Oil on canvas,
171 x 113 cm.
Museo Nacional del Prado
Carreño is based on Titian, and seems to have been directly inspired, for the way of trimming the nude over the bluish distances, in the Adam and Eve of Titian, today in the Prado, which in 1628 Rubens had copied. More on this painting
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