Bodegones

The last couple of days we have been looking at painters of the Spanish Baroque period. On Wednesday, I’ll write more about the Baroque period but today I wanted to tell you about a specific type (genre) of painting that was popular in Spain during this time: bodegones.

Bodegones are a certain type of still life painting. They show food, drink, and animals that have not yet been prepared as food. In Spanish bodegones the food is usually not cooked. The paintings are often dark and serious. They do not include people and they do not hint at a celebration to come.
I did not show you any examples of bodegones last week but Zurbaran painted some. For example, look at the painting above.

Velazquez often combined bodegones with another genre. He liked to paint peasants in kitchens or taverns like in Old Woman Frying Eggs, shown below.
The painter I’ll tell you about tomorrow is known for his realistic bodegones. His name was Juan Sanchez Cotan and he painted Quince, Cabbage, Melon and Cucumber, shown below.
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Francisco de Zurbaran

Francisco de Zurbaran was extremely talented but far less popular than Velazquez. Zurbaran was born in Spain in 1598. His parents were peasants and supported him in art as much as they could.

He worked as an apprentice in Seville in 1616 and 1617. There, he met Velazquez. The two were leading painters of the city.

When Zurbaran finished his apprenticeship, he began to paint religious scenes for churches in his area. He was a great portrait painter and his serious paintings of religious figures were well liked in the churches. Especially impressive was the way Zurbaran painted fabric draping around bodies or hanging from windows. For example, look at the painting below.
Many churches asked Zurbaran to paint for him and he did well for awhile. Around 1630, Zurbaran was even named a “Painter to the King.” After 1640 though, his solemn style fell out of popularity and he received fewer and fewer requests for paintings.
In 1658, Zurbaran moved to Madrid in search of work. Velazquez, his old friend from Seville, helped Zurbaran find work.
When Zurbaran died in 1664 he did not have much money and his popularity had passed. He was unknown outside of Spain. Today, collectors around the world seek his work, but Zurbaran’s paintings are not found in many museums outside of Spain.

The paintings above, in order, are St. Francis, a painting of a Carthusian monk (I don't know the title in English), The Apostle St. Andrew, and St. Francis in Meditation.

Enjoy your weekend!

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Day Off

I'm taking the day off. Enjoy your Thursday and be sure to check back tomorrow to learn about Francisco Zurbaran.

Diego Velazquez

Diego Velazquez was born in Spain in 1599. When he was eleven he told his parents that he wanted to be a painter. He immediately became apprenticed to a religious painter, Pacheco, in Seville. Pacheco was impressed by Velazquez’s talent and hoped the boy would grow up to be a religious painter like him. Velazquez wasn’t interested in painting for churches, though. He loved to paint pictures of the people of Seville. He was especially good at painting scenes in taverns and kitchens. The picture shown below, An Old Woman Frying Eggs, is a good example of this.
When Velazquez was nineteen, he married Pacheco’s daughter, they moved into a house together, and Velazquez opened his own studio. After eight years of study, he was now a master painter.

In order to earn enough money to support his wife and young daughter, Velazquez began to create religious paintings for the church. He used real models from Seville as the basis of his paintings. Because of this, the people in his paintings looked alive. Velazquez never stopped painting the subjects he loved, though. He wandered through Seville, collecting ideas for paintings.

In 1623, Velazquez moved to Madrid. Soon after, he became “Painter to the King.” His portraits were adored by the royalty but other painters were jealous of Velazquez’s position. Below is one of Velazquez's early portraits of King Philip IV.
Velazquez enjoyed his position as “Painter to the King” but he longed for more freedom. He was able to take a trip to Italy to study the work of the Italian masters but he was rushed back to Spain when a prince was born.

Velazquez had to be available all the time to paint for the King. He even went with the King to battlefields. On the King’s second trip to the battle front, the Prince became ill and died. The Queen had died just before the trip and the King was extremely saddened. The King was forced to marry again because he had to have another son. Who would take over the Spanish throne?

The King’s new marriage gave Velazquez a reason to go back to Italy: the whole palace needed to be redecorated and Velazquez was put in charge of decorating it. He couldn’t paint enough to decorate an entire palace so he bought paintings by some of the Italian masters.
Velazquez loved his time away from the palace. He created many paintings and he loved the freedom of choosing his own subjects. While was in Rome, he even painted a portrait of the Pope (above).

In 1659, Velazquez was awarded the highest honor: the cross of Santiago. This meant that Velazquez was now a noble. He died only a year later.

Shown above is one of Velazquez's most famous paintings, The Maids of Honour.

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Jusepe de Ribera

Jusepe de Ribera (also known as Jose de Ribera) was born in Spain in 1591. His parents wanted him to go to school so he could work an intellectual job but Ribera wanted to paint. He worked as an apprentice for awhile and learned his art. By 1611 he had moved to Italy.

Ribera lived in Rome until about 1616. There, he studied the work of great painters of the time. This was the end of the Renaissance and there were great painters everywhere.

Finally, Ribera moved to the Kingdom of Naples. Today, Naples is a port city on the south-western coast of Italy. In Ribera’s time, Naples and the towns around it made up the Kingdom of Naples and was ruled by Spain. Ribera made an impression on the Spanish Viceroy, or ruler, of the Kingdom of Naples, and the man bought some of Ribera’s paintings.

In 1647 and 1648, when Ribera was sick and the people of Naples were rebelling against Spanish rule, the Viceroy even let Ribera stay at the palace. Ribera died in 1652.


Ribera’s paintings were extremely realistic. He wanted to paint the world the way it really was and that included the bad things. He especially liked to paint people in pain. Ribera was very good at showing pain of the faces of his subjects. Look at the painting above, The Deliverance of St. Peter.
In his early paintings, Ribera used a strong contrast between light and dark to create murky looking paintings. The painting above, Jerome Hears the Trumpet, is one example. Around 1630, Ribera moved away from this. He began to create paintings that seemed to glow with dim light. An example of this is Saint Francis of Assisi, shown below.
Check back tomorrow for another Spanish painter.

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