Saturday, March 10, 2018

01 Work, RELIGIOUS ART - Interpretation of the Bible! from the SPANISH GOLDEN AGE, With Footnotes - 87

Juan Carreño De Miranda
Saint Anthony Of Padua With The Christ Child
Spanish Gallery at Bishop Auckland

Until its recent acquisition for the Spanish Gallery at Bishop Auckland, this archetypal image of Saint Anthony had been in the collection of the Marquises de Legarda, Spain, for over three centuries. With remarkable painterly fluency Carreño expresses the belief in a personal relationship with Christ through the example of Saint Anthony of Padua, depicted here with the Christ Child at the crowning moment of his spiritual life. In composition and colouring the picture owes as much to the Baroque style of Rubens and other Flemish artists so admired by Carreño as it does to the painterly quality of the Venetians. More on this painting

Saint Anthony of Padua (Portuguese: Santo António), born Fernando Martins de Bulhões (1195 – 13 June 1231), also known as Anthony of Lisbon, was a Portuguese Catholic priest and friar of the Franciscan Order. He was born and raised by a wealthy family in Lisbon, Portugal, and died in Padua, Italy. Noted by his contemporaries for his forceful preaching, expert knowledge of scripture, and undying love and devotion to the poor and the sick, he was the second-most-quickly canonized saint after Peter of Verona. He was proclaimed a Doctor of the Church on 16 January 1946. He is also the patron saint of lost things. More on Saint Anthony of Padua

Juan Carreño de Miranda (25 March 1614 — 3 October 1685) was a Spanish painter of the Baroque period.

Born in Avilés in Asturias. His family moved to Madrid in 1623, where 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, La Joyosa. In 1658 Carreño was hired as an assistant on a royal commission to paint frescoes in the Alcázar of Madrid; later destroyed in a fire in 1734. In 1671. Upon the death of Sebastián de Herrera, he was appointed court painter to the queen and began to paint primarily portraits. He refused to be knighted in the order of Santiago, saying Painting needs no honors. 

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. More on Juan Carreño de Miranda

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