Oil On Canvas, Real Flavor of Old Masters

All PANTOJA DE LA CRUZ, Juan 's Paintings
The Painting Names Are Sorted From A to Z

ID Image  Painting (From A to Z)       Details 
Catalina Micarla of Savoy, PANTOJA DE LA CRUZ, Juan
 Catalina Micarla of Savoy   mk65 Oil on canvas 27 1/2x19 1/2"
Duke of Lerma, PANTOJA DE LA CRUZ, Juan
 Duke of Lerma   mk84 1600-10 Toledo Fundacion Lerma, canvas
Philip II kj, PANTOJA DE LA CRUZ, Juan
 Philip II kj   Oil on canvas Monasterio de San Lorenzo, El Escorial
 Philip III   mk61 Oio on canvas 204x122cm
Portrait of a Woman dh, PANTOJA DE LA CRUZ, Juan
 Portrait of a Woman dh   Oil on canvas, 58 x 42 cm Museo del Prado, Madrid
Portrait of Don Diego de Villamayor, PANTOJA DE LA CRUZ, Juan
 Portrait of Don Diego de Villamayor   mk159 1605 Oil on canvas 89x71cm
Portrait of Felipe Manuel, Prince of Savoya, PANTOJA DE LA CRUZ, Juan
 Portrait of Felipe Manuel, Prince of Savoya   c. 1604 Oil on canvas, 111,5 x 89,5 cm

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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