All PEREDA, Antonio de Oil Paintings

Spanish Baroque Era Painter, ca.1611-1678 Spanish painter. He was the son of a minor painter of the same name (d 1622) and, after his father died, about 1627 he moved to Madrid with his mother. There he entered the studio of Pedro de las Cuevas, and his fellow pupils included such artists as Juan Carreeo de Miranda, Francisco Camilo, Jusepe Leonardo and Antonio Arias Fernendez. He must also have known and studied the work of many masters esteemed at court, particularly Vicente Carducho, echoes of whose work can be found in the former's early paintings. Pereda received protection early on from a member of the Royal Council, Francisco de Tejada, and later from Giovanni Battista Crescenzi, a painter and patron who was in Spain from 1617. Pereda probably completed his training through contact with Crescenzi's collection and eventually he lived in Crescenzi's house. In 1634 Pereda executed Aid to Genoa (Madrid, Prado) for the decoration of the Salen de Reinos in the Casen Buen Retiro, Madrid, a project involving all the leading artists of Madrid, including Carducho, Velezquez, Zurbaren and Jose Leonardo. The death of Crescenzi in 1635 deprived Pereda of further court commissions and seems to have stopped him painting any further secular works other than still-lifes. Also in 1635 he began a well-documented career as a religious painter, producing large altar paintings and many other medium-sized works, probably for private worship. Outstanding among these is the Immaculate Conception (1637) in the Convento de los Felipenses, Alcale de Henares (Madrid). The important allegorical painting Vanitas
 

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PEREDA, Antonio de The Knight's Dream af oil on canvas


The Knight's Dream af
The Knight's Dream af
Painting ID::  8487
  Oil on wood, 152 x 217 cm Real Academia de San Fernando, Madrid
  Oil on wood, 152 x 217 cm Real Academia de San Fernando, Madrid

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PEREDA, Antonio de The Knight's Dream (detail) af oil on canvas


The Knight's Dream (detail) af
The Knight's Dream (detail) af
Painting ID::  8488
  Oil on wood Real Academia de San Fernando, Madrid
  Oil on wood Real Academia de San Fernando, Madrid

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PEREDA, Antonio de Allegory ag oil on canvas


Allegory ag
Allegory ag
Painting ID::  8489
  c. 1654 Oil on canvas, 139,5 x 174 cm Kunsthistorisches Museum, Vienna
  c. 1654 Oil on canvas, 139,5 x 174 cm Kunsthistorisches Museum, Vienna

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PEREDA, Antonio de St Anthony of Padua with Christ Child af oil on canvas


St Anthony of Padua with Christ Child af
St Anthony of Padua with Christ Child af
Painting ID::  8490
  Oil on canvas, 177 x 205 cm Museum of Fine Arts, Budapest
  Oil on canvas, 177 x 205 cm Museum of Fine Arts, Budapest

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PEREDA, Antonio de St Anthony of Padua with Christ Child (detail) wsg oil on canvas


St Anthony of Padua with Christ Child (detail) wsg
St Anthony of Padua with Christ Child (detail) wsg
Painting ID::  8491
  Oil on canvas Museum of Fine Arts, Budapest
  Oil on canvas Museum of Fine Arts, Budapest

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     PEREDA, Antonio de
     Spanish Baroque Era Painter, ca.1611-1678 Spanish painter. He was the son of a minor painter of the same name (d 1622) and, after his father died, about 1627 he moved to Madrid with his mother. There he entered the studio of Pedro de las Cuevas, and his fellow pupils included such artists as Juan Carreeo de Miranda, Francisco Camilo, Jusepe Leonardo and Antonio Arias Fernendez. He must also have known and studied the work of many masters esteemed at court, particularly Vicente Carducho, echoes of whose work can be found in the former's early paintings. Pereda received protection early on from a member of the Royal Council, Francisco de Tejada, and later from Giovanni Battista Crescenzi, a painter and patron who was in Spain from 1617. Pereda probably completed his training through contact with Crescenzi's collection and eventually he lived in Crescenzi's house. In 1634 Pereda executed Aid to Genoa (Madrid, Prado) for the decoration of the Salen de Reinos in the Casen Buen Retiro, Madrid, a project involving all the leading artists of Madrid, including Carducho, Velezquez, Zurbaren and Jose Leonardo. The death of Crescenzi in 1635 deprived Pereda of further court commissions and seems to have stopped him painting any further secular works other than still-lifes. Also in 1635 he began a well-documented career as a religious painter, producing large altar paintings and many other medium-sized works, probably for private worship. Outstanding among these is the Immaculate Conception (1637) in the Convento de los Felipenses, Alcale de Henares (Madrid). The important allegorical painting Vanitas

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