggs, with great realism on a canvas characterized by a tenebrist atmosphere, where he uses a palette with few colors.
You should be aware that this artist, Diego Velázquez, not only created religious works, but also court portraits and historical themes, most notably The Surrender of Breda.
He also demonstrated excellent work in Spanish Baroque painting, referring to mythological themes, where The Triumph of Bacchus, The Fable of Arachne, The Forge of Vulcan, among others, stand out.
Among his great creativity are still lifes and landscapes, as well as some female nudes, typical of this art, such as the Venus with a Mirror.
This great artist of Spanish Baroque painting is influenced by the tenebrism of Caravaggio, as well as by the great Rubens, allowing the fusion of these currents that stand out in this work of great realism, typical of Velázquez.
He demonstrated great creative artistic ingenuity in the handling of light and space in Spanish Baroque painting, which is why he is considered a highly relevant figure of tenebrism in the first half of the 17th century and of the Baroque movement in the second half of the same century.
One of its main characteristics is the realistic effect of great depth, demonstrating in his canvases an atmosphere where a dust floating between the figures can be seen.
Which he captures in his canvases, demonstrating a great mastery of volatile perspective, as highlighted in one of his great works, Las Meninas.
Velázquez's works include other great artists, such as the painter Juan de Pareja (1610-1667) and his son-in-law Juan Bautista Martínez del Mazo (1605-1667), who was his assistant. After learning the style, he became an independent artist.
Regarding the Second Half of the XVII Century
At this stage of Spanish Baroque painting, it is no longer under the domination of Caravaggio, but the influence of the Flemish Baroque movement of Rubensian origin, as well as the Italian Baroque, is evident.
Other types of paintings are evident where light and shadows do not stand out, but rather a penetrating chromatism is taken into account that alludes to the school of Venetian origin.
Furthermore, Spanish Baroque painting includes a theatricality, which is something very unique about Spanish Baroque painting.
This type of Spanish Baroque painting is used to express the triumph of the Church, thanks to the Counter-Reformation, and at the same time is used to cope with the decline of the Spanish Empire.
Effects of scenes and optical illusions are observed; themes referring to vanitas are introduced with the intention of demonstrating to the viewers.
The vanity of earthly objects, referring to the fragility of life and how short existence can be. Hence the importance of enjoying it.
Unlike Dutch vanitas, Spanish Baroque painting emphasizes the religious dimension, employing supernatural themes to appeal to the faithful of the Catholic Church.
The Madrid School
A transition is observed in Spanish baroque painting from tenebrism to full baroque and among the best representatives of this Madrid school.
Among the artists, Juan Andrés Rizi (1600-1681) stands out, as does Francisco de Herrera, better known as El Mozo (1627-1685), son of Herrera El Viejo.
Regarding Francisco Herrera, the Younger studied from a very young age in his father's studio, who was responsible for giving him his first lessons in Spanish Baroque painting. Later, at a considerable age, he moved to Italy and returned to Spain in 1654.
Upon his return, he spread what he had learned, the decorative Baroque of Italian origin, as highlighted in the work Saint Hermenegild, now in the Prado Museum. His influence was such that he was appointed president of the Seville Academy.
It is essential for you to know that the president of this Academy was presided over by Murillo, although he was absorbed in his artistic work in the city of Madrid, regarding Spanish Baroque painting.
Another artist who also represented Spanish Baroque painting at this time was Antonio Pereda (1611-1678), who focused on the religious sphere in various churches and convents in the city of Madrid.
He was responsible for painting several vanitas in which he expresses the rapidity with which earthly pleasures end, demonstrating qualities that bring him closer to the still life genre, making it a subgenre of it.
Remember that still life refers to a dead nature, and one of this type of Spanish Baroque painting by this great artist is The Knight's Dream, which is housed in the Royal Academy of Fine Arts of San Fernando.
Where the knight is shown sleeping, while around him we see a range of vanities typical of this world, highlighting the insignia that grant power, such as the globe of the planet Earth and crowns, as well as highly valued objects such as jewels, money, and books.
All of this surrounds the skulls and flowers that quickly lose their beauty. You can also see the light of a half-burned candle, demonstrating that life's time is fleeting, as the angel confirms, as he wears a ribbon bearing drawings and an inscription:
“…AETERNE PUNGIT; I CITE VOLAT ET OCCIDIT… Time always wounds, flies fast and kills…”
This is like a warning to viewers of Spanish Baroque painting, where the artist Antonio Pereda wishes to express through art the following:
“…The fame of great deeds will vanish like a dream…”
Another example that can be seen is the artwork Allegory of the Vanity of Life, which is located in the Kunsthistorisches Museum in Vienna.
In the work, a figure with wings is observed, and around it, the topics of the previous work are repeated, such as the globe, skulls, a clock, and money.
Although in other representative works of Spanish Baroque painting, vanitas may contain few elements, as is the case with the skulls and the clock.
As seen in the Zaragoza Museum, where he will arrange them according to his creative ingenuity, allowing for complex compositions.
Spanish Baroque painting of the second half of the century is represented by several artists, among whom we can mention the following:
- Francisco Rizi (1614-1685), who was the brother of Juan Ricci
- Juan Carreño de Miranda (1614-1685), being the second best portraitist
- Diego Velázquez is the best portraitist of Spanish Baroque painting, his paintings of the widowed queen Mariana of Austria and Charles II being very famous.
- Mateo Cerezo (1637-1666), disciple of Velázquez and admirer of Titian, as well as Van Dyck
We can mention other representative artists of Spanish Baroque painting, such as José Antolínez, who was a student of the artist Francisco Rizi.
Who had a great influence of Venetian and Dutch origin, he was the author of various works in the religious field, highlighting his artistic works referring to the Immaculate Conception.
The influence of Velázquez can be seen in the color palette used, where silver is chosen. We can also tell you about Sebastián Herrera Barnuevo, who was a student of the artist Alonso Cano.
He was versatile; in addition to being an architect, he was a painter and sculptor. His artistic works related to portraiture stood out, demonstrating a style similar to the Venetian school, as is the case with Veronese and Tintoretto.
Finally, with the Madrid school, one of its last representatives of Spanish Baroque painting was the Madrid-born artist Claudio Coello (1642-1693), who specialized as a court painter.
Although his best artistic works are related to the religious field, in addition to drawing and perspective, influenced by Velázquez.
Plus, a great theatricality that alludes to the artistic works of Rubens, such as The Adoration of the Holy Form, as well as The Triumph of Saint Augustine.
The Andalusian School
The Seville School, Spanish Baroque painting, is represented by the artist Murillo, as well as another great artist named Valdés Leal, who were the founders of the Seville Academy in 1660, where a large number of painters were affiliated.
The full name of this great exponent of Spanish Baroque painting is Bartolomé Esteban Murillo (1618-1682). He is especially admired for his work depicting the Immaculate Conception, as well as his deeply felt depictions of the Child Jesus.
Although Murillo was highly regarded in his time, thanks to his genre scenes, such as the children's scenes, which demonstrate what it's like to live on the margins. Examples include Children Eating Fruit and the Boy Looking Out the Window.
It demonstrates a transformation in Spanish Baroque painting, leaving behind the tenebrist style. Regarding its early period, the following works are recognized: The Holy Family with the Little Bird and the Cycle of the Convent of San Francisco in the city of Seville.
Then, through his artistic works, it is evident that the brushstroke becomes lighter and is enriched with the chromatic palette, allowing for a much looser and more agile brushstroke.
It is observed that Murillo captured images that suited the taste of bourgeois society, where the canvases depict artistic works with soft themes, without drama, eliminating the negative aspects of daily life.
Regarding the religious sphere of Spanish Baroque painting, Murillo produced a large number of artistic works, including The Martyrdom of Saint Andrew, The Good Shepherd, Rebecca and Eliezer, Saint Justa and Rufina, The Annunciation, and several versions of The Immaculate Conception.
This last image became an emblematic model that continued to be copied throughout the century, without forgetting the semicircular paintings he made for the Sevillian church named Santa María La Blanca, with the Dream of the Patricio, and not to mention the very elegant portraits, similar to those of the artist Van Dyck.
We can also mention the artist of Cordoban origin, Juan de Valdés Leal (1622-1690), two of whose works are very well known today, such as the Decadences that he painted for the Hospital de la Caridad in the city of Seville.
These are excellent, complex compositions that demonstrate the triumph of death over life. Death is symbolized by skulls and skeletons, while vanities are represented by books and armor.
Where it is demonstrated that death makes no class distinctions, as suggested in the work Dances of Death. Valdés Leal's style is evidently dynamic and even violent, emphasizing color over drawing.
In relation to the eighteenth century
Regarding the early years of the 18th century, it is observed that Spanish Baroque painting continued until a new artistic movement was introduced, known as Rococo, which was greatly influenced by the French nation.
In the mid-18th century, the Bourbons arrived in Spain and were responsible for bringing a large number of foreign artists to the Spanish court, including Louis-Michel Van Loo, Michel-Ange Houasse, and Jean Ranc.
Despite this, the work of the Seville School continued in several regions of the Spanish nation, as was the case with the disciples of the artist Murillo, until 1750. And although the court brought about transformations in the field of painting.
In religious temples and among the regional nobility, Spanish Baroque painting remained faithful, which is why a continuity of this art can be observed until the 18th century.
Among the artistic figures who represent the transition of Spanish Baroque painting is Acisclo Antonio Palomino (1655-1726), who was responsible for a great deal of artistic activity during the XNUMXth and XNUMXth centuries.
He initially began his religious profession, but abandoned it due to his passion for Spanish Baroque painting. He moved from his hometown of Córdoba to Madrid in 1678, where he received instruction from the artists Claudio Coello and Carreño.
After ten years of study and practice, in 1688, this great artist was promoted to the position of painter to the king. Among his assignments, he was assigned to paint the vaults of the Chapel of the Madrid City Hall, a project he completed between 1693 and 1699.
He also worked with another great painter, Luca Giordano, who taught him everything related to the Italian Baroque.
In the years 1697 and 1701, he was commissioned to create the frescoes for the Church of Santos Juanes, located in the city of Valencia, then in another period of time, from 1705 to 1707, he was commissioned to decorate the Convent of San Esteban in the city of Salamanca.
Regarding the beginnings of this artist, he is framed in the style of the Madrid School, influenced by the artist Claudio Coello, but after the