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Here are all the paintings of PANTOJA DE LA CRUZ, Juan 01
| ID |
Painting |
Oil Pantings, Sorted from A to Z |
Painting Description |
| 29311 |
 |
Catalina Micarla of Savoy |
mk65
Oil on canvas
27 1/2x19 1/2"
|
| 32877 |
 |
Duke of Lerma |
mk84
1600-10
Toledo
Fundacion Lerma,
canvas
|
| 8444 |
 |
Philip II kj |
Oil on canvas
Monasterio de San Lorenzo, El Escorial |
| 28124 |
 |
Philip III |
mk61
Oio on canvas
204x122cm
|
| 8445 |
 |
Portrait of a Woman dh |
Oil on canvas, 58 x 42 cm
Museo del Prado, Madrid |
| 40998 |
 |
Portrait of Don Diego de Villamayor |
mk159
1605
Oil on canvas
89x71cm
|
| 52677 |
 |
Portrait of Felipe Manuel, Prince of Savoya |
c. 1604 Oil on canvas, 111,5 x 89,5 cm |
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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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