This work is a superb example of Carreño's Venetian devotion in his early years. The general silhouette is very similar to Orrente's canvas in the Cathedral of Valencia, representing the same Saint. Probably the existence of a common source explains the close resemblance.
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
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
Saint Sebastian (died c. 288
AD) was an early Christian saint and
martyr. Sebastian had prudently concealed his faith, but in 286 was
detected. Diocletian reproached him for his betrayal, and he commanded him to
be led to a field and there to be bound to a stake so that archers from
Mauritania would shoot arrows at him. "And the archers shot at him till he
was as full of arrows as an urchin is full of pricks, and thus left him there
for dead." Miraculously, the arrows did not kill him.
Sebastian later stood by a staircase where the emperor
was to pass and harangued Diocletian for his cruelties against Christians. This
freedom of speech, and from a person whom he supposed to have been dead,
greatly astonished the emperor; but, recovering from his surprise, he gave
orders for his being seized and beat to death with cudgels, and his body thrown
into the common sewer. A pious lady, called Lucina, admonished by the martyr in
a vision, got it privately removed, and buried it in the catacombs at the
entrance of the cemetery of Calixtus, where now stands the Basilica of St.
Sebastian. More St.
Sebastian
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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