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PANTOJA DE LA CRUZ, Juan Philip II kj oil painting


Philip II kj
Painting ID::  8444
PANTOJA DE LA CRUZ, Juan
Philip II kj
Oil on canvas Monasterio de San Lorenzo, El Escorial

   
   
     

PANTOJA DE LA CRUZ, Juan Portrait of a Woman dh oil painting


Portrait of a Woman dh
Painting ID::  8445
PANTOJA DE LA CRUZ, Juan
Portrait of a Woman dh
Oil on canvas, 58 x 42 cm Museo del Prado, Madrid

   
   
     

PANTOJA DE LA CRUZ, Juan Philip III oil painting


Philip III
Painting ID::  28124
PANTOJA DE LA CRUZ, Juan
Philip III
mk61 Oio on canvas 204x122cm

   
   
     

PANTOJA DE LA CRUZ, Juan Catalina Micarla of Savoy oil painting


Catalina Micarla of Savoy
Painting ID::  29311
PANTOJA DE LA CRUZ, Juan
Catalina Micarla of Savoy
mk65 Oil on canvas 27 1/2x19 1/2"

   
   
     

PANTOJA DE LA CRUZ, Juan Duke of Lerma oil painting


Duke of Lerma
Painting ID::  32877
PANTOJA DE LA CRUZ, Juan
Duke of Lerma
mk84 1600-10 Toledo Fundacion Lerma, canvas

   
   
     

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     PANTOJA DE LA CRUZ, Juan
     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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