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8 de ene. de 2020 · Juan Bautista Martínez del Mazo (1605-1667): La familia del pintor, 1664-1665. Óleo sobre lienzo, 148 x 174,5 cm. Viena, Kunsthistorisches Museum, Gemäldegalerie, 320 Este cuadro fue identificado por Justi, a […]
Follow. Juan Bautista Martínez del Mazo was a Spanish Baroque portrait and landscape painter, the most distinguished of the followers of his father-in-law Velázquez, whose style he imitated more closely than did any other artist. A fine painter himself, Mazo was a master of landscape, as proven by his most celebrated work View of Saragossa.
This tenebrous and subtly rendered portrait of Philip IV of Spain's Pintor de cámara, Diego de Silva y Velazquez, was painted by the sitter's son-in-law Juan Bautista del Mazo, probably in the early 1650s. For historical reasons the painting can be dated with a great deal of certainty to the years 1644 – 1659, on account of the key that is ...
4 de jun. de 2022 · El Centre d’Art d’Època Moderna (CAEM), de la Universidad de Lleida (Lérida), hizo público un descubrimiento: al restaurar el “Retrato del Príncipe Carlos” pintado por Juan Bautista Martínez del Mazo (1611-1667), surgió el retrato de su hermano Felipe Próspero que había realizado Diego Velázquez (1599-1660), una versión que se considera anterior a la ya existente en el ...
Martínez del Mazo, Juan Bautista Beteta, Cuenca, ca. 1611 - Madrid, 1667 Mariana Pignatelli de Aragón, Duquesa de Híjar Departamento: Museo Nº Inventario: 1416 Datación: ca. 1660 Dimensiones: 210 x 138 cm Técnica: Oleo sobre lienzo Procedencia: Adquirido por la Real Academia en junio de 1999, con cargo a la herencia Guitarte.
Juan Bautista Martínez del Mazo. Juan Bautista Martínez del Mazo (Cuenca Province, c. 1612-Madrid, 10 February, 1667) was a Spanish Baroque portrait and landscape painter, the most distinguished of the followers of Velázquez, whose style he imitated more closely than did any other artist.
At the same time, it means this canvas is one of Juan Bautista Martínez del Mazo´s last works, for he died in 1667. (The inscription below the chair on the left that erroneously identifies the sitter as her half-sister Maria Teresa is a later, spurious addition.)
