PANTOJA DE LA CRUZ, Juan

Spanish Painter, 1553-1608 Spanish painter. He must have moved to Madrid when he was very young, receiving his training in the workshop of Alonso S?nchez Coello, painter to Philip II. On numerous occasions he declared himself to be a follower of S?nchez Coello, in whose workshop he was an oficial, and he probably collaborated to a considerable degree on many of his master's mature works. There are very few signed works by Pantoja from before the death of S?nchez Coello, although some anonymous paintings from the workshop are probably by him. In Madrid in 1587 Pantoja married a woman of some means, and by the following year, when S?nchez Coello died, he was an independent painter, aspiring to his master's position. Documentation exists from 1590 concerning portraits by Pantoja of members of the royal family including one of Don Felipe, the future Philip III (1593; Vienna, Ksthist. Mus.). On Philip's accession to the throne in 1598 Pantoja painted another portrait of him (Vienna, Ksthist. Mus.) and became the official portrait painter for the court and for the nobility of Madrid; there is detailed documentation for his work from this time. He painted clothing and jewels with precision, in minute detail and with a dry objectivity in the Flemish tradition. His treatment of faces, however, clearly reveals his study of Venetian portraiture, and in particular that of Titian, as well as sharp psychological penetration. In his portraits of royal children he maintained, albeit with a certain rigidity, the charm that S?nchez Coello in his paintings had given these infant figures tightly swathed in official robes


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PANTOJA DE LA CRUZ, Juan Philip II kj oil


Philip II kj
Painting ID::  8444
Philip II kj
Oil on canvas Monasterio de San Lorenzo, El Escorial
Oil_on_canvas Monasterio_de_San_Lorenzo,_El_Escorial
   
   
     

PANTOJA DE LA CRUZ, Juan Portrait of a Woman dh oil


Portrait of a Woman dh
Painting ID::  8445
Portrait of a Woman dh
Oil on canvas, 58 x 42 cm Museo del Prado, Madrid
Oil_on_canvas,_58_x_42_cm Museo_del_Prado,_Madrid
   
   
     

PANTOJA DE LA CRUZ, Juan Philip III oil


Philip III
Painting ID::  28124
Philip III
mk61 Oio on canvas 204x122cm
mk61 Oio_on_canvas 204x122cm
   
   
     

PANTOJA DE LA CRUZ, Juan Catalina Micarla of Savoy oil


Catalina Micarla of Savoy
Painting ID::  29311
Catalina Micarla of Savoy
mk65 Oil on canvas 27 1/2x19 1/2"
mk65 Oil_on_canvas 27_1/2x19_1/2"
   
   
     

PANTOJA DE LA CRUZ, Juan Duke of Lerma oil


Duke of Lerma
Painting ID::  32877
Duke of Lerma
mk84 1600-10 Toledo Fundacion Lerma, canvas
mk84 1600-10 Toledo Fundacion_Lerma, canvas
   
   
     

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     PANTOJA DE LA CRUZ, Juan
     Spanish Painter, 1553-1608 Spanish painter. He must have moved to Madrid when he was very young, receiving his training in the workshop of Alonso S?nchez Coello, painter to Philip II. On numerous occasions he declared himself to be a follower of S?nchez Coello, in whose workshop he was an oficial, and he probably collaborated to a considerable degree on many of his master's mature works. There are very few signed works by Pantoja from before the death of S?nchez Coello, although some anonymous paintings from the workshop are probably by him. In Madrid in 1587 Pantoja married a woman of some means, and by the following year, when S?nchez Coello died, he was an independent painter, aspiring to his master's position. Documentation exists from 1590 concerning portraits by Pantoja of members of the royal family including one of Don Felipe, the future Philip III (1593; Vienna, Ksthist. Mus.). On Philip's accession to the throne in 1598 Pantoja painted another portrait of him (Vienna, Ksthist. Mus.) and became the official portrait painter for the court and for the nobility of Madrid; there is detailed documentation for his work from this time. He painted clothing and jewels with precision, in minute detail and with a dry objectivity in the Flemish tradition. His treatment of faces, however, clearly reveals his study of Venetian portraiture, and in particular that of Titian, as well as sharp psychological penetration. In his portraits of royal children he maintained, albeit with a certain rigidity, the charm that S?nchez Coello in his paintings had given these infant figures tightly swathed in official robes

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